ronald_l._marvin

OK, this try the photo again:<div></div>

The term ﾓkeyﾔ refers to the tone of the final image. The elements of the image that

influence the tone are the color of the background, the color of clothing used, and the

color of any props or foreground elements. Images that have a consistent key have much

more of an impact that those whose elements are not consistent.

 

Low key images are created using a dark background and dark clothing and props. You

can identify the key of an image by determining the average tone for the scene.

 

A low key image will have more dark elements than bright ones. Clothing and background

might be black or dark browns giving the feeling of drama or rigidity. Low key images may

also be shot with a higher lighting ratio near 3:1 as contrast is acceptable due to the

drama of a lower tone.

 

A high key image may involve the use of a white or off white background and brighter

clothing. A high key image can be challenging as it requires a great deal of light control

and has the most risk of overexposure and loss of detail. Usually a high key image will

have a low lighting ratio near 2:1. A common background for a high key image is paper

which is slightly overexposed resulting in a pure white seamless background and a feeling

of cleanliness. Care must be taken to separate the subject from the background to

eliminate shadows. High key images also tend to require more light and thus more power

and lighting equipment to create.

 

The background you use can set the tone for the image and as such, key should be a

consideration as you contemplate the image you are going to create. Your background

should not take focus off of the subject, but rather help lead the eye to the subject in the

final image. Take time to identify your overall tone, or key before you arrange the lighting

setup and you may be surprised at the results you can achieve.

 

I've included a sample of each:

Should have mentioned: the 7b is 1200 WS, and I got f/45 as mentioned, a 600 WS unit

should

give you f/32 in a similar situation.

 

I've noticed that power output is very consistent across Profoto's line. In their published

specs they list the 7b into an umbrella at ISO 100 giving f/22, on the Acute2 1200 also f/22,

and on the D4 1200, guess what, f/22.

Hi Peter, this should be plenty of power for people photography and more. I just bought a

new Profoto 7b and had a chance to play with it over the weekend. Using a Photoflex NXT

24x30 softbox gave me f/45 at 2m (6.5ft) at full power. The 7b has a seven stop range and I

dialed the power all the way down and got f/5.6, I like shooting at wider apertures for

portraiture, so I moved the light back a bit for f/4. ISO was set at 100.

 

I hope this helps.

Here are a couple of high key shots I did using a Canon 10, and one Canon 550EX flash with

a Stofen diffusor. On my Stofen diffusor, I used a razor and cut open the top part. Then I

pointed the flash at a white ceiling, this gives a strong bounce light, and the remaining

diffusor creates a decent fill. Plus I was using a Lindahl shade with a white oval vignette.<div></div>

Hey Peter, actually the newer Pro7 heads Profoto makes are compatible with the 7 series

power packs, and the newer D4 power packs; also the new Acute/D4 heads will work with

the

Acute packs and the D4 packs (they are getting better at this but still have a way to go). It

does bother me that not all heads are compatible with all power packs. The 7b heads will

only work with the 7b or B2 packs, but they are smaller and lighter, easier to transport.

 

It seems like several of the available flash systems have this flaw, even Broncolor has some

flash heads that will only work on certain power packs. But like you say, Profoto seems to

be the darling of the Pros in flash equipment. Most of my work is on location so the 7b will

work well for me, I will add a second 7b or B2 later, this also has the advantage that

should one of them ever fail, I still have one working. For in the studio, I'm looking at the

Acute2 or D4 pack.

I was following the announcement of the Verso A2 in Europe, and now it seems it is finally

coming to the US market. I've always liked Broncolor, but last week went ahead and

ordered a Profoto 7b. I've had opportunity to use both systems (not the Verso as it isn't

here yet), both systems are good, but in my opinion the Profoto

gear has a better build quality, and I like the available options that Profoto offers, over

Broncolor.

 

Both systems are expensive, although the Profoto Acute2 are reasonably priced, I may pick

up one of these down the road, or a new D4 power pack. Again, both systems are good,

but I've seen more pros using Profoto (just my experience mind you), both are expensive

but I feel that Broncolor is excessively expensive to the point of being greatly overpriced!

Another reason I went with Profoto, overall it is a less expensive system.

 

The $5,100.00 price you mention most likely is just for the power pack. The battery will

probably add another excessive amount to this price. Only you can decide what will work

best for you. Have you

rented both to see what you prefer?

 

I'm waiting impatiently for my Profoto 7b to arrive.

One more thing,

 

I do have the Photoshop plugin, that can be downloaded from Kodak's web site. Is there other software required in addition to this?

Larry,

 

no I never received any software disks. Where can I find these? Also which Mac are you running on? Maybe I should try eBay to see if I can find the Jackhammer card. Or maybe I just need to locate the disks. Is this anything you can help me with? It would be great if I can get this to run on my Mac. I've got lots of chromes I'd like to scan. Let me know. Thanks!

I've had one for almost a year. It was also given to me for the cost of shipping along with a Repri retouching workstation. It works with the Repri. Then I tried to get it to work with my Mac. I went round and round with Kodak on this, and eventually they no longer wanted to help.

 

The quality of the scans I've seen with these has always been real nice, and it scans fast. One minute for an 18 MB file and two minutes for the maximum 4000x6000 72 MB file.

 

I wish I could get mine to work with my Mac. Here is what I have gone through so far, at first the Mac would not even recognize the scanner. I read somewhere about Kodak scanners being finicky regarding SCSI. So I purchased an Adaptec 2906 SCSI card. Now the Mac recognizes the scanner.

 

However, in Photoshop 5 I receive some type of memory segmentation error (I haven't looked at it for awhile so don't remember the exact error message). With Photoshop 6 I receive "Could not load plugin" error messages. I've tried adjusting the memory usage but to no avail. With Photoshop 4 as I recall, it hung the machine or gave the same memory segmentation error as in PSD 5.

 

I've used Mac OS 8.1, 8.5, 8.6, and 9.1 - none of this seems to make any difference, the results are the same. Kodak had mentioned making sure that various CMS (Color?) system extensions were installed and they are.

 

Kodak said that this scanner will work with the G3 Turquise Mac, running OS 9.1, and using a FWB Jackhammer SCSI card. I looked into this and FWB no longer makes SCSI cards.

 

As this point I've been playing with loading and unloading of various system extensions, but have had no luck thus far. When I contacted Kodak a year ago, I was pretty persistent and eventually connected with someone who knew about this scanner, I don't recall the name, it doesn't matter as after about three emails they flat out told me that this was discontinued and would offer me no further help.

 

I'm about ready to turn this thing into a boat anchor. Its interesting to see this topic. Maybe we will get lucky and someone who KNOWS what to do will help us out.

Chuck,

 

I use a Rolleiflex 6008 with a Quantum Qflash X2 and the Quantum TTL module for the Rollei. I have had good results using this setup in TTL mode. I primarily shoot weddings and have not had any problems with white wedding dresses or black tuxedos. Also, Kevin mentioned that the sensor on the X2 is extremely accurate, I have also found this to be true, but use it in TTL mode all the time. Where I've found the TTL to be very helpful is with outdoor flash fill, where I can dial in a flash fill ratio on the Rollei. However, when shooting negative film at a wedding the X2's built-in sensor should give you professional results without the extra expense of the TTL module. Unless there is some particular reason that you need TTL. Most wedding photographers that I know still prefer to use their flash units in manual.

Jack,

 

I have the Hensel Porty. I do not have the ringflash, however the Porty is a great system for me. It has tons of power, is well made and takes a lot of abuse and keeps on going. I primarily use it for weddings and location portraiture.

 

With the battery portable systems I looked at the Broncolor Mobil, and the Profoto 7B. What I didn't like about the Broncolor Mobil is that not all of the accessories are compatible with the Mobilite flash head. While you can use the other larger studio flash heads in the Broncolor line with the Mobil, you loose the modeling light capability while using battery power, plus the larger studio flash heads are very expensive. With the AC adapter of course you still have modeling lights.

 

With the Hensel Porty I can use all of the accessories in the Hensel line with the Porty Flash heads, and the modeling lights work both with battery power and when you use the Porty AC power adapter.

 

Regarding Profoto, the AC adapter that Erik mentions is actually a quick charger for the 7B and not a true AC power solution. However, Profoto makes great lighting gear. The reason that I chose to go with the Hensel over Profoto is that after comparing the two systems I realized that the Profoto setup would cost me twice what I paid for my Hensel setup. Personally, with the exception of the Profoto Acute line, I feel that the Profoto equipment is way overpriced.

 

My Hensel unit is solid and I'm sure will last a long time.

Hi Jon,

 

I don't know if light bounced around the room is a problem. However, over the years I have worked as a custom printer at two different pro labs. At both, all the darkrooms had walls that were painted a flat black.

Here's my vote for photo.net. The medium format digest is useful and

it would be better to go that route versus yahoo.

Response to Eric Friedemann regarding Rollei:

 

"The Rollei 120 SLR lenses have, in my opinion, deteriorated since Samsung bought the company. However, my main complaint with Rollei 120/220 SLRs is the mediocre fit and finish of the cameras."

 

Eric, when was the last time you looked at a Rollei? The build quality of the 6008i is excellent, and this is an extremely reliable camera. Also the lenses are made by Zeiss, Schneider, and Rollei (the EL series - 50/80/150) and are among some of the best lenses available in medium format. Also your information on Rollei ownership is outdated. In December 1999 there was a management buyout of Rollei from Samsung by leading managers within Rollei so it is once again an independent company. Here is a link for more information:

 

http://www.Rollei.de/en/news/archive.html#dezember

 

Regarding the question I have used or owned at one point or another, Hasselblad, Mamiya, and currently Rollei. I have found that the Zeiss, Schneider, and Mamiya lenses are all excellent. I have never been disappointed with any of them. And regarding the contrast you see from your Mamiya 7, what time of day were you shooting? Perhaps at high noon on a bright sunny day when contrast can be very high? Maybe you were using a high contrast film? I recommend working more with your Mamiya 7 and work on developing better technique before considering something else, its a great camera.

Yes, I have one of these tripods and it is really nice. I take it with me when I am doing wedding photography as it is light and strong. And the price was right too! Its also great for hiking. I use mine with a Rolleiflex 6008 camera and a Manfrotto ball head.

Hello John, is the 120mm Digitar lens that you have the standard

Digitar 120mm or is it the Digitar 120M? In the brochure that I have on

Digitar lenses it lists the standard 120mm as having an image circle of

150mm and on the 120M the image circle is 210mm.

 

<p>

 

Unfortunately the wider angle Digitars are all listed with small image

circles. In the Rodenstock literature that I have about the Sironar-

Digital lenses, all of the wide angle lenses are listed as having large

image circles. Does anyone here have any experience with the Rodenstock

Sironar-Digital wide angle lenses?

Here's my vote for more coverage of MF view cameras and work. There

seems to be a few more MF view cameras on the market now as compared to

a few years ago. The working methodolgies are the same for LF or MF

view cameras. For me, the lower film and processing costs are

attractive, and its wonderful to have the view camera movements to

boot!

Kevin briefly mentioned maintenance. Be sure that your cameras and lenses are well maintained. I know a guy several years ago that never had his camera checked, and he never cleaned it out either. Needless to say disaster struck at the worst possible moment while he was shooting a wedding. He was using a Hasselblad and the shutter on his 50mm lens broke and he had no backup. Always carry backup equipment for everything, and get your entire system checked by qualified sevice personel at least once every year.

This scanner looks the same as the Polaroid scanner and the Microtek scanner, perhaps they are all made by Microtek? It will be interesting though, to see how the various versions work out, for example Nikon's PDF brochure mentions an ED glass lens and some interesting software. Whoever has the best optics/software combination will likely be the winner here. I'm looking forward to the test results.

One point that I have not seen anyone bring up, and I'm a little behind on Rollei's current corporate structure, also I might be wrong here, but isn't Rollei USA owned by Rollei Germany? And if it is owned by Rollei Germany - why the problem?

 

I thought that I read a few years back that HP marketing was no longer the importer for Rollei because Rollei was setting up its own import office here. Someone refresh my memory please so that I have it straight. Thanks!

Before I purchased my Rollei, I was also considering the Contax 645. Autofocus was not a determining factor for me as I never use it (even with my Nikon F4 I still focus manually). As I now primarily shoot weddings I prefer the square format.

 

The reasons I went with the Rollei are: a wider selection of available lenses, if I desire to shoot 645 there is the rotating 645 film magazine which accepts both 120 or 220 sizes, and flash sync at all speeds up to 1/1000 with PQS lenses (this was the determining factor for me as the Contax is a focal plane shutter).

 

As for street photography, the 6008i with a waist level finder, and a wide angle lens such as the 50mm or 60mm (using hyperfocal distance focusing) should serve you well. I also find the rotating 45° prism to be useful for street photography as I can rotate the prism 180° and rest the camera on my shoulder, while looking through the viewfinder at what is behind me, without the subject's awareness that I am taking their picture. Many people are not aware that the entire Rollei prism can be rotated. Check one out at your local Rollei dealer and you will see a new world of possibilites with street photography.

Hi Thierry, information about this lens can be found at these links:

 

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http://hv.greenspun.com/bboard/q-and-a-fetch-msg.tcl?msg_id=004Ban

 

<p>

 

http://largeformat.homepage.com/future.htm

 

<p>

 

note that the second link is often slow or it returns an error that

there is no such site. Be patient and try reload - then it usually

comes up. I hope you find these useful.

 

<p>

 

-Ron

Here is Kodak's link to their aerial films:

 

http://www.kodak.com/US/en/government/aerial/products/index.shtml

 

I'm just curious, but has anyone tried any aerial films for general purpose photography, portraits, landscapes, etc. And if so what kind of results did you get. Also does anyone have an idea of Kodak's minimum purchase for a special order of a certain stock not normally offered in 70mm? Amount/cost? Thanks.

I asked Kodak this question just yesterday as I've been considering 70mm for wedding work. This is the reply I received:

 

Subject: Re: Color Negative Films (KMM787536C0KM)

 

Date: Thu, 14 Dec 2000 12:18:11 -0500

 

From: Kodak <ProfessionalUS@cyber.kodak.com>

 

To: Ronald L. Marvin

 

Ronald,

 

The two most popular films available in this format is Kodak Portra

160NC and Kodak Professional Tri-X. Many of the other films are a

special order item. Feel free to give us a call.

 

Thank you for visiting our Kodak web site. If you should have any

questions on Kodak products or services, please be sure to revisit our

site as we are continually adding information to enhance our service.

 

Peter Hamann

Kodak Information Center (USA)

Kodak Professional

 

800 Lee Road Door C

Rochester, NY 14650-3109

 

1-800-242-2424 ext. 19 (Monday-Friday, 9am-7pm EST)

http://www.kodak.com/go/professional

 

According to this 70mm Tri-X is still available.