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tim_mulholland

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Posts posted by tim_mulholland

  1. <p>Sanjay - </p>

    <p>Here's my opinion, experience...</p>

    <p>I've worked with the Pentax 6x7, 67 and 67II, using the 135 f/4 macro lens, along with the extension tubes and the autobellows, in the past. I've not used the 105 macro, but have wanted to use it. I now use a Pentax 645Z with this combination of lenses, extension tubes and bellows, but not frequently.</p>

    <p>I feel that these combinations of equipment are difficult to use - but you don't have a lot of choice if you've already made the choice to work with the Pentax 67 system. I find it very difficult to create photographs that have, what I believe to be, a desirable amount of sharpness/focus and are reasonably well lit.</p>

    <p>As you're aware, the Pentax 67II is a heavy beast of a camera body. It needs to be very securely mounted on a tripod that can handle its weight. The 135 macro is not a light lens, but it's not heavy, either. Working with this combination on a tripod is readily doable. Once you feel competent with this system, then start working with the extension tubes...</p>

    <p>Now, add in the extension tubes. The additional length of this combination means that any shake in the system is magnified - you need mirror up on the body, aperture set on your lens and a cable release (but, that's true for using just the lens alone). With the low amount of light that gets through the system, it's difficult to focus. In this situation, I typically use a lot of added, continuous light on the scene - it could be a flashlight, lightbulb and I've even used mirrors reflecting sunlight. With the advent of LED lighting, it's now easier to light the scene and not heat your subject (if that's critical).</p>

    <p>Finally, let's put the auto bellows into the mix. Yes, they can be found on eBay, every once in awhile. Expect to pay $300 to $500 US, I'm guessing. Now the whole system is even longer and more prone to shaking. I use a second tripod - one for the heavy camera body and one to support the bellows. Trying to move, manage and focus this system is difficult, as I hope that you can manage. And, getting enough light through the system so that you might be able to see to focus the lens or focus using the bellows' various tools is difficult. More continuous light is needed. In all of these approaches, it is very useful and possible to use a strobe/flash or more than one, with reflectors, but that 1/30th sync speed can be problematic because of all of the possible shake in the system - anchor the camera and bellow securely! :) </p>

    <p>I'm NOT trying to dissuade you, not at all. I AM trying to give you information so that you walk into this with your eyes wide open. ;) Based on what I know and what I've done in the past, I *know* that it's difficult and frustrating with a Pentax 67II because you don't see your results for a week or so. It's still difficult and frustrating with the 645Z, but at least I get immediate results and can figure out how to adjust by subject, focus and lighting. Even though I have the bellows, I use it only once every other year or so. I can usually get reasonable results with the 135 lens and the extension tubes. I say this mostly because I feel that I rarely get decent results adding in the bellows - there's just too much going on that I need to control and my abilities to control all of these variables haven't been sufficiently refined. If I shot a LOT with the bellows, I believe that I'd be better as I'd figure out to improve my lighting possibilities. For example, I do not own a ring flash and that would make a significant difference. By the same token, I'm usually using multiple flash units and reflectors, so my possibilities are close/similar, I'd like to think.</p>

    <p>I had a quick-turnaround job a couple of months ago where a possible client wanted a detailed macro image of an eye - especially the iris detail. It was very, very difficult. I added a LOT of light to my eye and my daughter's eye while trying to take these shots and it was hard not to blink. I couldn't really see well through the whole system to focus decently because of the low light levels. Every time I'd even lightly touch anything - the camera body, the lens, the bellows - it seemed that I'd mess something up. I must have taken a hundred shots and got five to ten that were decent, and none that were really satisfying to me or the client. HOWEVER, it was a really cool opportunity and I really enjoyed seeing the results. I was amazed at how much detail I could capture in the iris that I'd never noticed before - IT WAS SO COOL!!! :)</p>

    <p>I would LOVE to hear from someone else who has had better experiences with the bellows so that I might learn how to better use mine...</p>

    <p>Good luck,</p>

    <p>Tim!</p>

  2. <p>My thought, since I'm not a lawyer, is that you need as many releases as necessary to avoid legal problems.</p>

    <p>That being said, if you have had your models sign a blanket release that covers their likeness for the rest of their lives, like it sounds like Ian is doing, then you may be fine. But, my approach is more like John's - every time that I'm in a different situation, I prepare a new model release. My MRs are date and location specific.</p>

    <p>My $0.02 worth and I'm not a lawyer...</p>

  3. <p>John -</p>

    <p>Here's my $0.02 worth...</p>

    <p>I've only been to Lower Antelope Canyon (three times) and I really enjoy it there. It's a narrow slot and if you're on a tour, then you might have to move more than you want. But, you can also "buy" the photographer's pass for a few dollars more and I believe that the guides are much more accommodating. On your tour, let everyone else go ahead and be patient. You'll definitely need a tripod.</p>

    <p>http://photoshelter.timmulholland.com/gallery/Antelope-Canyon/G0000BtBgEToVLpk</p>

    <p>I've wanted to go to Water Holes Canyon (a.k.a., "Secret Canyon") to shoot, but haven't made it - yet. You can access the lower part of Water Holes Canyon just south of Horseshoe Bend, off of Highway 89, with a permit that you can obtain from LeChee House (just south of Page), but you'll need to go on the tour to see Upper Water Holes Canyon/Secret Canyon. http://navajonationparks.org/permits.htm</p>

    <p>I've been to Horseshoe Bend once and went in the later afternoon and had good light.</p>

    <p>Page is full of chain hotels - not to worry. Also, I'd recommend a meal at Fiesta Mexicana - I've been there several times. Fun, good food. http://www.tripadvisor.com/Restaurant_Review-g60834-d577443-Reviews-Fiesta_Mexicana-Page_Arizona.html</p>

    <p>Regarding the South Rim. If you're willing to get up early, hike a mile (one way) on a path (not maintained) and do your research, then I'd highly recommend going to Shoshone Point for sunset or sunrise. I've been there three times over the years. It's away from the crowds and it's different - you won't have the same shot as everyone else. Shoshone Point is where the rangers go for their quiet, fun times on the South Rim, and many couples go there for their wedding ceremonies. There are no fences there (the last that I knew), just a few picnic tables, maybe a ramada, and a PortaPottie. I'm hoping that this info will help you locate it on Google Earth:<br>

    Shoshone Point<br />-112.059085772228<br /> 36.04509448111661<br />-112.0591055903369,36.04540758890469,0<br />Off of the main road, the last that I knew there was just a small, nondescript parking area. Most folks drive right past it because it's not marked.</p>

    <p>Frankly, there are hundreds of other places that you could visit in this area; you could spend weeks and months there. I'd focus on what you've set your heart on. You have no idea of all of the beautiful places that you'll be driving right by (ignorance is bliss!). If you've not been to the Grand Canyon before... OMG... It's my favorite place on earth... I've only been there a dozen times or more...</p>

    <p>Good luck,</p>

    <p>Tim!</p>

  4. <p>Hi Manoj,</p>

    <p>With all of the warm weather, the Ice Caves are now closed. Actually, they were open only briefly this year. I hope that you were able to make it last weekend or sooner...</p>

    <p>Tim!</p>

  5. <p>Greetings, Lara!</p>

    <p>I used a Pentax 6x7/67/67II system for many years, including with studio strobes.</p>

    <p>If I remember correctly, you actually have two options. First, you may buy a Pentax PC socket to shoe adapter for your flash grip. The benefit of that approach is so that you can directly connect your camera to an on-camera flash, as well as if you're trying to synch via an optical slave.</p>

    <p>And, as with (most) any other camera, you can connect the PC socket directly to the studio strobe or a slave. This is what I would do, and skip trying to find the special Pentax adapter - it's a simpler approach and just as effective. You should be able to go to your camera store or the studio where you worked and find the correct cable, which should have a PC connector on one end and then the appropriate strobe connector on the other end.</p>

    <p>Good luck,</p>

    <p>Tim!</p>

  6. <p>David - <br>

    I apologize for being slow to respond - life in the vast lane...<br>

    I lived in Invercargill, NZ for a year and, frankly, I think that any time is good to visit, but I do have to agree with the general recommendation of autumn in New Zealand. Most Kiwis are on their summer vacation between Christmas and roughly early February. The new school year just started there on 2 Feb 2015. After the Kiwis head home, then there are smaller crowds at many of the places that you might want to visit. No matter where you're likely to go, you just won't find the kinds of crowds that you find at the Grand Canyon, Yosemite, or Yellowstone. Yes, there can be some busy places, such as Queenstown, but once you get out into the parks, etc., you'll feel quite alone. And, it's also useful to think like a Kiwi - it's going to rain, so get used to it, even with your camera. NZ has some of the most beautiful clouds that I've ever seen - they're just amazing!<br>

    There's just too much to try to tell you in a brief posting like this. That's why I've gone the extra kilometer... :) <a href="https://itunes.apple.com/us/book/new-zealand/id889656551?mt=11">New Zealand - A Traveler's & Photographer's Paradise</a><br>

    Enjoy and please feel free to contact me if you have any questions.<br>

    Tim!</p>

  7. <p>John - </p>

    <p>I've recently been through a similar experience - and I'm horrible at marketing. :) I created a Facebook page for my book and that has been helpful - <a href="https://www.facebook.com/NZ.Photographers.Paradise?ref=bookmarks">New Zealand</a></p>

    <p>I know that my suggestion will be quite different from what others have suggested and so take it with a grain of salt. I had wanted to publish a photo book for many years, but I heard too many horror stories from photographers who had done so - the thousands of dollars that they'd spent actually printing the book and then how many copies they still had in their inventory. One friend is (the last that I knew) carting around copies of all three of his books in boxes in the back of his car, so that he has them available when someone is interested. I just couldn't justify, in my mind, on my budget and not being known the actual physical publishing of a book.<br>

    So, I created a fixed-layout ePub using Adobe InDesign. In my calculus, this allowed me to create my book *and* "publish" it with minimal publishing fees. Learning InDesign sufficiently for my needs wasn't that difficult. In fact, when I prepared the book in April/May/June, 2014, the biggest difficulty was translating the InDesign file into the actual ePub. The most recent version of InDesign (2014) should make this conversion much easier. I spent about a month deconstructing my ePub, fixing it, and then reconstructing it before I got it to the final version.<br>

    Now, the book is available on iTunes/iBooks, and Apple is "doing" the marketing, if you will. I also do my own marketing to help push sales along. I also look at my effort as a learning opportunity and an experiment; I have a dream of creating another book in a similar fashion.<br>

    The following link should get you to my book on iTunes: <a href="https://itunes.apple.com/us/book/new-zealand/id889656551?mt=11">New Zealand - A Traveler's & Photographer's Paradise</a><br>

    Again, my approach may not be what you had in mind, but it's an alternative that may have some appeal to you.</p>

    <p>Please feel free to contact me if you have any questions - Tim@TimMulholland.com<br>

    Good luck,<br>

    Tim!</p>

    <p> </p>

  8. <p>Kia Ora!<br>

    <img src="http://www.timmulholland.com/wordpress1/wp-content/uploads/2014/06/Book-Marketing-Image-small-.jpg" alt="" /></p>

    <p>I've just "published" my first photography books on iTunes. You can find it at this link:</p>

    <p> <a href="http://itunes.apple.com/us/book/new-zealand/id889656551?mt=11">http://itunes.apple.com/us/book/new-zealand/id889656551?mt=11</a></p>

    <p>To view this eBook, you’ll need an iPad, iPhone, iPod or Mac computer that uses Apple’s iBooks software.</p>

    <p>I've wanted to publish a book like this for quite some time. Over the years, I've watched photographer friends publish their real, physical and beautiful photography books at great expense, as in thousands of dollars just for the printing costs. However, many copies of those beautiful books remain sitting in storage areas, and these photographers have invested a great deal of money and not recouped their expenses. (Or, as a friend in New Zealand - the copies were in his car trunk/boot, which was his sales office.) Also, I've worked on numerous publications and reports over my years and always felt that there was a deeper, richer way to use digital channels to distribute photographs. With the sales that I've seen so far, at least I feel like I'm a bit more successful with my investment. </p>

    <p>This eBook is a fixed-layout EPUB (EPUB 3.0) created in the newest version of Adobe InDesign CC 2014. This is a digital book and I have no intention of printing physical copies, as a great deal of the utility of the book (i.e., the hyperlinks) would be lost, as well as the ability to readily zoom in on the pages. This EPUB is specifically designed for viewing on an iPad with the iBooks software, and also looks *great* on a Mac.</p>

    <p>Beyond the technical aspects of this eBook, it shares the extensive, awe-inspiring beauty of New Zealand in its many forms – light & dark, dry & wet, high & low. New Zealand is a country that’s difficult to comprehend, just as it is similarly difficult to comprehend a desert, through a book. But, I hope that this publication, the variety of photographs and the numerous links to New Zealand travel and tourism resources will help the reader to better “experience” New Zealand, prepare for their travels in Aotearoa, and savor their own memories of travel throughout New Zealand. Using an iPad or computer as the display and reading platform for this publication creates in many viewers a WOW experience similar as to what they might experience with an equivalent landscape photography coffee table book, along with the resources to take with you on your New Zealand travels. Another exciting aspect of publishing in this medium is that younger people who view this book are taken with the use of the hyperlinks and the ability to easily navigate within the book, as well as to the various New Zealand resources.</p>

    <p>I wanted to share my "experiment." I'm looking forward to how it unfolds and how it's received by the public.</p>

    <p>Sincerely,</p>

    <p>Tim!<br>

    Tim Mulholland/Illuminata Photo<br>

    Fitchburg, WI<br>

    TimMulholland.com</p>

  9. <p>Hi all,<br>

    I don't post too often, but I sincerely appreciate reading everything and learning. And, there are times when it's absolutely wonderful to have the archives through which a person can dig. To wit...<br>

    I was recently contacted about shooting an outdoor group portrait. But, the flashes that I have wouldn't be sufficient to light such a group. And, I'd read enough through this forum over the years that I know that it wouldn't be smart to try to power my strobes with my car and a simple, non-sine wave inverter. So, I searched the web and Photo.net to see what might be possible as a portable power source. A generator seemed like overkill and the portable power sources (like a Vagabond II) seemed reasonable. But, in searching Photo.net, I found that folks had built their own portable power sources for about the same price and with twice the oomph.<br>

    About three years ago, Mark Nagle posted how he had constructed his own low-cost portable power source (http://www.photo.net/photography-lighting-equipment-techniques-forum/00L28E and http://www.nagelhome.com/powerpack/). I'm also a reasonably handy person, and also have more time on my hands than money. Using Mark's post as a guide, I've created a very similar portable power source.<br>

    The differences between Mark's & mine are pretty small, but I'm posting this in hopes of encouraging others. Mark seems to have used 10 ga. wire and soldered his connections; I went with 12 ga. wire because I couldn't get the 10 ga. wire to work with my connectors! ;) I also used screw-type connectors, so there's no permanent connections (for better or worse). I also didn't need the travel case as did he, as I have several cases sitting around that I could use. The other major difference is that instead of building a case out of wood (yes, I am jealous of Mark's skills here!), I ordered a plastic marine battery cover.<br>

    So, in summary, here are the major items that I purchased, while the wiring, etc., came from the local hardware store:<br>

    Pure Sine Wave Converter: http://www.skingcompany.com/Pure_Sine_Wave_Inverters-PST_30S_12A_Samlex_America_12V_300_Watt_Pure_Sine_Wave_Power_Inverter-P171.aspx<br>

    Battery: http://www.batteriesplus.com/product_search/35924-Werker-Deep-Cycle-12V-33AH-AGM-Battery-W_-J-Terminal-DASH--DASH-WKDC12--33J.aspx<br>

    Battery Case: http://www.remybattery.com/Products/Plastic-Battery-Box---Group-U1-Case__U1-spc-CASE.aspx<br>

    Once I had all of the pieces together, I probably took me less than an hour to wire it all together; in fact, I spent more time driving back & forth from the hardware store than I did on the actual wiring.<br>

    Enjoy and good luck to the brave ones! </p>

    <p>Tim!</p>

     

  10. <p>Hi Mark,</p>

    <p>DIY - build your own, if you're interested in this approach.</p>

    <p>The previous responders have given you some good reasons why you may not want to go down this path.</p>

    <p>But, if you're interested in working with a constant light source and willing to work with its limitations, then I'd suggest that you go to the hardware store and build your own, like I did. I'm cheap and had more time than money when I built mine a few years ago. I basically purchased a section of peg board, several light sockets, wire, as many switches as sockets, a section of diffuser panel and other assorted hardware. I made a square panel, attached the sockets to it in a uniform pattern, wired it all together, and put the diffuser panel over the top (I wish that it was as simple as typing this sentence!). Mine is about 2' square. I used seven CFLs in mine. Before I started the whole project, I did some research on where to find CFLs that might have a color temperature between 5500K and 6000K. I don't recall what brand/model of CFLs that I used. But, the lights cost me about $70, I seem to recall, and the other materials were <$30. It took me about two hours to put everything together. Since I wired each of the sockets with its own switch, then I have seven "steps" of lighting intensity.</p>

    <p>I do use this light when I have some table top shooting to do and feel that I can control the color temp fairly well in post-production. I can't say that I use the light a whole lot more than that because it doesn't have enough oomph to overcome the existing light in many situations. Or, if I use it in a darkened studio, then my shutter speed has to be pretty slow...</p>

    <p>My $0.02 worth...</p>

    <p>Tim!</p>

  11. <p>Chris,</p>

    <p>I'm very interested to hear/read your results. I'm most interested in hearing how well your P67 lenses work with the digital sensor. I've been doing my research and have the P645D "to do" list in the future. But, I'm interested to learn how sharp you feel your P67 lenses are with the P645D. With DSLRs, the technical literature seems to indicate that the lenses designed for the digital sensors better collimate the incoming light and thus "hit" the sensor better. When I've used my P67 lenses on my K20D, I've not generally been thrilled with the results (although, I love my 135 macro on the K20D).</p>

    <p>Thanks,</p>

    <p>Tim! </p>

  12. <p>Here's my two cents worth...</p>

    <p>From my experience with Velvia 100 (and, I've shot quite a bit with it), I get good results when I'm using my Pentax 67II and it's internal, reflected light meter. However, when I'm shooting Velvia 100 with my Fuji G617 and Minolta handheld ambient light meter, I've learned to set my light meter at ISO 80, rather than 100. I'm very pleased with the results that I get.</p>

    <p>I shot many rolls of Velvia 100 on these two cameras and couldn't figure out why some of my chromes seemed to be turning out too dark. I then figured out that the Fuji was consistently dark, and then experimented with setting my light meter differently, and that made all the difference...</p>

    <p>So, consider performing your own experiments.</p>

    <p>Good luck,</p>

    <p>Tim! </p>

  13. <p>Hi Barbara,</p>

    <p>I was at the Grand Canyon at about the same time in 2004. I recall arriving in a blizzard on Halloween or sometime similar. About 18" of snow fell overnight and really slowed down life there. But, a thousand feet down, the canyon was wet, but fine - no snow or ice. </p>

    <p>It sounds to me like you're receiving sound advice from everyone. Based on my experiences, I'd want to have some backup plans available, just in case you run into a full-blown blizzard or other difficult weather. I recall that we also spent some time in Sedona on that trip, which was wet, but not snowy. But, I'm also guessing that if you're there for several days, you're certain to have at least a few nice days...</p>

    <p>Good luck,</p>

    <p>Tim!</p>

  14. <p>Hi Ken,</p>

    <p>I shoot with a Pentax 67II & Fuji G617 and have scanned thousands of my negatives & trannies on an Imacon 343. This is an excellent scanner and I've made some wonderful, large prints from my files, all the way up to 4'x5' from the 67s and eight feet wide with the panoramic camera. I could do some custom scanning for you, if you wish. Please contact me offline @ Tim-at-TimMulholland.com Just off of the top of my head, I'm guessing that I could scan them for about $7.50 each and return the film to you with a disk...<br>

    <br /> <br /> Good luck,</p>

    <p>Tim!</p>

  15. <p>Eric,</p>

    <p>I'm impressed! I'm a DIY kinda person and have built some of my own continuous lighting. I've never monkeyed around with my strobes, but I know that something like this would be very useful. Thanks for thinking of this and showing us how it's done. I use a different brand of flash & camera, but wasn't too thrilled with the idea of spending ~$200 for the "compatible" battery pack, which is little more than what you've created...</p>

    <p>Tim!</p>

  16. <p>Jonathan,</p>

    <p>Those don't look like scratches to me, but more like cracks. In either case, it's hard to say with certainty what caused them.</p>

    <p>I own a Fuji G617 and when I see the G617s on ebay (even now), I watch for similar cracks on the outer housing in the back. To me, it's a sign that maybe the camera hasn't received as good of care as I'd like. The body (or, the lens in this GX617 case) might have been handled a bit too roughly. But, there's a big part of me (the engineer part) that thinks that these cracks are caused by excessive exposure to heat & cold stress or that Fuji might be applying the screws too tightly in a material that isn't designed to take the stress, too. </p>

    <p>The above being said, it is an issue of concern, but if the price was right, a carefully applied drop of SuperGlue might do the trick... ;)</p>

    <p>Good luck,<br>

    Tim!</p>

  17. <p>My $0.02 worth...</p>

    <p>I pack my tripod (w/o the head) in my luggage all of the time and have never had a problem. In the past year, I've been on airplanes six or so different times - again, no problem.</p>

    <p>On one short trip, I seriously thought about packing a smaller bag, but then I didn't know what I'd do with my tripod. I checked the TSA site, and tripods are NOT mentioned as being banned from hand carrying onto an aircraft. But, I didn't want to risk it. However, when I got to the airport and went through security, I asked the TSA staff (fortunately, it was a little slow at that time). They confirmed that you may carry a tripod onto an aircraft, but NOT a monopod. A monopod is perceived to be more readily "weaponizable." Contrast that with Michael's experience, though, since he seems to be carrying the monopod with him. I think that a part of the issue is that you seriously look and behave like a photographer...</p>

    <p>But, your mileage may vary...</p>

    <p>Good luck,</p>

    <p>Tim!</p>

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