david_papas

<p>Why don't you try opening the original raw files directly in Photoshop via the Adobe Camera Raw plug in. Try an all adobe workflow, I would also set the camera and photoshop to AdobeRGB instead of srgb. You can always covert back if you are going to use something on the web. I do know people who prefer the look of DPP, but the adjustments are very limited compared to ACR in photoshop, I would just experiment doing the raw files directly.</p>

<p>I first started photography in 72 the cans were metal, by 74 they were all plastic</p>

<p>I have done the same time in Photoshop several times, very frustrating. At least if you are working in ACR or Lightroom, you should be able to copy your adjustments. I had some good luck doing a cross processing look in photoshop by converting to Lab mode and inverting the color information channels "a and b" without touching the lightness channel, which is basically what cross processing used to be.</p>

<p>Of course you will have to use manual mode as none of the auto exposure will function with studio lighting. Use the histogram on the camera to adjust, or better yet, tether to a computer with lightroom or another program. Of course only the f stop will affect the exposure of the flash.</p>

<p>You can't use a shutter speed faster then 1/200th, otherwise you will get black at the bottom of the frame. A sync cord may be ok, but a remote like a pocket wizard is safer. Sometimes the voltage in the sync circuit can be higher then it should be, depending on the strobe system and / or if it is malfunctioning. The higher voltage can fry the circuit in the camera. The remote protects you from this. You can also get a "safe sync" which fits on the sync cord, but pocket wizard is safest. I have had this happen by malfunctioning power packs. </p>

<p>I don't think anyone makes a back more then 39 or 40 megapixels that can be had for under 10K even used, I might be mistaken. I think Leaf has one at 60 and 80 megapixels but those are 20 -30K. You might consider the nikon or maybe canon will come out with something similar soon.</p>

<p>Most of these backs can be fired either by the shutter release on the camera, or by the computer if tethered. Most of the backs can be used without a computer except some of the earlier digital backs like the Phase One H-20 and H-25, these backs are actually pretty good in the studio but have to be used tethered and have no CF card, battery, or view screen. If you are looking to shoot only in the studio though, they can be had for very good prices.</p>

<p>I used to have a Phase One P25 that I used on my old 503CW, it was a good back for that camera, the lens angle factor was only about 1.1 and the back could be rotated vertical to horizontal (although you had to take it off and reattach it.) The disadvantage from the CF back is that yo have to use a cord from the back to the sync connection on the lens. If you have the newer type lenses with the locking post this works pretty well. Probably in your price range these days. although I am sure people will be pointing out the possibility of going to the Nikon D800E, something to consider too, but there is a lot to be said for medium format. Some of the Hassleblad CF and Phase one backs like the P20 have the smaller square format sensor, which makes your wide angle lenses not so wide. Also the medium format digital backs do not have very good High ISO performance if that is a factor for you.</p>

<p>I think the actual Hasselblad version of "bright screen" is the "Accue Matte" screen. See if you can get one of those.<br>

they made some with the micro prism ring and the split image together, I had one of those it was really helpful.</p>

<p>You might take a look at Capture One Pro. I think they dropped the price some and they have a 60 day demo. Lightroom has a demo period too so you could try them both out. I some times have some issues with the Capture One interface, but it does a great job processing raw files, I think it was originally bundled with the M8.</p>

It might be best to just keep an old computer around for scanning only.

<p>I lived there years ago, so my info may not be so current<br>

How about the Corcoran School of art downtown. Not cheap but a well know art school and they have photography programs. I actually went to the photo school at Northern VA community college or "NovaCoCo". Joyce Tenneson used to teach there and was actually a good photography school back then. I would see what is going on there, it is reasonably priced too. I would think the University of Maryland may have a good art program, you could also check GWU American U and Georgetown. Not sure what is available there.<br>

You might also check out the Washington DC chapter of the American Photographic Artists or APA. It is a professional organization and you should be able to find out what type of business is there.</p>

<p>You will have to experiment, but I would think it would work much better with the 85, you will be just physically too close to the subject with a wider lens. The 85 lenses don't focus very close at all without it.</p>

<p>I have used the H-20 and the P-25 on V series Hasselblads. I would see if you can find a P-25, they should be coming down in price by now. only a 1.1 instead of 1.5 crop factor, especially if you are not shooting square all the time. The back can be removed and mounted either vertically or horizontally. Phase One backs sometimes have problems with some older lenses and slow shutter speeds. It is pretty random from lens to lens, you need to have continuity in the sync circuit for the entire time the shutter is open. you can check your lenses with an ohm meter. CFE and CFi lenses don't have this problem. Both these backs can have moire issues with fabrics, rarely a problem unless shooting clothing for catalogs.</p>

<p>I just think what ever the exact problem is, you would have it with other brands of digital backs as well. Maybe more so even, as I think the others rely only on the sync connection to time the back. I am sorry you are having such a frustrating time of it. That back should produce some beautiful files.</p>

<p>Ah , maybe Liegh B. has your answer for you. I do not know those backs, just what the problem with my phase was. I hope that works for you.</p>

<p>I am pretty sure now from what you say, is that the back is shutting off before the exposure is done. I am not sure how hasselblad handles this with their CFV backs, I have only used Phase. The phase depends entirely on the sync circuit to tell the back to stay on. I would check with hasselblad some more and see if they have a better solution. Like I said, I ended up switching to newer lenses, I had a 120CFi that worked perfectly at all shutter speeds. That little blade that sticks out from the body to the film back to block the dark slide from going in when the rear shutter is open, is also used by some backs, the phase I think has some sort of optical sensor for it. I had to clean mine so the metal was shiny, so I would not get two shot errors. It wakes up the back for the next exposure. A hasselblad camera that works perfetly for film sometimes needs a little help to work with digital backs. The other thing about the later lenses is, the sync connection is much more secure and will not come loose. If you had to replace all your lenses that would be a bummer, but if it is just the 120 it might not be so bad. I had one lens that would not work from 1/8th to 1 sec, but for some reason worked on B. Originally the sync circuit was only designed to set a flash off, so it did not matter if it was maintaining the circuit for the entire time. But with digital it must. By the way, it took me like a year to figure out what the problem was on mine.<br>

I would fiddle a bit before getting completely frustrated with it, other brands may have some of the same issues with your equipment, I was able to use digital backs with my V series for years. </p>

<p>Are you using slower shutter speeds? Some of the older V lenses do not always work well with digital backs, I was using a phase one back with 500cm and 503CW cameras and had really good results with the newer CFi and CFE lenses. But with the older ones especially Compur shutters I had a lot of magenta issues. The problem was unless the contact of the sync was on for the entire exposure, the back would turn off before the shutter closes and cause this intense magenta cast. <br>

It is hard to tell if this is the actual issue you are having or not, you are not giving a lot of detail. But I would suggest trying some other lenses or faster shutter speeds and see if that helps. If that is what is happening You can try putting an ohm meter on the sync post on the lens and make sure the contact is on for the entire exposure.<br>

another thing, is to make sure the little blade or pin that sticks out of the back of the camera and normally triggers the film back, is clean, some digital backs use that to know when the shutter is open and if it needs to be clean, an eraser will do it. <br>

Maybe this is not the issue for you at all but it was my experience with the phase back.</p>

<p>You might check with Bear Images in Palo Alto</p>

<p>I agree, I have found it very hard to focus manually on my 5D2, even using the af points for focus confirmation does not seem to work correctly, I have only been able to focus with the live view on the back. That does seem to work pretty well. I have rented the 90/TS several times to get that selective focus look, so I was tilting it quite a bit.</p>

<p>You should turn on the histogram on the camera and use that, it is more accurate then viewing the screen for exposure</p>

<p>Go to this page and scroll to the bottom<br>

http://mola-light.com/blog/?cat=12<br>

There is a link to the place with Christmas wreath bags, I think they have several sizes.<br>

http://www.treekeeperbag.com/<br>

they are all on sale this time of year. as far as drum cases, you just need to search online to the appropriate size from some music company. The wreath bags are softer.</p>

 

<p>Check on the mola web site or Mola blog, there are a variety of recommendations for either "drum cases" or even other types of alternative cases, I have a soft Christmas Wreath case that will hold my mola mantti. I think there are some more photo specific cases available, but they are a bit more pricy but probably better for air travel.</p>

<p>the P-25 is a great back for a lot of things, Someone mentioned the lack of anti aliasing filter, which is one reason for it's sharper images, but the P-25 is particularly prone to the moire problem mentioned before. I used to use one on a 503cw and you would not see it at all on some shoots especially product. But I had some lifestyle or portrait shoots where the moire on fabric was very difficult to deal with. sometimes in almost every shot with certain knit or denim materials. Despite the recommended fixes, very difficult and time consuming to fix. It caused me to upgrade to the p-45 as the higher resolution almost eliminates the problem. If you are shooting a lot of people or fabrics it might not be the best choice.</p>

<p>I have only been there for the Vintage Races. They are not nearly so crowded. I was able to shoot all over the place, there are a number of places you can get pretty close to the track, there is this uphill section that could be good to shoot cars moving up. I don't know about how it is with big crowds though. The vintage race is fun and you can wander around the garages and shoot cars there too. It is possible some of the good shooting locations are restricted to media during the reace, but I think there are a lot of places to be. a long zoom or a 135 and 300 might be good.</p>