jacull

I've always used UV coated glass domes on my strobes because I've just assumed

they're best. (They're the most expensive!) Has anyone experimented with

different domes and seen a difference? Obviously, a frosted dome will be softer,

but what other considerations have you seen?

I primarily photograph people but when I have a product shoot it would be nice

to have tilt/shift movements. I'm considering the cambo x2-pro to use my Canon

with some Mamiya RB lenses that I have. Is anyone using the X2? What combination

of camera/optics do you have or find works well?

Melissa, I shoot in studios quite often and can't imagine not having ceiling height of at least 15ft. A low ceiling will really limit the amount of lighting scenarios you're able to pull off. If your photos all use the same lighting set up, then it may work great. Otherwise, I think you'll want to have a higher ceiling.

 

You'll also want to consider what the power requirments will be from your lighting equipment and what limitations you may have there.

 

Consider what your goals are with photography. Your clients will view your professionalism based on the environment and experience they have with you. Will a trailer give them the experience they need to feel comfortable using you as their photographer? If your main goals are portraiture, then it might be just fine. But it may not work so well if you want to shoot for advertising agencies and such.

 

Best of luck to you,

Jared

Does anyone know of, 1. Any problems using Impact NP-E3 batteries with the 1Ds

Mk2, and 2. If using another brand of battery will void Canon's warranty?

 

Thank you,

JC

Thanks Brian,

My 4x5 back takes sheet film. I'll check out the prices on those sites.

My question has two parts:

 

1. I have a medium format camera with a polaroid back as well as a 4x5

polaroid back to fit my medium format camera. Which polaroid back will be more

cost effective to use? I don't own a 4x5.

 

I use black and white type 664 for the first back, but I don't know what kind

to buy for the 4x5 back so I can't compare prices.

 

2. What type of polaroid will give me both a negative and a positive image?

 

Thanks for your help,

JC

Shooting artwork is best done with boxes. Octaboxes are nice, as stated above, when you want a round catchlight for people.

Cool, thanks for the help!

I've heard that people use Nikon speedlights off camera with Canon because

they have a pc connection. Does anyone do this with success? I'd like to build

a kit with some Pocket Wizards and Nikon SB-28s if it works. (Because that

would be much more cost effective than buying 580EX AND Pocket Wizards.)

 

Using this setup, would it work to mix Canon strobes with the SB-28s on PWs? I

suppose you could sync any strobes as long as you're using PWs, couldn't you?

 

Thanks for your input,

JC

I trained in architectural photography before moving to people. Most guys use tungsten lighting. Arri's or Dedo lights are good options in that arena, but if your style will best be produced with strobes then I suggest using a pak over a monolight.

 

For architecture, it's nice to be able to sneak a light in small space in order to get it where you need it to be. Monolights can be bigger and heavier because they contain everything in one unit: harder to throw up in a corner or tight space. That's just one aspect to consider that I think of straight away.

 

 

JC

You get what you pay for.

 

I think Mike Butler put it best: If you understand light, then you can build your portfolio with any equipment. But you'd better be ready to have some quality equipment if you want the agencies to take you seriously.

Thanks for the input guys!

I'm still running tests on the lenses. Only had it for 4 days and I've run out film.

Hi, I have 4 lenses for my RB ProSD. I get the impression that the Sekor "C" lenses are the best line for

this camera, but I need confirmation of that. I'm posting jpegs of each lens and would appreciate your

comments on the quality of the lenses. <br><br>

(I'm sorry for the slight motion blur on these jpegs. It's night time and I handheld 1/15 on my digi.)

<br><br>

 

Mamiya K/L 90mm:<br>

<img src="http://www.jaredcullison.com/images/mamiyakl90_1933.jpg"><br><br>

 

Sekor C 90mm<br>

<img src="http://www.jaredcullison.com/images/sekorc90_1931.jpg"><br><br>

 

Sekor C 180mm<br>

<img src="http://www.jaredcullison.com/images/sekorc180_1936.jpg"><br><br>

 

Sekor 65mm<br>

<img src="http://www.jaredcullison.com/images/sekor65_1930.jpg"><br><br>

 

And, I haven't found in the manual what this switch is for. It switches to "X" or "M"<br>

<img src="http://www.jaredcullison.com/images/xswitch_1939.jpg"><br><br>

 

Thanks for your input!<br>

JC

I solved my problem: I found out that the shutter will not release on most Mamiya cameras unless there is film loaded. I was trying to do all of the above mentioned methods with an empty film back. I loaded a dummy roll and it worked great. I hope this helps someone else!

No, that is a good point that I forgot to mention: Yes, the darkslide is out.

I just picked up an RB67 ProSD and have had fun exploring it for the last several hours. I've been through

the manual more than once and have figured everything out except for one:

 

With the film back off, I cock the shutter, press the shutter release and it triggers as it should. When I

attach the film back, I wind the (imaginary) film, cock the shutter, and the shutter button does nothing.

The shutter button is not locked. I found that if I switch the film back to multiple exposure mode, I go

through the same steps and the shutter releases. These steps also work successfully with the Polaroid

back.

 

I'm sure I'm just missing something but I can't figure it out. It may help to mention that the film back is a

Pro, and not a ProSD back. If that's the answer to my question then I sure would like to know what the guy

was thinking who sold it to me!

 

If I have been unclear in the description of my problem, please let me know. I appreciate any help you can

offer.

 

Thanks!

 

Jared

Hmm... didn't know that I could access a manual online. Thanks for the link!

 

JC

Ditto on avoiding tungsten lights for portraits. They're just way too hot and you'll find the strobes much more useful. Alien Bees are great to start out with, but if you can save a little more, White Lightning are made by the same company and are a sturdier product.

 

JC

I'm also interested if anyone knows what type of cords/adapters I would need to attach Pocket Wizards to each unit?

I'm considering cutting down my location lighting kit by replacing it with

<br> 580s. I borrowed a few from a friend to see how it might work out and,

<br>I'm sure it's just lack of knowledge, but I couldn't seem to control each

<br>flash individually.<br><br>

 

I set one on my camera as the master set to manual. The slave unit was off

<br>camera, also set to manual. I wanted to be able to just dial power up or

down <br>individually for each unit, but the slave would always automatically

go <br>to whatever power the master was set to. Is there a way to get around

this?<br><br>

 

Thanks for your time,<br>

JC

Amber, there really is no safe way of doing it. Anytime that I do a shot like you're describing, I just guess where my frame is and look at my LCD screen to see how I did. Reposition, and shoot it again without looking through the viewfinder. That is the safest way. It's not worth risking burnt retinas for a shot.

 

JC

I second B+W, Heliopan & Singh Ray: All great filters and 77mm is easy to find.

Thanks very much, Jason.

Josh,

Consider Calumet's Travelites (www.calumet.com). They are sturdy and have a wide range of light modifiers to choose from. They are, in my opinion, the best balance of cost/quality that you will find for a monolight.

 

Best, Jared

Biggest reason for me to get the 5D: Full-Frame sensor.

 

Get the most use out of your glass.