j_sew

Hi guys, I've used homemade PVC light panels for years commercially and found it the most flexible in terms of controlling raw strobes. When Dean Collins introduced the basic concepts of using these and also showing us how to make them, it revolutionized photography in the early eighties. If you can find the first set of "Finelight Series" . Dean details how to build these as well as the supports that you can build for these.

I would like to offer that, Realtors, for the most part do not understand how a properly lit, dressed and composed photograph can greatly aid in whether a house is viewed are not. Look any website of a realtors and you can see how most are rather dim and underlit. Sometimes it is as simple as turning on some interior lights. As well, some minor tweaking in Photoshop helps to.

Photonet & Copyright, perhaps the rules of image use should not be so casual on Photonet. It seems that you can copy or take any image you want without the creators knowlege of it. I am sure some of these images can be sold in different markets, with out compensation or "copyright".

From using large format 11 x 14 to shooting Hasselblad, you get used to sharpenss first.

Looking websites that have review digital cameras. Information regarding lens

resolution and sensor quality. Basically I'm looking for the best sharpeness

and color rendition of a sensor.

Another blaten disregard for decency......http://www.photo.net/photo/4530225

Yes, one can handle only some many sunsets......But it's rare to have your ducks in order.

A suggestion to PN. On some photographs, why not have a warning that the

photograph may contain some sexually eplicit content and may not be suitable for

viewing by some. Maybe this would contain the controversy over what is porn

versus what is art. Clearly there are some provocative and very explicit

photographs that contain some graphic intention. If there is a warning then the

view enters the site on his own choice.

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There are many valid points made. Does this picture fit the guidlines of PN? Is this person underage?, drugged?, coerced into having this photo taken and displayed? Indellibly it is the photographers responsibliity to insure that a "code of decency is followed and it adheres to the guidlines setforth by PN". It is also the photographers responsilbity to respect the rights of the model.

The digital age has made it easy to produce an image. Print Quality is based on tonal range, good blacks/clean whites and a good range of tones as it applies to each image. Quite often I see images that are rather gray. But then it is in the eye of beholder isn't it.

Check with your financial instituition. Overseas cheques, money orders are held for 3 weeks. The bank may provide you with the funds, but if these money orders are frauds, they will come back and remove the funds from your bank account. Your best bet, hopefully you did not send them the bessa, but turn this over the authorities.

It's what makes the world.....Photo.net turn around.

There is surely nothing wrong with the current rating system. This system is rated by all levels of photographers, from novice to working professional. In other photographic associations, like the Professioal Photographers of America or Professional Photographers of Canada and their various affliliates, there is a structure of judging that they adhere to. I guess the question really is, can the system be adjusted to provide a greater feedback for improving the work of a fellow PN member? I recognize the selling point of having the top rate photographs, but as a community we should encourage the growth of each member. In looking at some of the work, I think there are many photographers that show great potential, and sometimes it's just that little nudge that will make a photograph better. Perhaps, photos should be rated by the top people in PN. Anyway, just some suggestion on how to make a great thing ....greater!

That might be true John. I just thought that the two areas of rating were rather general. Being schooled and having a degree in photography, I used to a much more articulate rating system.

What do members think about expanding the rating system to include

ratings for print quality, composition, subject matter. There are

photographs that obviously can be improved by simply some technical

changes. There is nothing wrong with the current ratings system, but

it would be nice to add on a button or two for the other items.

There is a fine line between child porn and what we would call art. It simply is in the eye of the beholder. We are in a society that is strongly prosecuting people for simply having anything that may be interpreted as child porn. Just recently Oprah Winfrey has offered rewards for child pornographers that are on the FBI's most wanted. A few of these felons have been apprehended and are no longer free to roam the streets. I think the danger of any image, is how it is interpreted. I believe PN has to excercise it's "terms of use" for it own protection. I believe Mr. Sturges has respected PN and realizes that his presence potentially would harm PN's original purpose. Unfortunately, we are in a society where men will forgive and justify some of these images as art. Where as others would see us as endorsers of what is interpreted as child porn.

I've used sheet film holders for years and no mattter what, it seems dust is inevitable. The best solution is a darkroom that is set up like a clean room area. If you can do it, have it humidified to 50-60%. Use Ilfords' Anti-staticum cloth in combination with "shop towels" distributed by Kimberly-Clark Global Sales Inc, Roswell, Ga. These Blue shop towels are the best kept secret for lint free affordable towels. I dampen a blue shop towel and wipe the holders and counter tops with this and dry with the anti-stat cloth. With the humidity and anti stat wipe, this really cuts down dust and debris. If you have noticed dust in your change bag, this usually indicate that the bag is breaking down and releasing it fibers, I would replace the bag. I would not use any anti'static sprays as they tend to leave too much micro debris.

Here's a real simple exercise to get a feel for adjusting tilts and swings. In studio or anywhere, take a yard stick ruler and place it on an angle similiar to that of your focus points. Adjust your tilts, for the front of the ruler then back of the ruler and see if you can get the whole ruler in focus at your wide open aperture. This little exercise would give you a feel and a aprecation of how to achive this movement.

You have some very good answers above. The bottom line is to always assume that you will require a release on any property that clearly is identifiable in the photograph. You can sometimes earn a release, simply by offereing a framed copy of the photography with a release in return. In the case of any photograph being editorial, then there is generally no need for a release, as it falls under a journalistic or new classification.

Rob, let me correct myself on the HP5. You can use HP5 in any situation. There seems to be something wrong with one of the many variables involved here. It could be an issue of metering, the type of metering. Acuracy of the camera shutter, processing chemistry, thermometer, etc. I suggest sending film out to be processed by a prolab only to arrive at what should be a standard negative. When tinkering with the zone system, it's reliant on controlled variables. I would suggest photographing a gray card and exposing at normal, +1, +2, +3, +4, +5, -1, -2, -3, -4, -5. Take this negative and get some densitometric readings. The reading will give and indication of proper speed of the film as well as developement.

The other question here is can you achieve a printable image, and what contrast level are you having to work with.

My best guess is that your shadow area (shadow with detail) is beyond zone 3 and perhaps in zone 1. I suggest a slower speed film, due to the long film curve that it provides. The other approach is to expose for the shadows and develop for the highlights.

I've always insisted on proper lighting and getting the right people in place, be it models, food stylist or a set designer. Your reputation is built on how to produce a professional shot. Besides at the end of the shoot, if the client is not happy, then it is your full responsiblity to make sure that the job is to his satisfaction. Be insistent on what you need to do and bring it in, don't shave any corners, even if he is shaving the cost of photography. Settle on price, what you need to do and then worry about producing a great shot.

This is a great question, and an often difficult problem to solve. The solution to this problem is relativity. It is important to have no light on the background to start with, it doesn't matter if it white, black or gray, but it should be neutral in color. If you have a spot meter or reflective meter. The meter should read at least 4 stops darker than your subject, with out lights. When you have this amount of darkness in the background, then you can start adding light. Put you colored gels on your lights then take a light reading of the background. Pick a metering spot in line where the camera will see this tone. For Red, this tone should measure about the same as your subject. For example, if you subject meter reading is f/8, then your background without lights should measure about f/1.4. When you introduce the background with red gel, the light should measure to f/8. If it does not read f/8 then increase the power on the flash or its distance to the background. I would suggest testing this before you bring in any real subject to shoot. Check out Dean Collins and look for Chromo-zones systems.

Hi John,

I know what you mean about the Light tent look, but there are many approaches you can use to achieve a much more polished look. #1, You can use a much longer lens with larger reflectors. Reflectors that extend to the lense. This actually will extend your highlight on both sides and with some controlled feathering of light, you can gradated the light on the two reflectors. The other way around this is to paint with light. Using Neutral density filters and tungsten studio lights, set up exposures of up to 2-3 minutes. During this exposure vibrate your reflectors or shift your reflectors constantly and you will get some extremely smooth tones on your microphone. For the black relfection off the bracket, line the inside of the bracket with white paint or tape. This will make it disappear. To enhance your LED, cut a piece of black velvet and place it over the mesh of the microphone for your main exposure. This velvet needs to be very accurate. Remove the black velvet then expose for the LED's

I would suggest a moderate to high priced pack unit. The white lightenings are good but, I've known them to melt the odd soft box. I've used Norman power packs in the past and found them to be extremely reliable and affordable. Now if you can swing it, consider Speedatron or Broncolor.