al larson

I’m curious as to whether anyone has found a speedlight speedring workaround for mounting the Profoto A1 for use with Profoto OCF modifiers. I have tried the RFI fixture and it is problematic (too large and frankly too heavy). Any thoughts or ideas?

Hi, I have experience with the Hasseblad 80mm f2.8 lenses with EV lock and really like the feature. I have obtained a 1996 C T* model and I am having a heck of a time trying to find the lock button. I have seen photos where instead of the silver metal tab there is an actual button that must be depressed on the shutter speed ring but mine does not seem to have a lock. Were there models that did not have a lock?

 

Thanks.

FYI-

 

I just received a copy of Paolo Roversi's new book "Studio". For any photographer it is very nice to review. His publisher does not spend much on the physical book but this is typical for a Roversi book. The work is very cool. It is the first time we get a glimpse into his studio(which he compares to the inside of his camera). There are some wonderful portraits and we get to see his Deardorff along with his lens of choice, a 12" Goerz Dagor 6.8 in Acme or Illex(?) Shutter. It makes me want to go into my studio with my Wisner 8x10, a 12" Dagor and some Polaroid 803/804 and get to it. The inspiration makes the book worth it. Now, when is he going to have a show in the United States? Bravo Mr. Roversi.

Chris-

 

There is a good article on this on p 89 of American Photo this month. I guess he uses two Kino tubes and shoots with an RZ67 on Fuji 800 NPZ film?

Janus-

 

I bought all of my used Profoto gear from Dave in the lighting department at Midwest Photo Exchange www.mpex.com. They are an authorized dealer and they specialize in new, demo, and used Profoto gear at very, very fair prices.

 

AL

Stan-

 

After alot of research, I bought the D4 1200R. I use it in conjunction with a Pocket Wizard Transmitter, and a Sekonic 588R. I use the old ABS lights and plan to upgrade to the D4 lights at some point. (I also have an Acute 2400 Pack that uses the ABS heads if I need alot of power). My third pack is a Profoto 7b with two Pro 7 heads. All of my modifiers work on all the heads with the different packs. They are all very consistent. Profoto even sells a blank mount so you can customize some wicked light modifier of your own and properly mount it on a Profoto head! I have two of these...just in case! This is the beauty of Profoto when you make the commitment. So they come out with a D5....the modifiers probably still work and the heads probably still work too! You can afford to "leg" into the system rather than having to dump on EBAY or trade...get soaked and start over. I bought my ABS heads and my 7b pack and pro 7 heads as demo from Midwest Photo Exchange at steep discounts relative to new. Sure, they are not the newest models but they do a great job and their performance is road tested. My D4 was new and I went with the 1200 because I wanted to shoot more wide open and have greater control over my fill at lower power. Also...I would argue that most fashion and glamour photogs on location use the 7b hands down...watch the SI videos...not for the women...but to see what the photogs are using...Profoto 7B. Looking at what rental houses rent out is an excellent example. They want equipment that works and will last...I see many rental houses renting Profoto. I'm confident that you won't go wrong with Profoto. Also...I have never used Broncolor so for me to rip on Broncolor performance and consistency would be wrong. If you want the ultimate flexibility, check out a demo Profoto 7B with 2 Pro 7 heads...Battery or A/C...only two heads...lots of adjustments possible...very tough....

Hi-

 

I was admiring some portraits of Monica Bellucci by a photographer

named Ruven Afanador. What struck me was the natural light he was

using. It appears very similar to the light Irving Penn used in his

studio portraits. Can anyone comment on how this lighting is set

up? Here is a link to some work by Ruven Afanador...

http://www.throckmorton-nyc.com/Torero_index.htm

Hi-

 

Thanks for the ideas. I have tried washing the negs in a tray of warm water to get the goo off and then tried a bath of Kodafix for 2min and rinse for 2 min. I will post my results.

 

AL

I shot some Polaroid 803 last night. The film is wonderful. I liked

the images so much that I started looking not only at the positive

print but the negative emulsion that one would normally throw away.

The images look like solarizations and they are quite nice. I let

them all dry with the hope that they have some artistic value. While

they dried nicely they have a "tacky" look. Has anyone ever tried

coating these "waste negatives"? If so, I would like more info.

Thanks. AL

Thanks for all the great comments. I ended up buying 4 sheets of 4x8 "gator board" from a company called TriDee. The gatorboard has a black side and a black core and a white side. The sheets are about an inch thick. I am going to try white duct tape on the white side to hinge (with the black core, the crease on the black side should disappear). If the duct tape does not work, I will try some linen tape. I will post results and a photo of the set up when I get it done.

Hi-

 

Has anyone in the Forum ever fabricated their own book end

reflectors? Irving Penn famously used a set of 4x8 hinged white book

end reflectors. It appears that book end reflectors can be really

useful in a studio. Someone recommended using 4x8 sheets of poly

(very light/inexpensive). I would like to do this but I'm trying to

figure out what type of hinge tape will work on poly...also....I

would like to paint one side of the reflector white and one side

black so I will need material that will accept paint (hinge tape and

poly have to accept paint). Does anyone have any advice? Has anyone

ever done this? If someone has experience with this or a better

idea, it might save me some time, sweat, and money. Thanks for the

help.

Fellow Forum Users-

 

Can anyone direct me to a person or shop that can replace the fabric

on a Graflex RB Super D fabric focal plane shutter properly? I would

also like to have the shutter speeds tested. Any help would be

greatly appreciated!!!! thanks. AL

Brian-

 

I agree with the last post. I have a new daughter (6 months) and there is no way I would use a flash when I shoot photos of her. I use all natural light and I get great results. My website is under renovation but there are photographs of my daughter at www.larsonphotographic.com. Also...pick up a used copy of Arthur Elgort's book "Camera Ready." Arthur Elgort is an amazing fashion photographer who took the time to write a book about photographing his kids. It is one of the best books on photographing your children that you will find. Arthur Elgort believes that some of his best shots were because he always carried his camera with him. There is a photograph of his oldest daughter, Sophie, when they were walking to school and she stopped on a set of row house steps to tie her shoe. It was only a moment but he got a shot of her that is precious. Some of my most precious moments with my daughter are when she shares or "lets me see" and capture part of her soul. May you have that special light when you shoot your child! AL Larson

Red-

 

There are lots of things you might be having trouble with. First, if I remember right, the Speed Graphic has a focal plane shutter. If it has not been serviced, your shutter speeds may not be corrrect. Second, have you calibrated your light meter to see if it is off? Third, when you use your light meter are you using it properly...Is the dome up...is the meter in the correct mode....when you hold it in front of the doggie, are you standing between it and the light (blocking)....or are you tilting the meter away from perpendicular to the film plane (tilting)...there is great info on all this 'stuff' on photonet. Good luck. AL

Hi-

 

Can anyone recommend any good editorial fashion photography workshops

or seminars? I would like to attend one but I don't have 3-6 weeks

to devote. Thanks. Al Larson

FYI. Peter Gowland is going to reach a major birthday on August 3rd! I recently contacted him based on all the comments posted about Peter on Photonet. After studying his site and communicating with him, I decided to buy one of the last Gowland 4x5 TLRs Peter has. Despite the fact that he has never met me, he has given me more advice and answered more questions than a reasonable person could expect. I hope someday when I am his age people talk about me the way they talk about Peter..."he has always been most helpful...he is a true gentleman...he met more babes than...what a nice man...he wrote the book on modern glamour (photography)...he is a completely approachable and helpful person...he takes great pride in his cameras...he called me personally to check up on some details...is a legend...all my basic training was from (his) books...doing it so honorably...he made the time...never wavers in his enthusiasm to solve problems...I don't have enough good things to say about him...I wish I had his energy." Peter deserves our respect. How many famous self involved insecure photog jerks have we all run into that would never answer a question or help out? Even at 90, when he only has energy to work 4 hours a day, he still takes time to respond to emails and call people back and share what he knows. One of the most telling comments was about Peter's subjects. 40 or 50 years ago, it was taboo to shoot the subjects Peter shot. He did his work with no fear but deep respect for the audience, subject, and the genre..and he probably had lots and lots of fun. Peter is an innovator. He has solved many of the problems we deal with today...we just have different equipment. I also find it interesting that despite the subjects he shot, it appears that his wife has been an integral part of everything in his life...(Helmut Newton appeared to enjoy the same experience). It would be fun to have a cup of coffee with these ladies...I should bring my wife! There are lots of lessons we can learn from Peter! He is a true gentleman and I'm guessing that he has been a good friend to many.

If you are shooting digital and can set custom white balance, the starlights could be an inexpensive high quality solution. The only bad part about hot lights is the heat. I have four Photoflex Starlights with 250w, 500w and 1000w bulbs. I have switched to the Profoto D4 with D4 flash heads so I will be selling my starlights. Please contact me for more info.

A good used Profoto 1200e kit with two lights is a great way to start. You can find them used in many places. I have had good luck with used equipment at midwest photo exchange...www.mpex.com. I also have a kit on loan to my cousin that I would sell...mint (I upgraded to a D4 thins winter). The 1200e kit is nice because you can get into one for under $1200 complete and when you want to upgrade the accessories you accumulate will work with the higher end Profoto system. The light from Profoto is as good as it gets...consistent, accurate, and the system is light and durable. The only bad part is that it is AC only...If you want battery powered you have to go to the 7b I think. Good Luck!

Arslan-

 

I'd buy a refurbished Profoto 7b and two heads. Check out Midwest Photo Exchange.

Andrew-

 

The April issue of "W" magazine has a full color spread by Paolo Roversi featuring his favorite model. It is kind of fun to look at but no classic or memorable images in my opinion. If you like the look, the May issue of "W" has a color spread of Natalie Portman that is awesome. The photographer is not Paolo Roversi but the color and feel are very similar.

Thanks John. I tried your recommendation and you can see the lame response the moderator at www.inkjetart.com gave me. That is ok because I have found that you are not only buying goods with a Rastor Image Processor but service. Most of the people that work for the companies that sell this stuff don't know how to run it so how can they sell it? RIP software and profilers are really expensive so it pays to do your research. I finally found a company that not only sells but provides service. I contacted Chuck at www.dtgweb.com and he referred his top tech sales to me...Scott Erickson. Scott has been building and using color profiles for over 15 years. His company sells Colorburst and Imageprint. According to Scott, given my experience level and ability, he suggested I use Imageprint. Imageprint is an RGB based system that converts to CMYK. It allows more toning flexibility and has a more intuitive interface. Colorburst Pro is a CMYK based system with more flexible color profiling...exact ink control and custom linearization...basically more advanced. He said they are both excellent pieces of software, but based on my ability and experience, he thought I would be more satisfied with Imageprint 6. Because I use a variety of papers, he also suggested and I bought a GretagMcBeth Eye One Photo Profiler bundle. This will allow me to write my own profiles for the RIP. I bought the model with the UV filter option as many of the papers that are manufactured today use whiteners that can fake the spectro analyzer out. This might be too much info but I have spent alot of time trying to figure this stuff out and somebody might as well benefit as I have from much of the advice on Photonet. Last, I'm a newbie to RIPs and Profiling and service is important. Scott answered all my questions and suggested a few more things for me to think about. I don't mind paying someone for that help. Also...I'm confused as to why Adobe wouldn't add a RIP to it's creative suite??? It seems that it would be natural for them to have one for Photoshop and Illustrator.

I bit the bullet and bought a new 1Ds Mark II. It is an awesome camera...so awesome that I am thinking of giving up my digital back and medium format sytem. The issue was with the firmware which Canon has addressed. Apparently some of the CF cards from select manufacturers didn't work well in the camera resulting in very noisy or even lost images. I use Lexar WA and San Disk Extremes (including an SD Extreme III for back up) in my 1Ds II and they work great. The camera is not as fast as my 1D II but the image quality...rocks. The only bad part is that I have no excuses now. If my work sucks...it's me! Ha Ha

Help!

 

I have an Epson 4000 and run Windows XP. I want to buy a RIP for

printing. I am having trouble deciding if I should purchase the

Colorburst RIP or Imageprint RIP. These programs are expensive and I

don't want to make a mistake. Are there any sages out there that can

provide me with some help?

Hi Norman-

 

I think the Colorburst RIP that ships with the Epson 4000 is Colorburst LE, a lite version of Colorburst. I have a 4000 and I have been using color management out of Photoshop CS and if you do any black and white printing on Enhanced Matte paper you will get a green cast without the RIP. I attended a Colorburst Pro ($995 for the 400) yesterday and the results are very impressive. I am struggling with Colorburst vs. Imageprint. I think I will start a thread to see if anyone can help me decide.

Thanks Andrew. I received the March 05 PDN last night. The article is excellent. It appears that he prefers natural light and real slow speeds. The article says that he uses Arri HMI lights when needed. I'm wondering if one could replicate the light using strobes or tungsten light?