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  1. #11
    rbarker's Avatar
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    Oct 2004
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    Rio Rancho, NM
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    I agree with David - Polaroid is good for checking lighting and composition, but it takes a lot of experience to be able to translate its color rendition to what the film will look like. Although PolaPro 100 color is more accurate in its color rendition, it still doesn't precisely match any film palette that I'm aware of.

    As to the lighting, I'd suggest doing the layout first, and then start with just the window light, augmenting that with reflectors and the single strobe as needed. In addition to your regular reflectors, you might consider the use of small reflectors, stuck on the ends of dowels, to bounce light into nooks and crannies. These can be made of foam core, either straight or covered with foil. Small pieces of mirror can also come in handy for such purposes. The tough part is devising a means of holding and positioning the little micro-booms made of 1/4" dowel. Look at the "Hollywood Arms" at Matthews Grip Co. for design ideas.
    [COLOR=SlateGray]"You can't depend on your eyes if your imagination is out of focus." -Mark Twain[/COLOR]

    Ralph Barker
    Rio Rancho, NM

  2. #12
    Stan. L-B's Avatar
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    Jun 2004
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    With still life I go out of my way to use ambient daylight with white and black reflectors, in or out of the studio.

    It may not be the norm, but it has sure worked well for me over the years, with all film types.

    Should I need to use additional, or another source of light, then it is always indirect.
    'Determine on some course more than a wild exposure to each chance' The Bard.

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