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Where can you find a lighting for the home photos?



 
 
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  #1  
Old December 1st 04, 06:53 PM
wayne
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Default Where can you find a lighting for the home photos?

Any cheap ones would be fine. Just for fun and make the potrait
photos less flashlight dependent. Thanks.
  #3  
Old December 2nd 04, 02:21 PM
Kevin
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For a little more money, you can buy "Halogen Work Lights" on
collapsable 3-legged stands that work pretty well. They show up on
sale in the 20 to 30 dollar range (cheaper without the stands.) They
are rectangular housings with a built-in reflector and glass cover.
They have very high light output (300 or 500 W tubular lamps). I find
it best to remove the protective wire grid on the front to reduce
patterns in the light. I use two of those to photograph paintings and
other small to medium size inanimate objects. Their color temperature
is remarkably close to tungsten photofloods; I've had good results
with Tungsten Ektachrome slide film, as well as with the digital
camera.

Dave T


Good idea, just one additional add on to that, which I am going to try
as soon as I get a chance. How about putting and additional piece of
glass in front of the halogens that is similiar shading to a #80
filter. this would correct some of the color balance issues. I
imagine I could find just the piece of glass at a stained glass store
that also makes lamps and stuff.

Just an Idea, think it would work?

  #4  
Old December 2nd 04, 05:58 PM
DaveT
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On Thu, 02 Dec 2004 08:21:30 -0500, "Kevin "
wrote:

Good idea, just one additional add on to that, which I am going to try
as soon as I get a chance. How about putting and additional piece of
glass in front of the halogens that is similiar shading to a #80
filter. this would correct some of the color balance issues. I
imagine I could find just the piece of glass at a stained glass store
that also makes lamps and stuff.

Just an Idea, think it would work?


Maybe. I don't know if heat resistance might be an issue, those lamps
get quite toasty. My digital (Canon A80) can do manual white balance,
in addition to auto and a tungsten setting, so there's not been much
incentive to try that. I have used an on-camera 80B with film. I've
no idea how close to the ideal color you could come from stained glass
suppliers; but maybe close is sufficient.

For even lighting you might want a flat smooth glass, as opposed to
the rough or dimpled stuff I've seen in stained glass work, but it may
not matter. I know that the protective wire grid two or three inches
in front of the glass definitely created some shadow patterns, that's
why I take it off.

DaveT
  #5  
Old December 2nd 04, 07:39 PM
Frank ess
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DaveT wrote:
On Thu, 02 Dec 2004 08:21:30 -0500, "Kevin "
wrote:

Good idea, just one additional add on to that, which I am going to
try as soon as I get a chance. How about putting and additional
piece of glass in front of the halogens that is similiar shading to
a #80 filter. this would correct some of the color balance issues. I
imagine I could find just the piece of glass at a stained glass store
that also makes lamps and stuff.

Just an Idea, think it would work?


Maybe. I don't know if heat resistance might be an issue, those lamps
get quite toasty. My digital (Canon A80) can do manual white balance,
in addition to auto and a tungsten setting, so there's not been much
incentive to try that. I have used an on-camera 80B with film. I've
no idea how close to the ideal color you could come from stained glass
suppliers; but maybe close is sufficient.

For even lighting you might want a flat smooth glass, as opposed to
the rough or dimpled stuff I've seen in stained glass work, but it may
not matter. I know that the protective wire grid two or three inches
in front of the glass definitely created some shadow patterns, that's
why I take it off.

DaveT


My experience is the hot halogens put out enough light they can be
bounced off walls and whatnot, which diffuses the light. Among the
whatnots I have used are sheets of foamcore in various colors, allowing
some interesting changes. Standard white or gray foamcore panels are
useful and durable. I have old tripods with coathanger-and-clamp
arrangements to hold the foamcore panels in position. I think I got the
spring-loaded clamps from Radio Shack, twenty years ago. They are like
jumper cable clamps but about five inches long and were meant for some
kind of electrical projects, came four in a package.

With more than one panel or light, distance from the subject can adjust
the intensity of light from a side. You can get your Rembrandt lighting
pretty easily and effectively.

The panels are not restricted to hot light: flash can be bounced off
them, too, but they have to be a bit closer to the subject, or pretty
powerful.

--
Frank ess


 




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