Kat D.

Hi Evan. My Proxars are Bay 60. The colors of the reflections vary. I have three 0.5, one 1.0, and one 2.0.

Yes, I was referring to the coating as I said earlier. "Tint" not correct term. I had an old Angenieux movie camera lens that had a pink reflection, so there must be some coating that can cause that color. I just checked all my Proxars. The 2.0 has a greenish reflection. Others are blue, except for the one pinkish. I will just assume they have different types of coatings.

Yes, I know there is no east or west Germany anymore, but I didn't know how recently Proxars were made. If not after reunification, that would be good clue the Proxar is fake :) But good point about there being no big market for fake Proxars. I thought maybe back in the day...... I'm going to see if I can find out what a pinkish cast vs bluish cast to the glass signifies.

I got a 0.5 Proxar from Keh recently. I noticed that it was different than my other Proxars: -- Plastic rim lighter black and different texture (not as glossy) -- Tint in glass is bluish instead of pinkish -- Says "Lens-Germany" instead of "Lens-West Germany" Anyone know if there were fake ones made? Or could this one be a more recent version than my other ones? But doesn't a pinkish tint mean it has coating -- so the bluish tint would mean it is not recent, or fake? Thanks.

<p>Update: Received my film back on Friday. I was happy with the sharpness of my photos. (Hassy 201F on tripod but with no cable release, hit shutter release with finger, 1/30 second, f 2.8, 110/2 lens.)<br> Here is one I've scanned so far:</p> <p> <p>Thanks to everyone who contributed to this discussion. Lots of good info.</p>

<p>J LaRocco: Very interesting. I want to find out about this. When I ran into problems yesterday, my camera seemed jammed, and I was relieved when it worked again after I took the cable release out. I vaguely remember hearing something about some cable releases projecting too far into Hasselblads? If you get the scoop, please let us know. Or if you can tell me who to ask at Hasselblad, NJ, I'd be happy to call. I usually deal with Maryann there. Maybe she can refer me to right person......</p>

<p>Thanks for the Nikon recommendation, Anthony. Checked your web site.....nice that you put all that great info about focal plane shutter Hasselblads there.</p>

<p>Michael: How interesting that you don't use cable release. Makes me feel more hopeful about these three rolls of film. However, I wasn't dampening movement of camera with my hand. After the film is developed, I'll report the results.....</p>

<p>Edward: Yes, extra cable releases would be smart! Interesting idea about pressing down on top of camera. Will have to try that. Thanks.</p> <p>Jose: You mean you don't find a difference whether you use cable release or not with your Mamiya on tripod?</p> <p>Colin: When I saw your link, I imagined they'd be extremely expensive. But not bad at all, about 33 EU with shipping. The Pentax release I ordered from B&H yesterday was $20. I think I'll order a Schreck one, too. Thanks.</p>

<p>It does have a self-timer, and I see from the manual that it can be set to 2 seconds, so that may have worked. Didn't think of it. Though I was trying to catch certain expressions, so a 2-second delay would've been a little frustrating. But good idea to consider that next time cable release breaks. Thanks.</p>

<p>In the middle of my photo shoot today, the cable release which I had in my Hassy 201F while I was shooting at 1/30 second on a tripod, stopped working. (I have the worst luck with cable releases.) I continued with the camera on the tripod, but hit the release with my finger. Do you think the images will show camera shake? My model was a friend who was being very still. This wasn't a paying job fortunately. Will have the film developed, but I'm wondering if I should be hopeful. </p> <p>I just ordered a Pentax cable release. I seem to remember that brand lasting longer than others. Any input on best release for a Hassy or cable release brands you've found reliable in general would be welcome.</p> <p>Thanks.</p>

<p>Craig and Rodeo Joe: Thanks for your help.</p>

<p>Rodeo Joe and Bill C : Fascinating. I had never heard of Photocontrol's Camerz Classic or the Beattie Portronic. After your first post, Bill, I quickly googled "70 mm film" and got info about movie film. Didn't see mention of it being used in still cameras (but I just quickly looked).</p> <p>In case others are interested, here is some info about the cameras Bill C mentioned. Very cool.<br> http://camera-wiki.org/wiki/Camerz<br> http://camera-wiki.org/wiki/Beattie</p> <p>[bill C] "...good photos are readily available to nearly anyone today...." Well, I would say it's easier for someone to make a competent photo, but I don't know if that means it is good :) Though I'm a newbie regarding strobes, I'm not a newbie photographer. I'm old enough to know what the world was like before digital. In addition to taking photos for many years myself, I worked as a design director for a magazine. As photographers went digital, quality went down. Also, we were forced to use more amateur photography, because, of course, everyone and their grandmother were now taking pictures. Don't get me going.</p> <p>I have a lot of respect for older film photographers, such as many here.....</p> <p>Eric: Glad to hear you could run the D1 Air modeling light for two hours without problem. That's how long I would probably want to run them. Also thanks for your experience re the sound and light not being too upsetting to subjects.</p> <p>I actually ordered the strobe today, will be here in about a week. Then the fun begins....</p> <p>Thanks, everyone.</p>

<p>Hi Bill. Your experiences with strobes are so interesting. High volume on film must've been quite stressful. I use film most of the time myself and hate the digital style of shooting a zillion shots when just a few thoughtful shots would suffice. But having the pressure of getting it right...on film....in high volume situation would be stressful indeed. What do you mean by 70mm film? Hasselblad X-pan? Or was that a typo and you meant 60mm (120 film)?</p> <p>Interesting story about the blinking and hiding the remote trip handle. Photographer as psychologist....</p> <p>Good point about budgeting for a second strobe.</p> <p>Thanks!</p>

<p>Hi Bill. Thanks for correcting my "watts per second." I need to read more about all the aspects of strobes. Your explanation of watts seconds is very clear. Thanks. It does sound like the 500 watts second would be good general purpose strobe, and I could pretty easily reduce the power.</p>

<p>Hi Jochen....</p> <p>CORRECTION: I'm so sorry, it's the D1, not the B1, that I plan to buy. I don't think I can alter my post title at this point.</p> <p>No, I don't need a battery-powered one and wouldn't spend $2000. Also, you are right, I would want more than 90 minutes of modelling light time.</p> <p>As for ISO, I usually use film, so ISO 100 is no problem there, of course. However, I will also use with my Canon 5DII which does go down to 100 ISO. But thanks for pointing out possible issue re ISO.</p> <p> </p>

<p>Hi Andrew. That makes sense, that the sudden light can be more shocking than the sound. Thanks for the tip about the contact lenses. I will try to remember that!</p>

<p >I'm about to commit to the Profoto B1 Air 500 w/s. Have never used strobes. Have read how the light from some strobes can be too bright in small studios for wide apertures. This unit has 7-stop range (7.8 to 500).</p> <p > </p> <p > </p> <p >Is my interpretation of this post by Ralph Oshiro about an Elinchrom 500 w/s correct -- that I should be able to go down to f 3.2 at 100 ISO with similar softbox? I would have the Profoto 3' octo or a 2' x 3' rectangular.</p> <p > </p> <p > </p> <p >I just wanted to make sure before I order the Profoto. Watts per second is totally foreign concept to me. Thanks.</p> <p > </p> <p > </p> <blockquote> <p ><a href="/photodb/user?user_id=6506120">ralph oshiro</a> , Jul 26, 2015; 01:36 a.m.</p> <p>As you can see, a 7-stop range in a monolight is a huge <a id="itxthook5" href="/photography-lighting-equipment-techniques-forum/00dMqW?start=10" rel="nofollow">benefit<img id="itxthook5icon" src="http://images.intellitxt.com/ast/adTypes/icon1.png" alt="" /></a> to being able to vary your shooting aperture, especially if you tend to place your modifiers very close to your subjects. Even though the Dynalite has only a 4-stop range, the cool thing about it is that it puts out a whopping f/20 @ ISO 100 at maximum power, at a distance of 4' using a 3' octa (single baffle, single diffuser).<br> The Dynalite is my daylight-exterior strobe (mainly because of its HyperSync-friendly, long-tailed t0.5 spec. of 1/675th), so having a true 400Ws of output is a good thing. Now, a more apples-to-apples comparison using an Elinchrom 39" mini-octa (also, with a silver interior), with both its internal baffle and front-diffuser attached, using my 7-stop range Elinchrom strobe:<br> Elinchrom ELC Pro HD 500 monolight: 500Ws with a 7-stop range (7.8Ws-500Ws): [All measurements at ISO 100]<br> <strong>• 39" octa @ 4' = f/3.2 @ </strong><strong>7.8Ws [minimum power]</strong><br /><strong>• <strong>39" octa<strong> @ 4' </strong>= </strong>f/6.3 @ </strong><strong>30Ws</strong><br /><strong>• <strong>39" octa<strong> @ 4' </strong>= </strong>f/8.0 @ </strong><strong>50Ws</strong><br /><strong>• <strong>39" octa<strong> @ 4'</strong> = </strong>f/25.0 @ </strong><strong>500Ws [maximum power]</strong></p> <strong> </strong> http://www.photo.net/photography-lighting-equipment-techniques-forum/00dMqW?start=10 </blockquote>

<p>Thanks, Craig, for your reassurance.</p> <p>Andrew: I do have a flash meter, so no problem there. I usually shoot film, so that's why I'm nervous about no wysiwyg (and why I told Scott he was brave to shoot w/o modeling light.....I forgot that with digital, you can immediately look at what you're getting). But I'm tired of struggling with not having enough light, either because of the weather for natural light or because continuous lighting isn't powerful enough.</p> <p>On another subject: I'm worried about the sound of strobes making subjects nervous or more self-conscious. What is everyone's experience in that respect? I'm not shooting professional models. </p>

<p>Andrew, Rico, Jochen, and Scott: Thank you very much for your answers. Appreciate your input.</p> <p>Scott: You are brave to try to light without the modeling lights! Coming from natural light or continuous artificial light, I'm nervous about even being limited to the modeling lights which are just approximation. The whole strobe experience seems so foreign to me. But continuous light has its own set of problems......</p>

<p>I've never used strobes and have question about heat generated by modeling light.</p> <p>I noticed that in the Profoto D1 Air, for example, the modeling light is 300w, and it looks like halogen. The 300w bulb in my Arri 300 Fresnel makes the body of the light extremely hot, very quickly.</p> <p>I see there is a fan in the Profoto (whereas no fan in Arri) and it will shut down if overheats.</p> <p>Here's my question: Would I be able to leave the modeling light on continuously for, say, an hour during the photo shoot? If so, will the unit become too hot to touch? I noticed when I put the D1 Air in my cart at B&H, a "suggested accessories" popup appeared which included leather gloves. Hmmm.</p> <p>I noticed the Profoto B1 has LED modeling light, which should be cooler, but I certainly don't want to spend $2000. Not committed to the Profoto D1 Air either. Just wondering about this modeling light heat issue, because I'm used to working in natural light and trying to imagine the process with strobes. If I have to keep turning the modeling light on and off, I don't think that will work for me.</p>

<p>Hi Gary. I did return it. Eizo was really nice about it and paid the return shipping. (Mentioned in earlier post, guess you missed it in the flurry....) Agree, mental health issue :)</p> <p>I have my CX271 now and am loving it. Really like the higher ppi, and, so far, I've been able to enlarge type and icons as necessary.</p> <p>Ordered an i1 Display Pro because I didn't want to have insecurity about my old Optix DTP94 being inaccurate.</p>

<p>Howard, I call vendors who sell via web sites stores, whether they have walk-in store or not. I live in NYS.</p>

<p>In case anyone out there wants to use an Optix DTP94 with an Eizo wide-gamut monitor, this is what Eizo support told me when I asked if it will work with wide-gamut:</p> <p>"I have not been able to verify any issue with the Optix DTP94. It shows <br />that it is compatible with the lastest version of ColorNavigator which <br />calibrates the wide gamut monitors so I will have to say that it should <br />work fine."</p>

<p>UPDATE:<br> Kudos to Eizo! I called them myself. They are paying return shipping. Craig Hansen in tech support was <em>extremely</em> nice about it.</p> <p>My contact at the store (Motion Media in CA) was handling the return earlier and had told me he couldn't get Eizo to pay return shipping.</p> <p>Lesson: If you ever have any problems with Eizo purchase, go straight to Eizo.</p> <p>I will go ahead and buy the CX271.....but through B&H (and pay NYS tax this time).</p>