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  1. #41

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    Quote Originally Posted by df cardwell
    (snip)

    A neat technique, instead of using hotspots, is to start with a softbox and add DOTS ( little gobos ... umm, go-betweens ) casting shadows. It all adds to the same thing. Having the romantic feel is the thing, and being drunk on light helps.

    wow, great thread...

    Kino, my boy, we g-gotta cross paths this summer
    Don (if I may), sounds like you light like Joseph Von Sternberg! Those "von-type" guys really made some superb images.

    Yes, I look forward to meeting you perhaps during a Midwest APUG event and having a long chat about lighting!

    Cheers
    Frank W.

  2. #42

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    Quote Originally Posted by Christopher Nisperos
    Back to Hollywood lighting. Ladies and gentlemen, a scoop!. A cinematographer friend of mine turned me on to a new product, the cuculoris (google the word, if you're unfamiliar). Not new, you say? Take a look.http://www.lightbreak.com/

    I got one of these as a sample because I'm writing another article on lighting. They're great, they're cheap and they give you lots of ideas for different shots.
    Yeah, we used to whack a branch off a bush or take some thin masonite and a knife or a bit of cinefoil and make our own on the spot, but this looks like fun. Practially anything that won't burst into flame is fair game for a cookie...

  3. #43
    Christopher Nisperos's Avatar
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    Quote Originally Posted by Kino
    (RE: cuculoris's) Yeah, we used to whack a branch off a bush or take some thin masonite and a knife or a bit of cinefoil and make our own on the spot, but this looks like fun. Practially anything that won't burst into flame is fair game for a cookie...
    LOL! That works, too, I guess. I used to cut, twist and gaffer-tape together pieces of cine-foil and tape it to a frame I'd made out of a couple of hangers I'd twisted into a frame. It worked OK, but my "Frankenstein cookie", as I called it, used to always - - - S L O W L Y - - - S L I P - - - during exposures. Nice blurred shadows (and not a bad idea for a technique, eh?).

    The Lightbreaks are nice because they're lightweight and you can even tape them to a window a shoot a spot through them from exterior to interior, augmenting or replacing natural light and imitating the shadows from outside tree branches. Fun and creative stuff (just don't do it on a rainy day!).

  4. #44
    Christopher Nisperos's Avatar
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    Quote Originally Posted by df cardwell
    Christopher, I don't know when I'll be back to Paris.... but I'll hunt you down and we can talk about Atget, Marville, and glossy make-up
    d
    No problem! I'll bring us to Willi's Wine Bar (it's on you!), and we can chew the photographic fat while washing it down with France's finest Bordeaux! The next day, if we can still see straight, I'll show you were Atget used to live.

    In 1999, I started a French association called L'esprit d'Atget, to promote the use of traditional —and, particularly, large format— photography to document buildings and other things of heritage which are destined to disappear (this is deliberately broad enough to include everything from hieroglyphics to people who work in rare crafts). An ulterior motive of the association is to make it easier for photographers with tripoded cameras to shoot in parks, etc. here in Paris, without always being hassled for a permit.

    Here in Cartier-Bressonville, the association went over like a lead
    montgolfier*. At the beginning, I called several important LF photographers to become "honorary members", hoping that this would attract more members here in France. At the time, however, I don't think too many people here knew who George Tice or Al Weber were. Times have changed and I'm thinking about revving up the association again. Anybody who is interested is welcome to contact me off thread (out of respect to the topic).

    Thanks, again, D.F. ... See ya when you get here (hic).

    * a montgolfier is a hot air balloon, named after its inventor
    Last edited by Christopher Nisperos; 05-06-2006 at 04:50 PM. Click to view previous post history.

  5. #45
    df cardwell's Avatar
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    I think it was Jay Maisel who first began carrying a 'survival blanket' ( a big sheet of mylar that packs down very small ) with his gear to sparkle up well lit - but dull scene.

    I copied him as soon as I heard about it. BRILLIANT

    A great tool for flinging some juice into a gloomy scene is a Matthews reflector board, a durable piece of foam coated on both sides with reflector material of different qualities. I used to plant one in the neighbor's yard when I needed to shoot some sunshine through a quiet, but sometimes dull, victorian window. A variety of old curtains, with different patterns, made neat patterns that provided some visual and psychological interest in the picture.

    Some out-west shooters I knew used the colorado / new mexico bright sun as fill, then used a reflector or portable strobe as the 'main light'. It's a great way to put some dazzle into the image texture.

    If you want to try out the reflector techniques, without investing in cinema quality gear, go to a building supply and get a sheet of insulation board that has a nice silver layer of reflector on one side. Cheap, durable, and pretty enough for all normal purposes.
    "One of the painful things about our time is that those who feel certainty are stupid,
    and those with any imagination and understanding are filled with doubt and indecision"

    -Bertrand Russell

  6. #46
    Lachlan Young's Avatar
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    Don,
    I was wondering how your testing of Edwal 10 is going (yes, I will give it a go just as soon as I can get enough cash together to buy some glycin - buying a Speed Graphic tends to heavily deplete the finances ) and whether you feel it is a good developer for this particular look (you know, the 'Glycin look' and all)

    Thanks,

    Lachlan

  7. #47
    df cardwell's Avatar
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    Lachlan

    Edwal 10 is a potentially useful variation of D76. The glycin gives (depending on how you look at it) a long and never-ending highlight rise without going through the roof and 'blocking'. Using minimal agitation, it is just like D76, except you get stronger midtone separation, and glorious high lights.

    BUT, like most of the developers made for a certain time, this 70 year old developer is not really anything I'd suggest for most folks. The fashion of the time was for a much higher contrast than we like today. Using TMY or Delta400, with DDX, Aculux or Xtol, you can achieve a similar look with off the shelf materials and not have to pour the energy into mastering a developer from another age, and be able to place that look on current papers without breaking your back.

    it would be like selecting an automobile for a weekly drive from Scotland to London: a boring modern sedan with plastic interior, a boring auto transmission and a boring 6 cyl engine... or a vintage Bentley. I suppose if I could have Jeeves or Bunter along... as well as 1938 roads, I'd go with the bentley. But for today, well, the boring sedan and hope to survive the trip.

    Pictured, the automotive analogue of edwal 10:
    "One of the painful things about our time is that those who feel certainty are stupid,
    and those with any imagination and understanding are filled with doubt and indecision"

    -Bertrand Russell

  8. #48
    djkloss's Avatar
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    Two books of interest if you can find them...

    "Pictorial Lighting" by William Mortensen - Camera Craft Publishing Company - Copyright 1935

    "Lighting for Photography - Means and Methods" by Walter Nurnberg first printed 1940
    The Focal Press

    -good luck-
    Dorothy

  9. #49
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    Quote Originally Posted by df cardwell
    Hey Kino

    Why do they call it pancake ? ( you owe me a milkshake for the softball.. )

    .

    Hi

    I think the "pan" in pancake came from panchromatic. Up until fairly recently, we could still get Max factor foundation graded like "pancro 28" - the numbers indicated whether the makeups' shade. The make-up people didn't know that 'pancro' had anything to do with photography at all, in particular BW panchromatic photography, usually under tungsten lighting.

    Enclosed: my attempts in Hollywood-style portaiture. Both lit with tungsten 1K and 2K fresnel spots. Female portrait was shot on Kodak Tmax 100 film through an old Contax D with a 58mm Biotar lens. The male portrait was shot
    with an old Zenit 3M through a Helios 85mm lens at f/1,5, on Lucky pan 100 film.

    Jay
    Attached Thumbnails Attached Thumbnails portret000.jpg   portret004.jpg  

  10. #50
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    Quote Originally Posted by df cardwell

    Why do they call it pancake ? ( you owe me a milkshake for the softball.. )

    .
    The makeup they used in those days was not in a bottle, but rather in pressed powder in something called a compact. The applicator was a round cloth pad shaped like a pancake. If my grandmother were still alive (born 1900) she'd have an explanation. It was the same thick stuff they used to pat on their face to get rid of the shine that she used, and we used in the late 60's early 70's.

    I could be way off, but that's my understanding...

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