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#1
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Where can you find a lighting for the home photos?
Any cheap ones would be fine. Just for fun and make the potrait
photos less flashlight dependent. Thanks. |
#2
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#3
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For a little more money, you can buy "Halogen Work Lights" on
collapsable 3-legged stands that work pretty well. They show up on sale in the 20 to 30 dollar range (cheaper without the stands.) They are rectangular housings with a built-in reflector and glass cover. They have very high light output (300 or 500 W tubular lamps). I find it best to remove the protective wire grid on the front to reduce patterns in the light. I use two of those to photograph paintings and other small to medium size inanimate objects. Their color temperature is remarkably close to tungsten photofloods; I've had good results with Tungsten Ektachrome slide film, as well as with the digital camera. Dave T Good idea, just one additional add on to that, which I am going to try as soon as I get a chance. How about putting and additional piece of glass in front of the halogens that is similiar shading to a #80 filter. this would correct some of the color balance issues. I imagine I could find just the piece of glass at a stained glass store that also makes lamps and stuff. Just an Idea, think it would work? |
#4
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On Thu, 02 Dec 2004 08:21:30 -0500, "Kevin "
wrote: Good idea, just one additional add on to that, which I am going to try as soon as I get a chance. How about putting and additional piece of glass in front of the halogens that is similiar shading to a #80 filter. this would correct some of the color balance issues. I imagine I could find just the piece of glass at a stained glass store that also makes lamps and stuff. Just an Idea, think it would work? Maybe. I don't know if heat resistance might be an issue, those lamps get quite toasty. My digital (Canon A80) can do manual white balance, in addition to auto and a tungsten setting, so there's not been much incentive to try that. I have used an on-camera 80B with film. I've no idea how close to the ideal color you could come from stained glass suppliers; but maybe close is sufficient. For even lighting you might want a flat smooth glass, as opposed to the rough or dimpled stuff I've seen in stained glass work, but it may not matter. I know that the protective wire grid two or three inches in front of the glass definitely created some shadow patterns, that's why I take it off. DaveT |
#5
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DaveT wrote:
On Thu, 02 Dec 2004 08:21:30 -0500, "Kevin " wrote: Good idea, just one additional add on to that, which I am going to try as soon as I get a chance. How about putting and additional piece of glass in front of the halogens that is similiar shading to a #80 filter. this would correct some of the color balance issues. I imagine I could find just the piece of glass at a stained glass store that also makes lamps and stuff. Just an Idea, think it would work? Maybe. I don't know if heat resistance might be an issue, those lamps get quite toasty. My digital (Canon A80) can do manual white balance, in addition to auto and a tungsten setting, so there's not been much incentive to try that. I have used an on-camera 80B with film. I've no idea how close to the ideal color you could come from stained glass suppliers; but maybe close is sufficient. For even lighting you might want a flat smooth glass, as opposed to the rough or dimpled stuff I've seen in stained glass work, but it may not matter. I know that the protective wire grid two or three inches in front of the glass definitely created some shadow patterns, that's why I take it off. DaveT My experience is the hot halogens put out enough light they can be bounced off walls and whatnot, which diffuses the light. Among the whatnots I have used are sheets of foamcore in various colors, allowing some interesting changes. Standard white or gray foamcore panels are useful and durable. I have old tripods with coathanger-and-clamp arrangements to hold the foamcore panels in position. I think I got the spring-loaded clamps from Radio Shack, twenty years ago. They are like jumper cable clamps but about five inches long and were meant for some kind of electrical projects, came four in a package. With more than one panel or light, distance from the subject can adjust the intensity of light from a side. You can get your Rembrandt lighting pretty easily and effectively. The panels are not restricted to hot light: flash can be bounced off them, too, but they have to be a bit closer to the subject, or pretty powerful. -- Frank ess |
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