streetlevel

<p>Knut - my XPro1 is showing the same issue - at least intermittently. Was working fine, but in the past few days, has been exhibiting the same behavior you describe where the rear LCD will not turn on when clearing the back of the camera in eye-sensor mode. <br>

I'll probably end up sending it in - though for now, I'm pretty much just pretending it's a film camera. :)</p>

Hallo all!

I just purchased a Retina IIa in generally very good shape via the auction site. As per the usual, the seller

knew nothing about the camera, and I personally know very little.

After running a test roll through (no worries on the shutter cocking, and all that rot) - it seems that the

lens is a bit soft - certainly wide open, but even on shots stopped down to 5.6 and 8. I would have

assumed that the Schneider Xenon 50/2 was a planar clone, and should be a fairly good performer. Am I

incorrect in that assumption, or have I just come across one in need of some adjustment.

I will do more tests to see if I can ascertain if part of the performance is due to rangefinder misalignment,

or due to some other user error. But I was curious to hear your thoughts on what this should be capable

of doing.

Borrow a faster lens (a 50 1.4, or similar), shoot 800 speed film, scan the negs and color

correct some for the yellow in PS. Then print digitally.

Not quick, not easy, but from the sound of it might be your best option.

When you look at wider lenses tho - make sure they are rectilinear - you don't want to induce

distortion if you can avoid it. Shouldn't be a big concern with lenses in the 24-28 range... but

if you drop below 20 it can get nasty if you're not expecting it.

As far as reflections go. Be aware too, that sometimes a bit of highlight and reflection is

desired in order to show texture and sheen in heavily impasto'd paint. That is something you

need to consult with the artists to determine priorities.

Neil - you can always stop down, or use ND filters if you have too much light. You can't do

anything to create more if you need it.

Get the 1600.

Light on a seamless white background.

Give yourself several feet between the BG and the furniture, that way you can light the

background seperately to over-expose it a stop or two (to take it to pure white).

As for the light on the furniture itself. That depends wildly on what you want it to look like.

And whether you need to control reflections in metal, or created depth in carved wood, etc.

Fire the strobe from a foot or two back from a piece of white sheet to make a larger diffuse

light source. I'd have this above, and slightly infront of the pets, then shoot from just under

it. You shouldn't have any exposure problems if you are metering correctly, but you can

always just overexpose a stop or two if you think you are loosing detail in the fur/eyes, etc.

I don't know of any in Detroit, but I also use Gamma in Chicago. They get some guff here and

there, but have always done a fine job for me.

http://www.gammaimaging.com/

looks like a strobe in an open reflector from way to camera left (note the harsh shadow)

from the subject and maybe a kicker reflector panel here and there for fill.

Althought the even-ness of the falloff makes me wonder if there isn't a second strobe

kicked over from the right side.

I don't think there would be any modifiers except grids or barn doors to control spill. I

would think any 400w/s or more two head battery kit (with long enough cords) would do

this just fine.

Those with more outdoor location experience, please feel free to tell me I'm a blithering

idiot.

You could look at a flash extender like the better beamer - which is supposed to help out at

distance.

You could also look at external power sources (like the quantum Bantam or Turbo) batter

packs. Those will allow for faster recycling.

But the simple fact is that no battery strobe I know if does under 1 second recycling -

especially not if it's trying to illuminate something at that distance (where it needs more

power to reach). So burst shooting will always be dicey.

watha - in this case, it is not floating... you can follow the shadow of the band down and

realize, it is simple standing blanced on the band.

Sometimes I've used a long bolt coming up through the background material with sticky wax

on the end to "float" a product. Depending on angle, the product itself blocks the view of the

bolt.

(and don't underestimate the uses of clear plexi, or black thread/fishing line with dullcoat)

Alex - hard to tell without getting a better look at the wing shape, but from the tail end, and

overall profile, it looks like it could be an attempt to reverse engineer a Zero.

I think they are assuming most people shooting 4x5 color negs are doing portraiture - and

then using trans for other purposes - not 160C like so many of us prefer.

Alas. Somebody brilliant in marketing no doubt.

I just ended up getting a step up ring to a standard size. I found one on ebay, but SK Grimes

will make them in any size if you can't find one.

If you can't find a reasonably priced "scissor" clip strap (I couldn't) - I found that the Domke

classic Gripper strap could squeeze into the side lugs with the help of some tweezers.

You might ask in the large format forum here... there are quite a few who build their own

hiding around there.

If you're absolutely convinced you *want* a never-ready case for your D - you might look at

the current Seagull TLR cases - they make several configurations - one is pretty close to what

will fit the 124G with a slight modification - it's possible one will fit the D.

I personally don't use my cases for any TLR I own and actually use.

A ringflash is pretty specialized equipment. Not something I would normally recommend for

a beginner. (Neither is leaping into location fashion photography for that matter).

That said. I like Profoto's ring. But getting a battery powered pack that can run it might get

pricey.

Enjoy it - the P is a great shooter. It should pair nicely with the Nikkor you've got. I find it's

an especially nice camera for 50mm, as the 35mm framelines are so far wide, that with my

glasses on, I have a hard time seeing them. Although as a Bonus.. anything I see is in the

frame.

Yah, unfortunately, due to the light baffles the P can't use the one soviet lens I really wanted,

the Jupiter 12 35mm.. the Biogon clone.

Ah well - lots to play with still.

Not specifically sure, but sounds a bit like an optical slave. ie. would trigger the pack if it

sensed another flash somewhere.

If you want it to support much weight - you'll have to use pretty heavy PVC. I'd probably build

in 3/4 plywood, or in metal conduit pipe.

I know in the US there are several sources for 4x8 frosted plexi (setshop, in NYC for

instance).

One of my favorite carry cameras - despite having some great ones to choose from, is a

Yashica Lynx 5000.

Don't ask me why. But I love the damn thing.

Nice story, and tips on the resurrection account.