tjfuss

<p>How about a simple optical slave trigger? I often mix studio lights and speedlights using the Paul Buff Cybersync on the Einsteins and some Vivitar 285s (and/or Lumedyne / Quantum). If I exceed the number of wireless receivers on hand, I start adding the optical slaves. Of course, this is all with manual control of the flash output.</p>

<p>Another good incident when backup equipment made the difference was a vacation to San Francisco, Lake Tahoe and Yosemite. In San Fran, my Leica M3 and lenses were stolen from my friend's van and all I had left with me was a little compact Canon MC 35mm. That little P&S turned out to have a marvelous lens and the trip photos were great.</p>

<p>No major camera body failures but I have had smaller accessories crap out.</p>

<p>My biggest brush with equipment failure was at a friend's wedding. The "pro" disappeared right after the ceremony when they were expecting to do group shots - something about a flash sync problem with her Hassy. She went back into town to get another piece of gear. We were outdoors with the light fading beautifully and the B&G came up and asked if I had a camera to do some group shots. I asked if they wanted the regular 35mm stuff or the stereo slides. After explaining about 3D, we decided to go that way and had a blast setting up the shots. I was sweating bullets worried about getting the fill flash balanced and the exposure spot on for the Kodachrome. They turned out great!</p>

<p>For several years after that, I'd always bring the stereo camera when invited to friends' weddings and after clearing it with the hired pro - they were generally really cool with it because it was so different - I'd shoot for 3D and present them as our gift with a good viewer. It was always a big hit. Since going pro, I don't bring a camera unless I'm hired to do so ;-)</p>

<p>I use an 065x into a Quantum Qflash Model X head and it's been a great combination. Especially useful is the ability to dial down to as little as 1/32 power. Now that I have the Einsteins (a great choice), it'll still be useful for those times when I need a little accent light somewhere.</p>

<p>It depends. Seriously. Series 1 is a whole product line and while some were exceptional, some were real stinkers too.</p>

<p>As an example, the 70-200mm Series 1 zoom came in, what?, four or five different versions?</p>

<p>Are you considering any lens in particular?</p>

<p>Central Camera shows Type 101 film (from "Film for Classics") in stock. It's pretty spendy but it should work much better than taping pieces together!<br>

<a href="http://www.centralcamera.com/Film-for-Older-Cameras/">http://www.centralcamera.com/Film-for-Older-Cameras/</a></p>

<p>It's not really a good test to roll out a couple of shots and say "see, no flare!"</p>

<p>I used to work in camera design and QA at Kodak (24 years worth) and our standard product testing included flare and veiling glare. Part of that testing used a point source of light moved incrementally toward the camera's field of view (dozens of CONTROLLED shots). When things got bad they'd be really bad with visible flare but sometimes it would appear as a more general loss of contrast.</p>

<p>The effect of the built-in lens shade features was measurable and unmistakable.</p>

<p>Still trying to finish the roll in my Leica M6 which is currently sporting a Canon 50/1.2</p>

<p>I had the pleasure of hearing Steve's presentation as keynote speaker at the PhotoHistory Symposuim in Rochester, NY almost two years ago. It's a fascinating but sad story of a company too consumed with their existing business model to fully grasp the importance of digital.</p>

<p>First off, check the sync voltage rating for your camera. Some older flash units are well over what the camera can handle and will fry the camera circuits. I've seem the insides of a Nikon N90 fried by an old Vivitar 283... it's UGLY. A quick Google search suggests that the Bowens 400D has a moderate sync voltage (under 35v) but it would be best to measure yours with a good voltmeter. Earlier models like the 400B have a high sync voltage and require something like the Wein Safe Sync between the camera and flash.</p>

<p>Connect to the flash sync jack on the camera (a "PC" connector) and then to Safe Sync (if needed) and then to the Bowens (a 1/4" tip/ring plug). The monocell is an optical slave trigger that plugs into the 1/4 jack on the other flash.</p>

<p>Alternatively, you could use any of the wireless triggers but the voltage concern must still be adressed.</p>

<p>If they haven't been used in a while, it's a good idea to try "reforming" the flash capacitors. This involves cycling the flash power on and off for increasingly longer intervals - starting with just one second and going up from there. There's a forum posting out on the 'net that describes it but I cannot find the link right now (google is your frieind).</p>

 

<p>The cameras I've owned with red bellows are only red on the outside layer. The insides have all been black.</p>

<p>I adapted an old Calumet 4x5 to take my Canon 5DII. I mostly use front tilt for shooting jewelry and other table-top studio work and find that it's enough of an advantage to shift the plane of focus that it offsets the less than optimal lens. FWIW, I'm using Bronica PS lenses for now.<br>

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I'm keeping an eye out for a good deal on a Cambo Ultima 35 or 23 for version 2. Eventually, I'll be able to afford those superb lenses and maybe the medium format digital back.</p>

<p>A shellac based cement like Micro Kwikset might work. It's available in music stores (it's a pad & cork cement for brass & woodwinds). It's a very slow curing cement so you'd need to secure the leatherette in place overnight. It's easily reset with heat and dissolves with alcohol.</p>

<p>It comes down to demand. How badly do they want YOU? How many other photographers in your area want to work that night? How many opportunities are there for wedding photographers on that might in your area?</p>

<p>I know bands that make $400 or less on an average gig that charge upwards of $2000 or more for New Years Eve. If you're good (in demand) and they want you, you're in a very good position.</p>

<p>Boy, I could set a new speed response record, seeing this just one minute after it was posted but i don't really shoot Minolta. Nice offer Tom, I hope you find them a good home.</p>

<p>I've used a sheet of silver foil covered mat board from the art store. It's only 32x40 inches but it can be easily scratched up and distressed. It's dirt cheap so a single use is no big deal.</p>

<p>I'm hooked on Hahnemuhle Photo Rag Pearl (320gsm). I've got it dialed in "just so" and love the prints off my Canon Pixma Pro 9500. To me, it has the right amount of texture - enough to be interesting but not enough to dominate. The weight of the paper makes the prints hang beautifully behind a mat with simple photo corners.</p>

<p>I'd love to chime in and recommend the Einsteins too but mine won't get here for another few days. I ordered last Friday so I think they're getting the backorders caught up!</p>

<p>No thanks, I'm full. This is one of a dozen group shots of a friend's collection!</p><div></div>

<p>Okay... how about something a bit more useable? Here's the Contax IIIa (color dial) - note the sales receipt from 1955!</p><div></div>

<p>I suppose you can't get much more classic than a big honkin' lens from the mid-1800's. Sadly, this one is just the barrel - no glass.</p><div></div>

<p>Kiki, thanks for posting the question! It's an intrigueing assignment and I may steal the idea for my next self-assignment.<br>

It seems to me that there are generally two interpretations to be found in the answers so far. The first involves shots that describe you from an external view - self portraits and the things around you. The second is, in my opinion, vastly more difficult - saying something about how you think and feel through the photos. How do you view the world? As a big, friendly playground? An intimidating, scary place? A treasure box of new experiences to be unwrapped? Do you tend to see the best in people or the worst?</p>

<p>My approach for exhibition is to add a text layer that prints the year, title and my name in the margin which is covered by the mat. Depending on the show, I'll put the same information on the mat just below the opening.</p>

<p>Rick, the part was sent out in today's mail. It's not perfect (scratched) but it's the right one and it will hold everything together.</p>

<p>Just triple digits? Currently on hand or running total?</p>