xxloverxx

<p>I want to use the National PE-357S on the Pro-TL without a bracket — would this give uneven exposures?<br>

I was thinking of shooting 80mm with the head at 35mm setting to increase coverage.</p>

<p>Also, apart from this being a rather bulky and unbalanced setup, are there any physical risks? Like the flash snapping off the hotshoe?</p>

<p>I really don't use flash enough to justify buying any accessories for it (I'm an available-light person), but I <em>might</em> need to use a flash in a few weeks.</p>

<p>If this won't work I can just handhold the flash. Or see if I can persuade my grandpa to lend me that vertical-mount flash gun he never uses since he stopped using "big cameras" about a decade ago…</p>

<p>Rather vague question—do you want a head-and-shoulders portrait or an "environmental" portrait (a photo of someone, say, on a beach)?</p>

<p>Will you be in a studio with a backdrop or outdoors making use of nature or structures as a background? It's more important to watch your light outdoors, and DOF matters if the area is generally cluttered.</p>

<p>Bright, direct light is generally avoided, but you might like it.</p>

<p>Keep your subject happy; work fast, but don't rush it. At the end of the day, if you and your subject are satisfied, you can count it as a job well done.</p>

<p>Watched it on Youtube.</p>

<p>A few things I noticed:<br>

None of the Rolleiflex's knobs click like that, surely?<br>

He's winding the Rollei wrong.<br>

The 2nd time the tree guy makes the photo, he focuses to ~2.5 meters…the shot of the ground glass clearly shows that it isn't 2.5m.<br>

The food photog's camera sounds like it has a motor winder that's on, but he's still using the lever.<br>

When the 9am photos finally resume, the darkslide is IN when the photo is made. Sebastian then pulls out the darkslide and shoves it right back in.<br>

When Philly(?) is in the dark room with Seb, she walks out, which would let in light?<br>

When Seb recognises the blonde girl and gets the Chief over, he prints with a yellow-green light on…I thought B&W paper was only safe under deep red?<br>

Are those film processing machines in Quikpix? Is that a film scanner?</p>

<p>It's only going to get worse…it's plain stupidity, doing something like this the day after the consequence of a previous similar action was shown.</p>

<p>Hope this photog wins in the end. This needs to stop…before I fly to London in 3 weeks.</p>

<blockquote>

<p>

<p>George, George, flash bulbs came in 12 packs. That is the first clue they are not reuseable.</p>

</p>

</blockquote>

<p>

<p>Think I read on MIR or something that some didn't fire powerfully enough to blow & could be used again & again.</p>

</p>

<ol>

<li>1/25</li>

<li>1/50</li>

<li>Never tried</li>

<li>1/50 I suppose. My friend used that for pan blur with good results so should do fine without panning.</li>

</ol>

<p>The lever on the left (black) trips the shutter. Test it to see it in action.</p>

<ul>

<li>Behind, if you use a bright light, you should see a brass/copper coloured "lock".</li>

<li>Find a way to jam it out of the way (I used a knife then pushed it to the left).</li>

<li>Use your other hand to pull the lens out and lock it (you may need to use a <strong>bit</strong> of force to lock it).</li>

<li>Done.</li>

</ul>

<p>Exercise the lens a few times (with the knife out) and work the rotation a bit to make sure that everything's alright.</p>

<p>“Best” would probably be optical printing aka Cibachrome.<br>

But a backlit photo hanging on your wall? Don't forget, you also need to consider the power source, and the fact that prints (and slides, I've heard) under strong light like that tend to fade faster.<br>

I'd just go for a glossy 30" print, but with a matte frame.</p>

<p>James makes a good point. Reminds me of a story in one of Ansel's books — he looked at a print before it'd dried, and thought the tones looked excellent (something along those lines) so he worked all night to finish printing as many copies as he needed to deliver. Next morning, when the prints'd had time to dry, he found that they all looked dull and flat. He had to do them all over again.<br>

Also, due to material differences, backlit prints don't look the same as backlit slides. Unless, of course, you print on translucent material (similar to that of slides), which is difficult to handle (you get fingerprints) and pretty hard to light when it's hanging on a wall at home.</p>

<p>Get a new computer, then use the rest of the budget to get a film camera & a few rolls of film. Then save up for a digital full frame.</p>

<p>This has an added advantage — you also learn how not to waste shots & to think before you shoot. When you go back to digital, you might hopefully keep the same habits. Not implying that you have bad habits or anything; just thought I'd put it out there as a little challenge for yourself.</p>

<p>A weekend well spent, I think.<br>

Indeed, what film did you use?</p>

<p>On saving money: if you lack complete confidence in any of the steps, let a shop do it. Safest way to do this is to hand the slide over to the shop, give them the details, then get them to do everything and give you the final product.</p>

<p>I haven't printed before, but I know someone who got a digital file printed at 16x20", framed. Over HKD$200 total.<br>

"Digital Force" in HK will print at 20x24" for ~$200 (average), but they don't mention slides. Their scanning is also very expensive.</p>

<p>Your best bet on quality would be to get a drum scan from 1 lab, take it to the shop and have them print & frame the scan and give it to you.</p>

<p>Or find a place that does Cibachrome (is it still called that?) — basically, an optical print directly from the slide.</p>

<p>The problem here is that you're being very vague on the details — do you want a matte or glossy print? How big is it going to be? How good is ‘good’ for you (if it's on top of a dresser, I'm assuming you're going to be viewing it quite close, in which case, quality matters a lot).<br>

Above all, how ‘good’ is the original photo?</p>