scoop_mcd

<p>Thanks everyone...I have tried a few set ups and couldn't quite nail this "look"</p>

<p>HI...<br />I'm shooting some handbags this week and I've collected some images with lighting techniques that I'd like to use.<br />Not quite sure how to achieve them though. Softboxes? Umbrellas? Octabox? Etc?<br />The attached photos indicate the lighting I'm trying to replicate.<br />Any thoughts and ideas are appreciated,<br />Scoop</p><div></div>

<p>HI...<br /> I'm shooting some handbags this week and I've collected some images with lighting techniques that I'd like to use.<br /> Not quite sure how to achieve them though. Softboxes? Umbrellas? Octabox? Etc?<br /> The attached photos indicate the lighting I'm trying to replicate.<br /> Any thoughts and ideas are appreciated,<br /> Scoop</p>

<p>Thanks Andrew...<br>

do you have any experience with the Mac mini?<br>

They get mixed reviews.</p>

<p>I currently use a NEC monitor and a Mac Pro tower for an existing editing suite.<br>

I need to set up another editing station for upcoming work.<br>

Does anyone out there have experience with the Mac Mini? I'm thinking it makes sense to use another NEC monitor for consistency...but need to figure out what's going to "run everything" on the 2nd station.<br>

It's pretty high volume image work so speed is a factor but so is color accuracy and consistency.<br>

I was leaning towards getting an Imac until my editor suggested getting another NEC to use.<br>

Appreciate all ideas, suggestions and recommendations <br>

Cathy</p>

<p>There's a H4D-40 with a low shot count for $10,000</p>

<p>There's aH4D-50 with low shot count for $17,000</p>

<p>All my Hassy Equipment is "aging out" I work with the 500 series cameras with Leaf Valeo backs. The backs have served me well and still work. Things are getting clunky with the systems though. I'm maxed out on software updates etc.<br>

I have my older lenses tuned up every year or so, and they do the job, but do get "tired" and shutter sometimes won't stop down etc.<br>

Soooo...I've got some catalog work coming up that I'll need to have 2 sets going. I have just enough equipment but will need to purchase older lenses to have as back ups. Very few places even rent these older lenses...so if I run in to a problem...I have no back up unless I buy a few used, older lenses to have on hand.<br>

I'm wondering if it's time to bite the bullet and get a newer camera system...and I'm looking for advice. Hassy is offering 0% financing on their certified pre-owned Hassy H4D and H5D bodies. This makes it more affordable but also means I need to get new Mac Pro tower etc.<br>

Thoughts? Advice?<br>

Anyone currently shooting with these later model Hassy's? I've read that Hassy no longer uses the Zeiss lenses on them?<br>

Appreciate feedback.</p>

<p>Cathy</p>

<p>Thanks everyone. I'll try looking through PS.</p>

<p>Meanwhile, I've downloaded a trial version of Object2VR and it works well.</p>

 

<p>thanks...I'll try it.</p>

<p>I'm trying to figure out a way to do 360 products shots without breaking the bank. I have a manual turntable…and can set things up for the rotation.<br>

Is there software available to then stitch the 20 images together? Anything in Photoshop? Or an outside software program?<br>

Thanks.</p>

 

<p>how much are you asking for the back?</p>

<p>Hey Everyone,</p>

<p>I'm on the verge of updating my G5's...I use them for shooting and editing. From what I can tell, my Leaf Valeo 22 backs(particularly it's old software) won't run on the new Imac's or MacPro towers. </p>

<p>Soooo....in order to update my computers I'll need to get newer digital backs for my Hassy. Ugh.</p>

<p>Anyone know a way around this? My Leaf Valeo 22 backs(i have 2) are wonderful...had them for many years--trouble free. Rather not add to my upcoming investment by replacing great camera backs too.</p>

<p>Any feedback is appreciated!</p>

<p>Cathy</p>

<p>Hi There,<br>

The shoot went very well...thanks for following up! <br>

Cathy</p>

<p>Hey Everyone...I'm shooting a job on Monday that the client wants me to use the "burst"mode to capture motion during a jumping sequence. I'm using their in house studio and equipment.<br>

They use Broncolor packs and heads...and Canon & Hassy for cameras.<br>

Since I havent worked with Broncolor much...I'm hoping to get some insight for the best way to shoot this job.<br>

Will broncolor recharge in time to capture and freeze all the stages of the burst? Or should I plan to just shoot as fast as possible and let them stitch the shots together after the shoot?<br>

Hassy or Canon? Which will be more useful/flexible? Any sync issues I should be aware of ?</p>

<p>Any suggestions very welcome!!</p>

<p>Cathy</p>

<p> </p>

<p>Anyone recommend a mac laptop to replace an oldie?? I will be using it for image capture, some photoshopping etc. Looking at the15 or 17 inch.</p>

<p>thanks.</p>

<p>Cathy</p>

<p>So...which do you think is a better light source? Solux bulbs....or the Phillips fluorescent bulbs? Appreciate it!<br>

Thanks Joseph...<br>

CAthy</p>

<p>Anyone recommend a viewing or proofing light system to check the color of a product? Anyone use proofing station made by a company called GTI? I'm just using a lamp with daylight balanced bulbs in it to check the color of products shot at the studio--to make sure the final photoshopped image matches as closely as possible...<br>

Anything more sophisticated out there that doesn't cost a fortune??<br>

Thanks!<br>

Cathy</p>

<p>I'm looking for advice on selecting proper color space in Leaf 22 software. I had been shooting with ProPhoto RGB--at the recommendation of an photoshop editor..but have noticed a red cast to many images--we shoot products in studio. I've been looking at images in Adobe RGB to compare...better but greener.<br>

Is there a standard that an industry "go by"? Some stuff looks more accurate with Adobe RGB and some more accurate with ProPhoto RGB...<br>

Suggestions? other than switching back & forth??</p>

<p>Thanks.<br>

Cathy</p>

<p>Thanks Charles...Turns out I'm making a bit of a light tent...and then masking out slight shadows under product--easier and quicker than clipping paths...</p>

<p>Cathy</p>

 

<p>I need to shoot many shoe shots on white-with no shadows. I'm trying to avoid clipping paths. I'm thinking of shooting on white plexi with a light underneath to knock out shadows...any other ideas?</p>

<p>many thanks...</p>

<p>Cathy</p>

<p>Anyone know if Norman packs will sync (or fire fast enough) at 1/500 of a second? trying to freeze motion of jumping models.<br>

thanks.</p>

<p>Cathy</p>

<p>Need help for an upcoming shoot. I'm shooting models jumping in mid air off a trampoline. The set is fairly large to accomadate all the movement--we may be shooting 2 people jumping at once. Having a hard time making the "white box" we've created--read an even white all over. We have set up 2 8x8 reflectors, white seamless on wall and floor.<br>

<br />Any recomendations for getting the large spance of white seamless on the wall to be a fairly even white-while trying to leave lights out of the shot?<br>

<br />many thanks!!<br />Cathy</p>

Does anyone know who makes a medium format camera with bellows--must

take digital back