Rafael Molina-Rodriguez (Rafael Molina-Rodriguez) on mon 12 oct 98
------------------
Clayarters :
I'd like to share my experience with shooting slides and see if perhaps =
those on
the list might have some suggestions to refine my current way of working.
I use a Nikkon F3 camera with a 55mm Micro-Nikkor lens. I forgo the meter =
in
the camera and use a handheld light meter and always bracket three exposures=
to
make sure I get at least one good exposure. Fuji 64T tungsten is my film
preference (I tried the Kodak 160 tungsten, but IMHO it doesn't compare to =
the
Fuji as far as color). I use Superior Seamless paper in the Dawn Grey color=
( I
have used the Dull Aluminum paper, but felt it gave a bluish cast with the =
film
I was using and the place where the film is being processed). The artwork =
is
illuminated by a homemade light box with six 250 watt 125 volt 3200 k bulbs
suspended over head (lightbox design courtesy of Jason Hess). I illuminate =
the
sides and lower portions of some artwork with homemade reflectors (foam core
covered with aluminum foil).
I'm relatively satisfied with the results, but I am looking for ways to =
improve
my photography. I've heard that a 5000 k light and daylight film might =
achieve
better results. A strobe setup is another method I may try. I've also been
told to experiment with lens filters. The learning curve is steep, but I =
think
I'm on the right track. Any comments or suggestions will be greatly
appreciated.
Rafael
Janet H Walker on wed 14 oct 98
Hi Rafael.
My understanding of how to photograph pots and things like that all came
from Russel Hart's excellent book. (Check abebooks.com folks because it
is unfortunately out of print.) I would say that your choice of film and
lights and background is all fine.
You say:
...Fuji 64T tungsten...250 watt 125 volt 3200 k bulbs...
...heard that a 5000 k light and daylight film might
The daylight bulbs are more expensive (MUCH more) and hard to find. I
would ask those who recommend this change just what differences you might
expect to see as a result of making the change. And decide whether those
differences have any impact on the things you don't currently like about
your own slides. After all, what is important with the lighting is
whether you have enough and whether the light is matched to the film. If
so, then you should fix other things before worrying any more about the
light.
...Nikkon F3 camera with a 55mm Micro-Nikkor lens...
I have found that a 50 mm lens doesn't let me fill the frame well enough
with the piece. But maybe this is a modern lens with capabilities I
don't know about. What I use is either an 85mm lens for larger pieces
(more than 10 inches) or a 55 mm lens with a focal length doubler (a
small not very expensive gadget) to make it into a 110 mm equivalent.
The doubler costs you an f-stop but with through the lens metering, it
is easy to adjust to.
See if you can find Russell Hart's book. It is very straightforward
about what you need to know and even better tells you which things you
don't need to worry about.
Cheers,
Jan Walker
Cambridge, MA USA
Tom Wirt on wed 14 oct 98
>>>What I use is either an 85mm lens for larger pieces
(more than 10 inches) or a 55 mm lens with a focal length doubler (a
small not very expensive gadget) to make it into a 110 mm
Janet is entirely right here. You should try to get your focal length as near
100mm as possible. It renders an improved appearance of the product (pot)
because the longer length flattens the apparent depth somewhat. The downside is
that your camera to pot distance is greater.
Tom
Louis Katz on thu 15 oct 98
Hi Rafael,
I wouldn't want to try to get you to change films but if it comes to it and you
Kodak again only use Ecktachrome 64 Tungsten PROFESSIONAL.
The lower ASA will give you smaller grain tha the 160 .
The difference between the professional and non professional versions is this.
The professional version is shipped when the color balance is correct and held i
refrigeration at the stores where it is sold.
The non professional version is shipped after it is manufactured and it is assum
that it will be used in 6 months, when its color balance will be correct.
Meisels in Dallas has had Perfect grays for me every time I have had film proces
there over the last few years. Anytime your background comes out the wrong color
is your light, your film, or your developer. If you buy professional film from a
reputable dealer, are careful what materials you reflect of of , have a neutral
colored slide studio, and get your film developed at a high quality professional
film developer you should never have a color balance problem.
Going to Daylight film and bulbs will give you the ability to also use Flash, bu
you still need professional film and a good developer. Daylight incandescants ha
a shorter life than Daylight tungsten.
Always use a lense hood and even then it might help to shade it with a board as
shoot.
Incandescant bulbs have a limited life after which the color balance varies
noticably. 5 or ten hours.
Keep you Eyes peeled for quartz photography lights and buy correct bulbs for the
They do not change thier color balance.
Rafael Molina-Rodriguez (Rafael Molina-Rodriguez) wrote:
> ----------------------------Original message----------------------------
> ------------------
> Clayarters :
>
> I'd like to share my experience with shooting slides and see if perhaps those
> the list might have some suggestions to refine my current way of working.
>
> I use a Nikkon F3 camera with a 55mm Micro-Nikkor lens. I forgo the meter in
> the camera and use a handheld light meter and always bracket three exposures t
> make sure I get at least one good exposure. Fuji 64T tungsten is my film
> preference (I tried the Kodak 160 tungsten, but IMHO it doesn't compare to the
> Fuji as far as color). I use Superior Seamless paper in the Dawn Grey color (
> have used the Dull Aluminum paper, but felt it gave a bluish cast with the fil
> I was using and the place where the film is being processed). The artwork is
> illuminated by a homemade light box with six 250 watt 125 volt 3200 k bulbs
> suspended over head (lightbox design courtesy of Jason Hess). I illuminate th
> sides and lower portions of some artwork with homemade reflectors (foam core
> covered with aluminum foil).
>
> I'm relatively satisfied with the results, but I am looking for ways to improv
> my photography. I've heard that a 5000 k light and daylight film might achiev
> better results. A strobe setup is another method I may try. I've also been
> told to experiment with lens filters. The learning curve is steep, but I thin
> I'm on the right track. Any comments or suggestions will be greatly
> appreciated.
>
> Rafael
--
Louis Katz
lkatz@falcon.tamucc.edu
http://www2.tamucc.edu/lkatz/lkatz/
(512) 994-5987
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