On Mon, 22 Apr 2013 07:12:25 -0500, Richard
wrote:
On 4/22/2013 6:40 PM, Michael A. Terrell wrote:
"Steve W." wrote:
Gunner Asch wrote:
On Sun, 21 Apr 2013 22:29:41 -0700, wrote:
Tripods I have. Probably 5-6 of them. I used to shoot a lot of 4x5
film...and good tripods are pretty important.
I guess one of my big problems..is both the after effects of the
stroke..and most of my creative stuff was done on film. When I was
reading the posts about using Florescent lights..my hackles started
rising up and I was thinking.."these guys are ****ing nuts!!"...then
it dawned on me...digital..aint film. Green photos/florescent
light... with film...aint necessarily green with digital.
And for that..I want to thank all of you for knocking me on my ass and
making me think. Truely.
Ive never done more than taken "snapshots" with digital...so its
something Im going to have to remember....digital..isnt film.
I have a degree in photography..shrug..but it was 25 yrs ago. Hell..I
taught classes at the local JC.
I spent most of my time doing B&W with some color mixed in...all film
since then. Granted..I won a number of awards and took the county fair
prizes a few times...but...it wasnt with digital. I wasnt half bad at
all. And I still have the "eye", still remember what the "rule of
thirds" is and so forth.
I just read an ad that was pushing a rather neat folding lightbox in a
briefcase and they were using florescent tubes...and a small Sony
digital camera..and it just simply CLICKED..that all that film stuff
I learned..doesnt apply today. That ad for the backround setup that
you guys posted..had spiral florescents..wondering what the hell those
were for..not bright enough for primary lighting..and Im scratching my
head looking for the strobes..and..there wasnt any. CLICK!!
Thanks guys. It took a bit..but..I think Im catching on...finally.
Gunner
There is a lot of film stuff that applies to digital. But these days
it's really easy to do editing outside the lab. One of the great things
with digital is it almost eliminates the old exposure bracketing of
film. No need to shoot over/under and then search for the correct one in
a stack of film. Instead you can see the image you have real time and
deal with it.
As far as color shifts caused by lights. There can be an entire new set
of rules depending on the sensors in the camera, the color settings of
the monitor and printer. There are also finite color settings to deal
with, unlike film with it's infinite color spectrum. Same issue with B/W.
Small, color corrected halogen lamps& diffusers do a nice job. My
background is in TV studio lighting and live TV camera work. You can
buy 150W lamps in rectangular housings, but I want to see how the 10W
LED versions will work. Mount them from the ceiling of the shop, and
paint part of the wall a light color.
One of these:
http://www.ebay.com/itm/111057953751
Not necessary anymore for digital work.
But if we wanted to be really anal about light color,
three circuits of LEDS (RGB) with PWM control for each
would give darned good color control.
Assuming you had "color adjusted" eyeballs.
When I was teaching..it never ceased to amaze me the color perceptions
that were so widely varied among people.
Something would come out of the developer with a distinct red/orange
cast..and the student would be tickled ****less. They couldnt see the
color being "off"
Its like having someone in the house adjust the TV for color. Cringe!
Some folks have a wide range..others..swung to one side or
another..and in a few..badly. Those folks tended to be somewhat
colorblind and simply couldnt see too much red etc etc.
We would all be gagging at the off colors in the photo..and the
student would be so proud of it. I tried to steer those folks into
B&W.
You might find this interesting
http://ronbigelow.com/articles/color...rception-3.htm
http://n4c.yuku.com/topic/124/Re-How...1#.UXXj6cfh6So