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  1. #21
    wilsonneal's Avatar
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    My two cents:

    I own a Speedo 4800 pack, and started using Speedo 30 years ago. This current kit that I have was a pack and a 106 head for about $500 on the 'bay. It looks like hell but it works just the way it should. It's required no maintenance or repair in the three years I've had it. That's really why I bought it, I knew it was cheap, reliable and lots of used heads and accessories are available. And, in a 4x6 softbox I work with very small apertures with that 106 head at full power.

    That being said, I think if the fluorescent light is rich in UV, and you need UV for wet plate, I'd build a big bank of them for not a lot of money and build a stand for it.

    Lastly, what about Kino-flo? I see those for sale Used from time to time and as I recall there are other wet plate shooters using them.

    N

  2. #22

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    Quote Originally Posted by John Koehrer View Post
    Anyone besides me remember the old Ascor system where you could daisy chain umpteen capacitor banks & dump it through the single "Sunlight" head 96,000WS?
    I had a set of those with 12 condensers, put out a huge amount of power and would freeze motion but the bang they made when they fired used to scare the dog (and everyone else).

    I'm not too familiar with wet plate process but one should investigate the reciprocity response to short duration light that wet plate has and see if electronic flash is the best choice of light source. HMI and daylight flourescent might be the best choices.

  3. #23

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    Quote Originally Posted by TheFlyingCamera View Post
    I'm looking into my options for high-output studio flash units. I'm interested in which units are the most efficient, so that they really do put out something resembling what their watt-seconds suggest they do. For example, I know that the Speedotron BlackLine 48xx series has a guide number 50% higher than the 24xx series. Does anyone know where I can go to get this information consistently, to make an informed decision about lighting equipment? It seems like most manufacturers don't want to put out comparable information so you can't shop their equipment on meaningful comparisons.
    Scott look at the Paul Bluff white lighting strobes.

  4. #24
    TheFlyingCamera's Avatar
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    I've done some digging around to try and find out what kind/size units Jerry Spagnoli used for his studio dags that he did with Chuck Close. I'd ask him directly but he doesn't seem to have an email contact on the web, and I haven't seen any articles that discuss the technical side to the daguerrotype work in any depth.

  5. #25
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    If money was no object. I'd opt for the Mole-Richardson Molescent Biax 4 fluorescents with the omni mount. They only weigh 10lb. and they don't take up much room. 3 or 4 of those would do the trick. Mole lights are very well built.

  6. #26
    TheFlyingCamera's Avatar
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    Those Mole units aren't too much different in price from the Kino-Flo's. Not that either one is a "bargain", but they're not ridiculous.

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