<p>Wow, thanks for the responses!<br>
At this point I will actually be able to mess around with both the Fuji 105 AND the Nikon 90 f8 with and without the 3b. So, I'm pretty pumped. One of those lenses is going to get returned or sold, though -- I can't keep both of them.<br>
As to lighting, it seems clear that I should use polarizers. Or not. Or diffusers. Or not. :-) <br>
Truthfully this project can sacrifice brush strokes in favor of reducing glare, so we’ll see what turns out to be optimal. These are newly created Byzantine style icons in an Orthodox church. The 3-D aspects of the work (brush strokes etc.) are of lesser importance. <br>
My own preliminary attempts last year with my DSLR came out best just using two bare tungsten bulbs placed to rake across the surface of the painting. I felt my 24x36 softboxes were too small for the job, but I thought the bare bulbs might bounce the light around enough to cover the whole area.<br>
This approach worked pretty well for details but not for shots of the whole work, which is probably 12' x 12' and extends up the wall and into the curve of the vaulted ceiling. The camera will be across the church, which is only about 20’ wide. There are four of these large frescoes, and the rest of the church interior is covered with others of varying sizes and curvatures. I expect the project to take a month or so, using both 4x5 film and the DSLR.<br>
I'm thinking I need more bare bulbs to just fill the space with as much light as possible. Or set up a half dozen speedlights without any modifiers.) What do you all think?<br>
On another note: I have used my DSLR as a pseudo-light-meter to determine 35mm film exposures, but I’ve never done it with large format. Any pitfalls here for the unwary? <br>
I have to tell you I’m very grateful for all of your responses so far.</p>
