phillipmarcovallentin

<p>Gary, I really don't like the tone in your post !<br>

Have you actually worked with all three - or in fact ANY - og these three modifiers ? If so, then you should know that the Profoto doesn't offer STEPLESS FOCUSING, as found on the Bron and Briese: On the Profoto, you have the choise of two metal rods - not very easily changed while shooting - while on the Briese I can have an assistant change the character of my key source in seconds, and this is handy when working with high profile clients where time indeed is money.</p>

<p>Gary, I really don't like the tone in your post !<br>

Have you actually worked with all three - or in fact ANY - og these three modifiers ? If so, then you should know that the Profoto doesn't offer STEPLESS FOCUSING, as found on the Bron and Briese: On the Profoto, you have the choise of two metal rods - not very easily changed while shooting - while on the Briese I can have an assistant change the character of my key source in seconds, and this is handy when working with high profile clients where time indeed is money.</p>

<p>I simply LOVE shooting medium format and film.</p>

<p>If I'm in the right mood, I sometimes shoot a model with three different cameras:<br>

1: a standard D-SLR (EOS40D or 5D or equiv...)<br>

2: an HB H3DII-31 ( + the 120/4 )<br>

3: an old Mamiya - either an RZ67Pro2, or the even older RB67S !</p>

<p>I tend to expose my films 1/3 to 1/2 stop over digital, and the only real operational hassel, is changing the flash trigger from camera to camera, but someday I'll get myself an extra pair of transmitters ... </p>

<p>Digital is cool for the fast workflow, etc, and I can find AWESOME details in the shadows of the 3FF files fom the HB: But to me the analog/digital dilemma is almost the same as comparing a valve audio amplifier with a transisitor amp; allthough the valves have far higher measurable distortion, they are the choice of the Connoisseurs ;-)</p>

<p>If you know your shit, shoot on 6x7 or 6x8, and have the film scanned by a drum, this - in my eyes - is on full par with the 50+ megapixel sensors from HB and LEAF. Perhaps not as fast to work with, but with a very "human" look. And using a D-SLR while fine-tuning my set, saves me [ - and the environment] from using too many polaroids ;-)</p>

<p>Hopefully film will never die.</p>

<p>I hate to bring tis up, but mixing business and peasure CAN become problematic,<br>

especially when the relationship or marriage ends,<br>

and lets face it; statistics are not exactly on Cupids side in our modern day society !<br>

I know of more than one colleague, who after breaking up with his woman<br>

deeply regretted shooting and uploading pics of what was ealier the love of his life !</p>

<p><a href="http://www.sunbounce.com/cms/fileadmin/Download/CSB_Catalog_english.pdf">http://www.sunbounce.com/cms/fileadmin/Download/CSB_Catalog_english.pdf</a></p>

<p>go to page 14</p>

<p> </p>

<p>Tom:</p>

<p>Yes, I meant Fall Of = the DEPTH of light !</p>

<p>Even light = low fallout = large distance between your lights and subject.</p>

<p>Contrast can be improved by using grids and louvres on our sources,<br />and by the use of subtrative fills.</p>

<p>It's pretty basic really ;-)</p>

<p>Forget about your camera mounted flash for this type of work; I would ONLY use studioflashes.</p>

<p>I have never ever compromised on my kit when traveling:<br />I usually have about 30 - 40 kilos of stands, AutoPoles, reflectors, cables, etc, picked up by TNT,<br />and send by Global Express to my location.<br />I carry a further 30 kilos of camera, lenses, laptop, and lights, with me on the train or flight,<br />and don't usually work with an assistant.</p>

<p> </p><div></div>

<p>I don't know too many who use a two stop diffuser ?</p>

<p>The California Sunbounce Sunscrims usually ships with a 2/3 stop silk,<br>

but I know that people like Rolando (Gomez) sometimes use just 1/3 stop.<br>

Californias 1/1 stop silk, will act almost like a softbox, with maximum diffusion.</p>

<p>What worries me is you choice of using a "jumbo" for TWO models.<br>

I don't know how often you are gonna use your "jumbo",<br>

but my advise to you would be to to first try and hire a California Sunbounce Sunswatter,<br>

and then see what this can do for you.</p>

<p>Good luck ;-)</p>

<p> </p>

<p>I would have imagined that you neede THIS one:<br>

 </p><div></div>

<p>Hi Gus.</p>

<p>I just checked the kit at e-bay. The price is indeed fine, but what wories me, is that I've never ever heard about this brand before ?<br>

This COULD be because I'm based in Europe, but my advice to you would be to look for a well known systemt, where it will be easy to upgrade in the future. Otherwise this kit might end up becomming an expensive one !</p>

<p>Personally I would recommend Elinchrom, and an Elin D-lite kit with just two heads, plus an extra reflector screen, will get you a long way.<br>

Do a search for a second-hand D-lite kit, and go for the 400ws version.</p>

<p>Best of luck ;-)</p>

<p> </p>

<p>@ Gary:<br>

True ! I missed that the first time around ;-)<br>

An extra internal diifuser inside the Chimera box,<br>

would most likely have been a better choice :-o</p>

<p>There are MANY posibilites, one of them from Chimera:</p>

<p><a href="http://www.chimeralighting.com/speedRingSpecs.asp?id=80">http://www.chimeralighting.com/speedRingSpecs.asp?id=80</a></p>

<p>I'm not into speedlites, and can't help you with that,<br />but the box is clearly a Chimera ( <a href="http://www.chimeralighting.com/">http://www.chimeralighting.com/</a> )<br />and the model is holding some type of Tri-Flector,<br />although it does look a bit DIY-ish,<br />and MIGHT be just a "duo-flector" ;-)</p>

<p>I wonder how the photographer correctly positions this reflector without a modeling light ? Does the "model-hand" do the trick ? (he, he...).<br>

I would have used a LumeDyne head with modeling light, and ROUND softbox ! </p>

<p> </p>

<p>If I were you, I wouldn't go for the D1s at all...</p>

<p>Try one out in a large softbox, using a handheld meter on the front diffuser, and you'll know what I mean !</p>

<p>The D1s problem lies in the two dimensional glass diffuser. In relative close proximity, the source is now TWO dimensional - think about what this does to the polar pattern !</p>

<p>Save your money and go for Elinca instead. Have you seen the BX 500Ri ? This has build-in SkyPort, and by buying Elinca, you will get MUCH more light for your money ;-)</p>

<p>Think twice before buying Profoto !</p>

<p>I really can't see any point in the Omni Bouce ?</p>

<p>It's great sounding productname, for an overly priced piece of plastic !</p>

<p>If you want to smoth-out the pattern from your Speedlite, a small piece of bakingpaper will do the same, at less than a Dollar :-o</p>

<p>If you want to improve the QUALITY of your light, you have to increase its SIZE, and should be looking at the Lumiquest range of products instead ;-)</p>

<p>One SHOULD use a BD close to the subject, otherwise it'll just work as a wide angle reflector !</p>

<p>The Bowens "Softlite", for example, is 75 degrees, and with a diameter of 15 inches,<br />really should be used at no more than 15 - 20 inches from the subject for a BD-look !</p>

<p>The white Profoto "Softlight" is 65 degress ( - 90 degress with the center disc in place !!!).</p>

<p>The silver Profoto is only25 degress, and could therefore be used at a slightly longer workingdistance,<br />without too much loss, but this would sacrifice the quality...<br>

---<br>

Kacey Enterprises make a real smart BD - out of plastic ! ( = light weight !).<br />They also do a real smart bag for it ;-)<br /><br /><a href="http://www.kaceyenterprises.com/?page_id=461">http://www.kaceyenterprises.com/?page_id=461</a></p>

<p>Talking about 22" BDs, you may also wanna check out this:<br>

<a href="http://www.kaceyenterprises.com/">http://www.kaceyenterprises.com/</a> <br>

As opposed to the Mola, which is made of metal, the Kacey BD is made of plastic,<br>

but unless you have your modelling lights constantly on at full power,<br>

I wonder that's gonna be a problem with a head with build-in fan ?</p>

<p>Best of luck ;-)</p>

<p>Marco/</p>

<p>@ Randal:<br>

NOW I know where he got it wrong !<br>

Thanks for clearing u things ;-)</p>

<p>I'm confused:</p>

<p>An "expert", with large library of books on photo technique, now claims, that one cannot simply add filters, but that they have to be MULTIPLIED:</p>

<p>Example:</p>

<p>an ND8 (3stops) and a CP-L (just under 2 stops), would equal 3 x 2 = 6 stops,<br>

and not 3 + 2 = 5 stops.</p>

<p>Even people from B+W haven't heard about this !</p>

<p>Any input are MOSTLY welcome.</p>

<p>PS: the "multiply" rule, should be mentioned in one of Phil Malpas textbooks,<br>

but of cause this could be just a printing error ?</p>

<p>My colleague is ( - yet ? ) not a member of this site,<br>

but I'll mail him a link so that he can study your inputs.<br>

Thanks guys ;-)<br>

Marco/</p>

<p>I agree with Jack Welsh; keep your RB67 !<br>

6x7 is a truly fantastic format. Perhaps not very "economical", when it comes to just how few pictures you get out of a roll of 120 film, but arent those 6x7s just magnificent ?<br>

Apart from Fujis pretty rare ( - and HEAVY!) RX680s , and the even more specialized 6x9s, the Mamiyas - in my eyes - shoot the most perfect negative / positive.<br>

Shoot a couple of rollsFUJI, and have your "heros" scanned with a pro drumscanner or an Imacon, and you might getter a BETTER picture than with the new 50 mb 'Blad or even the LEAF !<br>

Hold on to your 6x7 ;-)</p>

<p>Gentlemen ! I'd like your input on this:<br>

A colleague of mine is planing a series of bikini shoots in the south of France ( - that lucky bastard!).<br>

He's got an EOS 50D, and wants to use the great EF 135mm f/2.<br>

To achive minimum DOF / subject isolation, he plans to add TWO filters to the front of his lens;<br>

either an ND4 or ND8L, PLUS - dependig on local conditions - a PL-C !<br>

Now in my book, one should be very careful in stacking filters ! One could, for example, experience vignetting, but my colleague insists this won't be an issue with the small sensor of the 50D. <br>

I am also affraid that the TWO layes of filters might increase his chance of flare, but my colleague insists that that using canons original lenshood will eliminate this problem.<br>

Well... what do YOU think Gentlemen ?<br>

my BEST reagards,<br>

Marco/</p>

<p>I agree with Barry about his point on getting the best from both worlds, shooting on film and scanning to digital later, but disagree on using a scanner like the Nikon or any other "flat" consumer scannes.<br>

To achive optimum quality, your 6x8 shuld be transfered into the digial world by a professional high quality scanner like an Imacon. These used to sell for aorund USD 15.000,- (!) but many are now becomming available on the second hand market, or you could have you scans done at any professional facility house, paying only by the hour or per job.<br>

The files will be HUGE, and so hefty computerpower is strongly advisable for your postproduction !<br>

Best of luck ;-)</p>

<p>Marco/</p>

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