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#51
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D7000 and a 40Mz3i.
"Alan Browne" wrote in message ... On 2012-04-11 05:26 , David J. Littleboy wrote: CC makes sense for digital. You want to use CC filters such that the the _RAW_ RGB histograms are all roughly the same. In even slightly "warm" tungsten lighting, your blue channel is so far down that you are going to have find youeself with nasty noise in it unless you bring down the red channel a lot. True enough, although when using tungsten lighting, you usually want that look. Rather counter productive to add a blue filter in that case. Not too many times I want tungsten light to look like daylight or flash (why not use flash in the first place?) But I guess some may. I was going to bring up red channel - it's my worst enemy in the studio when I use red gels on lights or when there is a red light in the scene. Really needs a lot of attention to get right. Once again the idea of adding red gels to the lights and a blue filter to the lens seems rather counter productive. Would you have a reason for doing that? Even for stage lighting where red lights are often used, I rarely want to make it look like daylight instead. If I do I use a flash where I can. Trevor. |
#52
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D7000 and a 40Mz3i.
On 2012-04-11 20:47 , Trevor wrote:
"Alan wrote in message ... On 2012-04-11 05:26 , David J. Littleboy wrote: CC makes sense for digital. You want to use CC filters such that the the _RAW_ RGB histograms are all roughly the same. In even slightly "warm" tungsten lighting, your blue channel is so far down that you are going to have find youeself with nasty noise in it unless you bring down the red channel a lot. True enough, although when using tungsten lighting, you usually want that look. Rather counter productive to add a blue filter in that case. Not too many times I want tungsten light to look like daylight or flash (why not use flash in the first place?) But I guess some may. I was going to bring up red channel - it's my worst enemy in the studio when I use red gels on lights or when there is a red light in the scene. Really needs a lot of attention to get right. Once again the idea of adding red gels to the lights and a blue filter to the lens seems rather counter productive. Would you have a reason for doing that? When I use red lights in the studio it is typically for BG's or edge lighting and I want it to look red, not neutral. The issue is in taming the red v. the other lights. Even with the red on my lowest powered strobe at the lowest setting (1/32) I have to add damping material (usually white nylon cloth) otherwise the red bleed is very high and red highlights often overwhelm the camera sensors to looking more white than red. It's not so much getting the red "down" as it is maintaining other lighting ratios in the scene v. the power range of the strobes. (3 or more in such sets). Not the best example, but one that happens to be online: http://www.pbase.com/shootin/image/44374694 Even for stage lighting where red lights are often used, I rarely want to make it look like daylight instead. Exactly. -- "I was gratified to be able to answer promptly, and I did. I said I didn't know." -Samuel Clemens. |
#53
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D7000 and a 40Mz3i.
"Alan Browne" wrote in message ... Once again the idea of adding red gels to the lights and a blue filter to the lens seems rather counter productive. Would you have a reason for doing that? When I use red lights in the studio it is typically for BG's or edge lighting and I want it to look red, not neutral. Right, so adding a blue CC would *not* be desirable. The issue is in taming the red v. the other lights. Even with the red on my lowest powered strobe at the lowest setting (1/32) I have to add damping material (usually white nylon cloth) otherwise the red bleed is very high and red highlights often overwhelm the camera sensors to looking more white than red. It's not so much getting the red "down" as it is maintaining other lighting ratios in the scene v. the power range of the strobes. (3 or more in such sets). What you should do is add more red gels to the strobe you want to be red, or a grey/ND one as well if necessary. (Your white nylon cloth has a similar affect I guess.) But adding a blue CC to the lens still seems like the worst idea of all to me. Not the best example, but one that happens to be online: http://www.pbase.com/shootin/image/44374694 Looks OK, did you really use a blue CC filter on the lens? I'm sure it would still look OK if you used one of the other methods I suggest though. (actually I'm betting you did, that "white nylon cloth" right?) Trevor. |
#54
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D7000 and a 40Mz3i.
David J. Littleboy wrote:
"Savageduck" wrote: On 2012-04-06 19:28:16 -0700, "David J. Littleboy" said: My advice would be to ebay the Metz and get a Nikon flash. I picked up a used earlier model (now two generation out of date) Canon flash for use with the 5D and now 5D2. It's friggin amazing. Zooms along with the lens from 24 to 105mm (for longer reach at longer focal lengths) has a fold-out diffuser for 14mm superwide But best of all, it nails the exposure every time all the time: in testing it, I tried to find a subject that it would mess up the exposure on, and couldn't. And the latest ones have even more features. Get the cheapest one that will do bounce flash and has enough power. Yup! I have an SB-800. It works great on both my D70 & D300s with no issues. It just does what is expected of it. Life is much better than it used to be. In the good old days (e.g. 1970 or so), you used to have a flash head, a capacitors bank (in the handle), a monster bracket/grip, wires all over the place, a battery pack over your shoulder. And for exposure, you prayed... Back then I often used two flashes, sometimes three, one on a wire, and the rest on optical triggers. But I didn't pray. I used an incident light meter with flash measurement capability. Still got it, and two of the flashes I used then, plus a few more, all now triggered by radio. I still set them up manually with the meter. Paying as much for a modern flash gun as a good lens just to automate what's easily done manually seems a bit steep :-) But I tend to use flash only for carefully set up situations. True I don't have the modern flash capability of running around an event taking opportunistic snaps and having the exposure come out right by TTL metering. Instead I have to mount two big ceiling bounces in opposite corners to light the entire room, sometimes augmented by some local on-camera distance-controlled flash shadow fill. Modern dynamic range takes care of the errors :-) -- Chris Malcolm |
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