Charles_Webster

See if the lens will unscrew from the camera and compare mounts. Since they are manual lenses, it might work, Keep in mind that if it's a lens from a 16mm camera, the effective focal length will be doubled on 8mm, so that 1-1/2" could become 3" effective.

If the threaded mount is about 3/4" dia, I might be a C-mount cine lens. 1-1/2" is a telephoto for 16mm film cameras, many of which used C-mount lenses.

Thanks

A friend has a cropped-sensor Canon digital and would like to adapt some film-era Oly lenses (tele and long zoom) to his Canon. Can anyone point me at an appropriate adapter. Thanks <Chas>

In my experience, it's better to ask the budget up front, rather than present a price up front. Often your high initial price offer causes sticker shock and you might lose the opportunity. If the budget is just too small, tell them so and decline to let them use the photo.

I try not to crop at all, working to "get it right in camera." I then print to the original aspect ratio and use a window mat to "trim" the paper size to the viewing size that I want.

Kora

Watts are not a valid measurement for brightness. When you say "real 100W" you are saying "a panel that consumes 100W of power" which is meaningless in terms of brightness. A panel consuming 100W would be expected to put out about 6000 lumens, which would be the equivalent of about 400 incandescent watts.

If all you are looking for is fill, then yes. But as a key light or to bounce off a ceiling/wall/panel, not so much.

Smaller, lower priced units don't put out many lumens. Compare Lumen output to get real comparisons.

Paul Buff offers/offered a battery+inverter package called Vagabond. I used a 1st generation version once or twice and had good results. In any event you will need to ensure that the inverter is a "pure sine" inverter to avoid damaging the flash.

Nice, I like the contrast between the traditional building of the onsen and the modern city surrounding it. An island of peace in all the hurry and bustle.

How many products are there? What is the delivery format, TIFF, JPEG, ?? What equipment do you plan to use? Will you have to rent lighting, props, camera? What are your hard costs? What is your cost of overhead? Too many variables for a simple answer.

What does your contract obligate you to deliver? Don't have a contract, then it's whatever you can negotiate with the client. Next time specify deliverables in the contract.

Two floods is the problem. Point your floods at a couple of foam core reflectors then move them around until you get highlights that show the shape and texture of the object. And I strongly second Ed Ingold's suggestion that you buy and study "Light -- Science & Magic"

You realize that the thread is almost 6 years old? And the OP was last seen here last Oct.

I'd ask what their budget is, then decide if you can afford to sell them at that price. Give them broad rights for an unlimited period in all media, but do not give them the copyright and reserve the right to use the images for your own promotion. Pricing guideline sites will give you very high prices that a small business simply will not be able to afford. Make it a win-win for both of you.

When I learned photography I had to present two full-frame prints, including the rebate, every class (three times a week). I learned to compose within the frame and to move (physically or by zooming) to change the view point. Fifty years later, with the latest digital technology at my fingertips, I still do it that way. Everything in the frame must contribute to the picture, else it detracts.

Steve, this thread was started in 2006 and the last post was in 2008.

heimbrant's comments also remind me that some portrait photographers love the quality of light produced by the old Hollywood-style fresnel lamps. No softness about that, hard, direct, contrasty, requiring careful fill, but still capable of stunning beauty.

In another post, someone praised hammerhead flashes for "better quality of light." Quality of light is often cited as one of the big differences between inexpensive strobes and top of the line strobes. So what are the qualities of light and how does strobe/modifier design influence them: Intensity Color Coverage and evenness Repeatability (though that seems to be a purely mechanical parameter) Shape of the coverage i.e., fall off, feathering, ...? I have heard for years that "the quality of the light from xyz brand light/modifier is so much better than..." Where is the scientific basis for these judgements?

He's doing for the effect, not to save money/ink/paper. I think he should just go ahead and do it and see what happens and let us know how it went.

The AB lights accept any 7mm umbrella shaft, but will not accept an 8mm one.

If you are going to put them in frames with glass, you need the mat to keep the surface of the print from contacting the glass. The rest is esthetics.