steven_muncy

Hi

Ask the hotel sales rep that did the booking. I've been in hundreds of them and they all

use tape and or/runners to anchor cords for projectors, microphones, and such. You don't

have to rely on them to do it as I have seen some very sloppy work, but policy shouldn't be

a problem.

Best wishes.

Sunny 16 is a rule when you don't have anything else. I have never had a reading by meter

that fell exactly on f/16. I have had most fall nearer f/16.5 but that may be due to location

rather than anything else. Your meter is almost 1 full stop off the sunny 16 rule and that

seems a bit too much to me.

Processing can have a big effect on film speed, but it usually also comes with a color cast

which is readily apparent in slide film. I haven't shot slides in years, but when I did I used

the Pro versions which had an individual lot film speed. This could be 2/3 of a stop off of

the nominal rating. I will assume production tolerances are better than that now. Lets

assume the film and processing are within tolerances.

I would suggest that you compare meter readings with several other meters or cameras.

Get with some friends and all calibrate together. Reflective readings from an 18% gray card

should equal the incident readings. If you still find that you differ by one stop, i would

send the meter in for service.

I'm not sure you can have too much backdrop. But its likely that either your lens or your

studio space will give you a good indicator. Go into your studio space with your lens and

play around a bit. If you have a few friends, let them stand in for a minute or two or use a

coat rack. You will get an idea of your preferred shooting distance, perspective, needed

background width and then measure.

More background distance will make it easier to control spill, but you will have to place

your light stands farther away to keep them out of the image. So check to see if your

lighting power is up to the task at your preferred apertures and new distances.

The reduction is linear. 1/16th power is 2 steps lower than 1/4 just like shutter speed

progressions. These are all manual.

Adjusting the ISO rating in auto mode was bang on.

Not really a good coorelation. The GN includes the relative efficiencies of the discharge

circuits, reflector, light modifiers, and everything else between the power source and the

subject. These can be very different from one manufacturer to another. Though if you look

at the line from a single manufacturer, doubling the WS will usually give you the predicted

extra stop.

best wishes

For portraits I use a 150 or 200mm. But if you lack that lens in your current lineup, you

can always maintain a reasonable distance for perspective, take the photo with an 80mm

lens, and crop down to a tighter head and shoulders portrait. You have enough negative to

compensate. I hope that was your question.

Speaking from a purely amateur perspective . . .

What lens do you use most often now? (I assume you shoot 35mm now)

In any format, people tend to enjoy making a somewhat limited range of photos. people

lean towards, macro, landscape, portraits, or fill in your favorite. They also tend to "see" at

a certain perspective. I tend to see at about the 150mm range for 645 and it is by far my

most used lens. This may be as much from habit as from my somewhat lacking artistic

talent. (I shot 35mm cameras for years with 90mm, 35mm, and 200mm in that order as

my only lenses. The 200 was used perhaps 2% of the time.)

To vary from YOUR standard lens, I would suggest buying in focal lengths that progress by

a factor of 2. That way you have enough breadth to really use more than one perspective.

I know we all love the big negatives from 645, but we also have a lot more cropping

options before we get down below 35mm size. That 80mm perspective can be cropped to

equal a 150mm portait lens and still yeild a large negative.

I did the following a few years ago and it worked somewhat better, though you will never

get that custom made molded look. Try putting the foam in a freezer for a bit. It can

stiffen just enough to help with more complex shapes. And use an electric knife with a

slow deliberate hand.

best wishes

It will greatly depend on the arrangement of the group. If 18 is the number, will it be 1, 2,

or 3 rows? Or will there be sub group arrangements within? Is this for a trade magazine?

Or is this the Board of Directors formal portrait?

Using the Vivitars to overlap from camera right and left and kick with the 800 at camera

position. Set the lights high and angle down to get an even illumination from front of the

group to back and to throw shadows behind and below. I don't think I would bother with

the difussion panel. You will lose at least a stop and at the distances needed will not

provide a much softer light.

I would think that you have enough light, but just barely, for the needed DOF. You might

want to test the setup prior to the actual shoot, assuming its not tomorrow morning.

best wishes

Barry directs you through the proper way to select lights.

As an addition look on the AB site at their spec sheets. http://alienbees.com/allspecs.htm

These give a guide to the f/stop possible with several light modifiers. I have found their

guidelines to be accurate.

I don't have that specific model, but I do have some ultras and some ultraZaps. They work

as advertised, are consistant, and have been trouble free. If their feature set meets your

needs, I think they are a good value.

A calibrated gray card will yeild consistant results as it should be color neutral. It should

actually be better than whatever "white" card is available.

Backdropoutlet.com has a good price on them now. I haven't used one myself so check it

out thoroughly.

best wishes.

If you can show an example of exactly what you want to achieve, there are many helpful

people here who can put you on the right track.

best wishes

The 544 is a very versitile flash with good controls. Set the shutter speed appropriately.

Then set the flash to one of the automatic selections, say f/11, then set the lens aperture

to f/11. Let the electronics of the flash do their job.

If your exposures are consistantly off, you may have to make a small adjustment. I would

adjust the ISO on the flash. I have the ProTTL and use the above method for on camera

flash. It works for the things I shoot. You have a very fine system already so try to get

everything from it before spending a large sum of money.

Not exactly. Keep the Pro. Buy whatever flash you would like as if you had a proTTL. Then

just use the flashes built in exposure control for flash. Try that for awhile to see if it meets

your needs.

Only if that doesn't meet your needs should you trade in the Pro and purchase a ProTTL

and whatever flash module you need to interface with the ProTTL. Most of these flashes

need a module made for a specific camera with the proper electronics.

No mater what you use it will never be exactly a point and shoot. You have to set

something. You may find that a good flash is all you need and save yourself the expense

of a new body and flash module. That money can go to something else.

Of course you could buy a used Vivitar 283 and try that for a period of time. It will depend

on what you like to shoot. What are you using for flash now?

good luck.

First, you will need a flash system (like one of the Metz) that can be used with the TTL

capabilities. These can almost equal the price of a new body.

The leaf shutter lens will allow synch up to 1/500 so you can dial in exactly the exposures

you want. You will still likely use your light meter.

If I may make a suggestion, buy only a flash unit that can work with the Pro TTL, but don't

buy the TTL module. Try it for awhile using the flash's built in controls and see how that

works. That way you may find that the extra expense isn't need. You'll have a fine camera

and an excellent flash. If you find you still need full TTL capabilities, upgrade with no

wasted investment.

The 645 format can make beautiful prints to at least twice the size of Cosmopolitan

Magazine. If it doesn't, you can't blame the format.

best wishes

Also found this. It should take care of most of your needs.

http://www.riversidecardiology.com/fstop/f-stop.htm

That's esentially correct. As long as you understand the doubling/halving of each

exposure step it always has a sq rt of 2 in the equations. I'm really wondering why you

need such precise calculations.

The deal is decimal f/stops. They aren't marked on lenses so we tend not to think in those

terms. I'm sure some of the newer cameras with TTL flash can actually use f/stops in 1/

10th increments but most can't.

Most lenses run the typical series with only the maximum opening being out of order such

as a 70-210 F3.8. That .8 is not the same as the .8 from a decimal reading light meter.

11.4 (decimal reading) is actually f/13 so 10 x 13 is 130 GN.

GN of 150 at 10 feet is f 15 which would be f/11 plus 8/10 stop.

Remember that guide numbers are just that. A little testing should give you a very good

personal guide number that works with your equipment and methods.

Like many people who started with 35mm photography, I keep translating when using a

different format. This is probably not the best way, but I can't seem to get away from it.

I use lenses in the 50-135mm range in 35mm and very similar angle of view for larger

formats. Most of my images are portraits at typical distances. Infinity and very close focus

I'm sure go outside this "rule of thumb". (more technical photographers will point out the

problems).

The normal lens is:

35mm = 50mm

645 = 70mm

67 = 90mm

4x5 =150mm

divide the 35 normal into the new format - decrease the aperature by that amount in

stops.

35mm = no change

645 = 1.5 stops

67 = 2 stops

4x5 = 3 stops

This works for me with any lens in that format. So when I use a 90mm at f/4 in the 35

format, I get a similar image with a 180mm at f/8 in 67 format.

Best wishes

How imminent is the move to the studio? I ask as you may be looking for 2 different

setups. In the studio, I would suggest wall or ceiling mounting of the background support.

Anything you do to reduce the "bumpables" will pay off in the long run.

There are several background stands that work fine for location work. Savage and Bogen

make several models. Make sure that they are listed as Background stands, not light

stands. They will be significantly heavier and have a wider stance. The best thing to do is

visit a well stocked camera shop and actually inspect the items. This will give you a good

idea of the fit and finish of the items. Supplimental weights might also be a good idea as

backgrounds are supported at the 8-9ft height, whereas lights in softboxes may only be

4-5ft.

Best wishes

The studio units will offer more power, modeling lamps, much more versitility in

modifiers. The manufacturers have entire lighting systems with reflectors, snoots, barn

boors etc.

The softboxes made for the 283/285 type of flash are usually small enough to be used

with a camera bracket, but I'm sure someone has larger solutions available. Or make your

own. That said . . .

I shot many portraits for many years (non-pro) with 283s. (285s are just like 283s but with

additional goodies built in) They were powerful enough for a single with slow film, or a

couple with faster film. I used them in an umbrella and used a reflector for fill. A small

modeling light, umbrella, reflector, light stands, and brackets came in a kit from Larson

for just this purpose. I don't know if Larson is still in business, but you could put together

a similar kit yourself. The whole thing takes up less space than a sturdy tripod.

I thought I was pretty cool when I was able to afford a second 283 and mounted both in

the umbrella, or could use it as a background light.

The nice thing about starting with basic equipment is that you can always continue to use

it even after "graduating" to bigger flash units. The light stands, reflectors, etc can be used

with studio units if you buy the beefier ones. You can learn much about lighting even with

smaller units. Keep your starter kit in the trunk when the unplanned opportunity arises.

best wishes

I have found the White Lightning guide numbers generally accurate. I assume the AB would

be similar. (Same family of companies). They give guides with different reflectors/boxes.

There is always faster film if you photograph the warehouse. If you are shooting portraits

in the warehouse it shouldn't make much difference.

Best wishes