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#12
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Schneider Componon-S 150mm Lens for Copy Work???
Stacey wrote in message ...
Someone else indeed has suggested using the lens cap itself, but this would lead to a lot of camera shake, it would seem to me. Which is why you use a hat.. Hmm... could you explain this technique in detail? How do you keep light from entering the lens, without touching the camera with the hat? It would seem to me that removing a hat that you had placed on a camera would certainly introduce tons of movement and vibration. S. |
#13
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Schneider Componon-S 150mm Lens for Copy Work???
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#14
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Schneider Componon-S 150mm Lens for Copy Work???
On 2/19/2004 7:54 PM Dr. Slick spake thus:
Stacey wrote in message ... Someone else indeed has suggested using the lens cap itself, but this would lead to a lot of camera shake, it would seem to me. Which is why you use a hat.. Hmm... could you explain this technique in detail? How do you keep light from entering the lens, without touching the camera with the hat? It would seem to me that removing a hat that you had placed on a camera would certainly introduce tons of movement and vibration. I think the general idea is simply to shade the lens with the hat. You could hang the hat on the lens, load the film, pull the dark slide, remove the hat (but hold it so it still shades the lens) long enough for the camera to stabilize, then pull the hat away to make the exposure. Since you're dealing with low light levels indoors, it should work fine. -- It's fun to demonize the neo-cons and rejoice in their discomfiture, but don't make the mistake of thinking US foreign policy was set by Norman Podhoretz or William Kristol. They're the clowns capering about in front of the donkey and the elephant. The donkey says the UN should clean up after them, and the elephant now says the donkey may have a point. Somebody has come out with a dustpan and broom. - Alexander Cockburn, _CounterPunch_ (http://www.counterpunch.org), 9/17/03 |
#15
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Schneider Componon-S 150mm Lens for Copy Work???
David Nebenzahl wrote:
On 2/19/2004 7:54 PM Dr. Slick spake thus: Stacey wrote in message ... Someone else indeed has suggested using the lens cap itself, but this would lead to a lot of camera shake, it would seem to me. Which is why you use a hat.. Hmm... could you explain this technique in detail? How do you keep light from entering the lens, without touching the camera with the hat? It would seem to me that removing a hat that you had placed on a camera would certainly introduce tons of movement and vibration. I think the general idea is simply to shade the lens with the hat. You could hang the hat on the lens, load the film, pull the dark slide, remove the hat (but hold it so it still shades the lens) long enough for the camera to stabilize, then pull the hat away to make the exposure. Since you're dealing with low light levels indoors, it should work fine. I even do this outdoors with my 8X10 and seems to work fine. An old fedora works great and thrift stores have 'em for like $1.00. -- Stacey |
#16
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Schneider Componon-S 150mm Lens for Copy Work???
Someone else indeed has suggested using the lens cap itself, but
this would lead to a lot of camera shake, it would seem to me. If the exposure time is long enough to allow use of a lens cap in the first place then any momentary shake of the camera while the cap is being removed and replaced would most likely constitute such a small percentage of the total exposure time that it wouldn't matter. "Stacey" wrote in message ... David Nebenzahl wrote: On 2/19/2004 7:54 PM Dr. Slick spake thus: Stacey wrote in message ... Someone else indeed has suggested using the lens cap itself, but this would lead to a lot of camera shake, it would seem to me. Which is why you use a hat.. Hmm... could you explain this technique in detail? How do you keep light from entering the lens, without touching the camera with the hat? It would seem to me that removing a hat that you had placed on a camera would certainly introduce tons of movement and vibration. I think the general idea is simply to shade the lens with the hat. You could hang the hat on the lens, load the film, pull the dark slide, remove the hat (but hold it so it still shades the lens) long enough for the camera to stabilize, then pull the hat away to make the exposure. Since you're dealing with low light levels indoors, it should work fine. I even do this outdoors with my 8X10 and seems to work fine. An old fedora works great and thrift stores have 'em for like $1.00. -- Stacey |
#17
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Schneider Componon-S 150mm Lens for Copy Work???
Your color temperature varies as the lights heat up especially with tungsten bulbs Image would probably be a little orange. You can get enlarging lenses adapter for shutters. As I said before we used to set up MP-3s this way using the Tominon or Ysarex shutters, the rear element is the problem, smaller than the front Schneider may even sell an adapter ring. For the subjects you want to photograph use a 150mm better coverage, also better coverage than the Xenar or G-Claron, or the Tominon for that matter. One question what tripod are you using sounds like you may be getting camera shake, at 32 seconds you need to be on a rock to keep the camera steady. Just changing you balance while exposing will give shake, as will a truck driving by. Do yourself a favor and get a couple of Lowell TotaLights at a 1000 watts halogen each you will drop your exposure time and even out your lighting. Cost about $300 for 2, good light stands about $60 each. I'm not a fan of strobes for copy work this is what I use. You will also see better to focus with brighter light, and it will give you the option of using polarizors to supress gloss on the art work. Tom No, thought you said your exposures were 32 second if it 32 seconds at f32 so be it. Tom |
#18
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Schneider Componon-S 150mm Lens for Copy Work???
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