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rapfoto

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Posts posted by rapfoto

    Polaroid Goes Belly Up

    in Medium Format

    Posted

    Lions and tigers and bears, oh-my! Lions and tigers and bears, oh-my!

     

    Unfortunately I have a love/hate relationship with Polaroid . I have to use them for the numerous reasons Moses stated, but I always have my eyes open for a reasonable replacement. Right now there isn�t one, and it sure as Hell isn�t a digital camera or back!

     

    You zero�s and one�s people need to get out more. When�s the last time you took your digital back out on location in Baker, California and shot fashion for in-store wall displays and editorial use? Never, that�s when. Digital is great for studio shut-ins, weekend warriors and industry pundits who like screwing around with new toys. But like it or not, digital will never replace film �visually� or for sheer convenience.

     

    It may wipe out film for many other reasons, but you just can�t get digital to replicate the subtleties of differing film stocks. And before you digital-nazis go off the deep end, re-read that last statement. If you do not agree, then you have critically limited experience and rose-colored [adjust your CCD there buddy!] glasses on. I shoot over a dozen different film stocks all based on the outcome I want for each client/shot. Sure, I could spend even more hours than I do already �tweaking� the image in Photoshop, but what�s the point when it can be done in a nano-second in camera. Besides, some things just can�t be replicated digitally, at least on an economy of scale that most clients would spring for. Oh, and don�t even go down the road of �digital is sharper�, frankly, who cares. There is more to imaging than sharpness, but I guess that if your work lacks content, then one must grasp at something.

     

    For you non-commercial shooters out there saying �not to worry� and regurgitating a failing companies mantra may make you feel better, but open your eyes and look at what�s really happening. Seen any PRN lately? How about VPS III? Ennnnnt! No you haven�t. Your dismissal of the facts is akin to me telling you that there will always be plenty of gas, so just relax. Meanwhile, the gas shortage is growing more ominous daily, and a gallon of unleaded is going for $5 and climbing.

     

    Polaroid�s crappy management, and their propensity [just like Kodak �hail to the yellow peril!] to sink earnings from a profitable division [film] into areas that they do not have any expertise [hmmm, like DIGITAL!] or consumer following [what brainiac came up with the marketing plan for Polaroid anyway�. have ya� seen their site lately? How about those nifty instant party cameras with the $15 for 10 shots film?] is ripe with blatancy as to its outcome.

     

    Wake-up people, Polaroid may be doing some sort of juggling legally to side-step their creditors and keep the �tubed franchise� floating long enough to find an eager buyer [probably Fuji for the film division �well, we can hope, but they ARE solvent. Kodak will probably RUN to blow their wad on Polaroid�s digital division �truly a match made in Heaven].

     

    But make no mistake; there will be film shortages. I bought over a fifteen hundred bucks worth to be able to continue doing business until a solution pop�s up. Hell, they may set a trend here that might even help Kodak pull it�s ass out of the fire ---feign death so that everyone who is terminally tied to your products rush out and clear the shelves of all of your goodies in true American survivalist fashion. Are ya� reading this Rochester?

     

    Henny Penny ---out!

    Fashion stuff

    in Portraits & Fashion

    Posted

    Mike, thanks, and you're close.

     

    <p>

     

    One head with standard 'zoom' reflector [Profoto] racked all the way

    out for the tightest beam. On top of that, I used 18" of black-wrap

    to form a snoot. The fill is provided by the off-white building next

    door.

    Body Paint

    in Portraits & Fashion

    Posted

    <IMG SRC="http://www.photo.net/photodb/image-display?photo_id=228772&size=lg" WIDTH="338" Height="433">

     

    <p>

     

    Sorry for the bad scan. If I can ever find the original trany I'll get a decent scan made, but for now, this is it :{

     

    <p>

     

    This was shot about 4 years ago in Sedona, Arizona for a calender project. The theme was inspired by Native American Kachina doll patterns, and then body painted onto the models [which took anywhere from 3 to 7 hours for each design]

     

    <p>

     

    Something different, but I'm working on my street skills, so look out...

    Smokin'!

    in Portraits & Fashion

    Posted

    First off, thank you comrades for the kind words.

     

    <p>

     

    I�ll try and answer your questions, but in no specific order:

     

    <p>

     

    1) KR1.5; Alan, you�re exactly right. I use Heliopan and B+W filters.

    It is a little stronger than your typical skylight or 1a filter. Just

    the ticket for the �blue� light of an overcast day. Now, it probably

    wouldn�t be ENOUGH warming if I didn�t do a little trickery in

    development. I always run my people shots [when shot on transparency

    film] with a modest push to warm them up a bit. My typical scheme is

    to run the film with a +1/3 stop push. The extra time in the first

    developer gives me just a kiss of added warmth, and then the KR1.5

    just brings me back to where I usually start from [it neutralizes the

    scene to my base color temperature so to speak.]

     

    <p>

     

    I�m not a big fan of on the lens filtration, and typically would gel

    each light source, this avoids contaminating the entire scene with a

    cast from the lens filter, but in instances like this, a little boost

    to the general scene works well, and besides, I still haven�t figured

    out how to keep the Sun from melting my Rosco's when I hang then too

    close!

     

    <p>

     

    <c>

    <IMG SRC="http://www.photo.net/photodb/image-display?

    photo_id=216429&size=lg" WIDTH="300" HEIGHT="202">

    Different shoot, and lighting set-up, but this is a Octabank in use

    </c>

     

    <p>

     

    2) The Octabank is a special, seven-foot in diameter reflective soft

    box. As Edward mentioned, it is a specialty piece of gear, and

    Elenchrom charges accordingly. However, it is very unique in that it

    is set up like an umbrella/soft box hybrid. It first shoots the light

    into a reflector [the back of the Octabank], then it diffuses the

    light as it exits the front of the device. It throws a very unique

    light, and has been broadly used by many photographers. The secret is

    to have it close enough that it is soft, yet far enough away to give

    a slightly hard edge to the shadows [penumbra].

     

    <p>

     

    <c>

    <IMG SRC="http://www.rapfoto.com/images/RAZOR%20cover.jpg"

    WIDTH="150" HEIGHT="198">

    The shot THEY used� hmmmm, typical, I would have picked another one,

    but�

    </c>

     

    <p>

     

    3) The shoot was for RAZOR Magazine, which is a competitor with

    Maxim, and that sort. The styling was to be one that, while she was

    serving her �time� for unknown crimes, she somehow still maintained

    some sort of composure and aesthetic beauty. She is supposed to be a

    little �hard, and a little �menacing�. We had the �ball� with us,

    but because this was a cover shot, the A/D [art director] was

    concerned it would complicate the placement of the text� so we

    dropped the ball.

     

    <p>

     

    All in all, this is really close to my initial vision, concept, and

    design. When dealing with clients, super expensive models,

    seamstress� for custom made wardrobe items, and top of the line

    production artists, it can get a little busy keeping everyone focused

    on the �prize�. You have to be very strong willed [my girlfriend

    might say a**hole] and believe in your vision 120% to pull these

    kinds of shots off successfully. I�m glad that it did. I really like

    this series, though like everyone else, if I had it to do over again

    I would�..

     

    <p>

     

    Best regards,

     

    <p>

     

    RA

    Idaho Wildflowers

    in Nature

    Posted

    Hi Douglas,

     

    I have a home in Sun Valley [two hours northeast of Boise] and have been in the backcountry as soon as the snow melted off, which was about a month ago. I was up to 10,000 feet yesterday, going through several high alpine meadows at various altitudes, and everything is still pretty bare above 7500 feet or so. I saw a couple of early blooms, but nothing to get excited about. The Aspens are just now getting leaves... all in all, unless the west side of the range has something going on differently than here, I would say you're about six weeks too soon.

     

    Sorry for the bad report, maybe someone in Boise will correct me. Try and enjoy your trip anyway, the weather is perfect!

     

    RA

    Smokin'!

    in Portraits & Fashion

    Posted

    Thanks Edward,

     

    <p>

     

    I use 12oo w/s packs. This was one head, at full tilt.

     

    <p>

     

    You are too fast, I was resubmitting this post because I screwed up

    the HTML, and her legs are a little stumpy....

     

    <p>

     

    Moderator, please kill this one if you can...

    Smokin'!

    in Portraits & Fashion

    Posted

    <IMG SRC="http://www.photo.net/photodb/image-display?photo_id=223196&size=lg" WIDTH="432" HEIGHT="554">

     

    <p>

     

    This is model Amber Smith, shot for the cover of a magazine. We were about two and a half hours out of LA, in the Lucerne Dry Lakes area.

     

    <p>

     

    the day was gloomy, and everyone was uptight because of the weather. With a little bit of underexposure, and an awesome model, it turned out okay!

     

    <p>

     

    Tech stuff:

    Hassleblad 500 EL/M, 120CF, Provia 100F [at ei. 80], and a KR1.5 [it was raining!]. Lighting is ambiant [about -1.75 stops --underexposed] and studio strobe --shot through an Octabank. Handheld, 1/60 @ f8.

    hasselblad in lowepro tlz bag

    in Medium Format

    Posted

    Robert,

     

    For long backpacking trips that aren't photographic in nature, I use the LowePro Street and Field long lens case #4. In that, I can get a body, w/wl finder, back and either my 50/fle with no hood, or an 80CF with the hood, in it. It's pretty slick, in that all I have to do is unzip the top and the whole rig just slides out, very quick access. I can even get a small meter to squeeze in there if I try.

     

    The case easily lashes to a day or back pack.

     

    Good luck!

     

    RA

    Reliable Labs for 220 in Phoenix/Tempe, AZ?

    in Medium Format

    Posted

    Photo Concepts

    3001 East Thomas Road

    PHX

    602.957.8055

     

    Ask for Robin, Mike or Mark. They are a small, family owned business that do very consistant E6 processing, awesome type R prints, have very competitive prices, and great customer service. When I lived there, that was the lab that most pro's in the know used.

    Second Hassey Body

    in Medium Format

    Posted

    The asy solution to the original Hassy batteries fo rthe ELM's is to send it to Hasselblad USA for a 'AA' battery conversion. It costs 4285 [return shipping vis FedEx included, AND, they go through the camera and make sure it is up to spec's, anything they find they give you the option to fix right then and there] and it takes two weeks for the work. A fresh set of 'AA's run for well over 2000 exposures, and cost $5 for a set of a some premium brand to replace the dead ones when needed. I'm sure that most of us could find 5 'AA' batteries once the camera started to slow down [at which point you still have 20 ~ 30 ROLLs left of life in them].

     

    End of subject! A mint- 500 EL/M is usually $550 ~ $750, add the 'AA' conversion and at the most you're at a $1000.... that's a lot less than just a 503cw body alone.

     

    But I have my eye on a cool 201 + winder....

    Something came off my Hasselblad back...

    in Medium Format

    Posted

    Just a thought. It may not be from the back at all. I had an old 2000 fcm that spit out a piece similar to what you are talking about. And I think I read here of another forum member with a similar experience with an older 200x camera as well. What vintage/model is your box? Maybe this relates to you as well?

    Handling: 503CW+Winder vs 555ELD. 555ELD mirror.

    in Medium Format

    Posted

    Well, since I'm probably the biggest MF'er around here, let me tell you my recent experiences.

     

    The 555/553/500 EL/M's et al, are best suited to hold in the standard, viewfinder up, position. Like when using the 6x6 format. I see the advantage of the 503cw + winder for shooting the 645 format, when you need to re-orient the camera for verticals.

     

    I shoot a lot of 6x6, and have gravitated to the motorized bodies exclusively. I like how they feel, and I especially like where they put your hands when operating them.

     

    The motorized bodies do not have an instant return mirror per se, but they do "automatically" wind forward the mechanism/film after the release button is released, so for all intensive operational purposes "yes."

     

    I found the 503 + winder to handle differently enough that I didn't like it for 6x6 shooting --compared to my EL/M's, but for 645 with a 90* prism, it is probably hard to beat. Personal preference, and probably due to the fact that I have shot with the EL/M�s so much.

     

    Everything from the 500 EL/X forward has the long mirror [500 EL/X, 553 EL/M, 555 EL/D].

     

    Hope that helped, e-mail me off post if you want more ramblings on this...

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