If this is your first visit, be sure to check out the FAQ by clicking the link above. You may have to register before you can post: click the register link above to proceed. To start viewing messages, select the forum that you want to visit from the selection below. |
|
|
Thread Tools | Display Modes |
#31
|
|||
|
|||
"Matt Clara" wrote in message .. .
"Jim" wrote in message m... I have Cokin P mount and several GND's. The Cokin filters are junk. I bought a couple of them first. The problem is that they are nt really netural and make the clouds look very dark. B+W and Singh Ray are the best but very expensive. I use HiTech as they are much more affordable. So, is Hi Tech better than Cokin? Yes, for me. |
#32
|
|||
|
|||
"Matt Clara" wrote in message .. .
"Jim" wrote in message m... I have Cokin P mount and several GND's. The Cokin filters are junk. I bought a couple of them first. The problem is that they are nt really netural and make the clouds look very dark. B+W and Singh Ray are the best but very expensive. I use HiTech as they are much more affordable. So, is Hi Tech better than Cokin? Yes, for me. |
#33
|
|||
|
|||
Hi Peter,
Bandicoot wrote: Not Jim, but I'll chip in anyway: ... Thanks for a nice explanation as how to choose the "modification" to the light to get it on the film ;-) I often end up not understanding the scene when I want to take my picture and therefore I don't always get the picture I think I would have liked. Your explanation helped a bit in the right direction, but I just have a single qustion: If you shoot a "borrowing" sunset at a westcoast beach. No other elements than the beach, wather, sky and the sun. Would you meeter the sky (without the sun) and the beach and place these, with filters, one stop apart? Martin |
#34
|
|||
|
|||
I would like to thank everyone that replied to my inquiries. You folks have
been helpful as usual. I spent all of my time lurking until now. And as always the group has come through. I have several things to try and some new ideas to play with. Thanks gang. ------ David Edwards nitehawk01 at verizon dot net "Jim" wrote in message ... "Matt Clara" wrote in message .. . "Jim" wrote in message m... I have Cokin P mount and several GND's. The Cokin filters are junk. I bought a couple of them first. The problem is that they are nt really netural and make the clouds look very dark. B+W and Singh Ray are the best but very expensive. I use HiTech as they are much more affordable. So, is Hi Tech better than Cokin? Yes, for me. |
#35
|
|||
|
|||
I would like to thank everyone that replied to my inquiries. You folks have
been helpful as usual. I spent all of my time lurking until now. And as always the group has come through. I have several things to try and some new ideas to play with. Thanks gang. ------ David Edwards nitehawk01 at verizon dot net "Jim" wrote in message ... "Matt Clara" wrote in message .. . "Jim" wrote in message m... I have Cokin P mount and several GND's. The Cokin filters are junk. I bought a couple of them first. The problem is that they are nt really netural and make the clouds look very dark. B+W and Singh Ray are the best but very expensive. I use HiTech as they are much more affordable. So, is Hi Tech better than Cokin? Yes, for me. |
#36
|
|||
|
|||
"Martin Djernæs" wrote in message
... Hi Peter, Bandicoot wrote: Not Jim, but I'll chip in anyway: ... Thanks for a nice explanation as how to choose the "modification" to the light to get it on the film ;-) I often end up not understanding the scene when I want to take my picture and therefore I don't always get the picture I think I would have liked. Your explanation helped a bit in the right direction, but I just have a single qustion: If you shoot a "borrowing" sunset at a westcoast beach. No other elements than the beach, wather, sky and the sun. Would you meeter the sky (without the sun) and the beach and place these, with filters, one stop apart? Martin Not sure what you mean by "borrowing", but if I understand your question, then 'probably yes'. If you really want a saturated sky you will want to expose it so that (after filtration) the 'key' sky colour records as a mid-tone on the film. This means that your 'actual' mid-tones on the beack/water you are probably going to place (after filtration) a half to one stop down, which will make them record a bit dark - which will tend to look more natural for this time of day. That may mean losing some foreground shadow detail, but again, that is the way to a nice dramatic shot. Beware of letting the sun-disk, if it is in the shot, go too far above the film's ability to record: this will look terrible on slide (and even worse with digital.) This may mean composing so the sun is out of shot, or else giving the sky a bit less exposure so you just hold the sun - on slide film this will intensify the saturation further, which may lead to an unnatural, but not necessarily unattractive, result. There is no 'one true exposure' after all, just the one that allows us to turn the scene in front of us into the scene we have imagined in our heads as the desired end picture. This means that the same scene can produce more than one interesting shot according to how you expose, and that you have a lot of control over the final image: this is espcially true at sunrise and sunset when the viewer doesn't know how intense the colours 'should' be, and so a much wider range of interpretations will all produce end results that look 'believable'. For example, see the picture at the bottom of the page at: http://www.bard-hill.co.uk/usa-2003/monumentvalley.html and the (smaller) middle picture at: http://www.bard-hill.co.uk/usa-2003/...ntvalley2.html These are the same sunrise, taken a few moments apart, but with very different exposures to produce two totaly different interpretations of the scene. The second has the drama, but personally I like the subtlety of the first one better. (Lousy scan, must re-do it, as the slide shows more foreground detail than comes through on screen.) Hope that makes sense. Peter |
#37
|
|||
|
|||
"Martin Djernæs" wrote in message
... Hi Peter, Bandicoot wrote: Not Jim, but I'll chip in anyway: ... Thanks for a nice explanation as how to choose the "modification" to the light to get it on the film ;-) I often end up not understanding the scene when I want to take my picture and therefore I don't always get the picture I think I would have liked. Your explanation helped a bit in the right direction, but I just have a single qustion: If you shoot a "borrowing" sunset at a westcoast beach. No other elements than the beach, wather, sky and the sun. Would you meeter the sky (without the sun) and the beach and place these, with filters, one stop apart? Martin Not sure what you mean by "borrowing", but if I understand your question, then 'probably yes'. If you really want a saturated sky you will want to expose it so that (after filtration) the 'key' sky colour records as a mid-tone on the film. This means that your 'actual' mid-tones on the beack/water you are probably going to place (after filtration) a half to one stop down, which will make them record a bit dark - which will tend to look more natural for this time of day. That may mean losing some foreground shadow detail, but again, that is the way to a nice dramatic shot. Beware of letting the sun-disk, if it is in the shot, go too far above the film's ability to record: this will look terrible on slide (and even worse with digital.) This may mean composing so the sun is out of shot, or else giving the sky a bit less exposure so you just hold the sun - on slide film this will intensify the saturation further, which may lead to an unnatural, but not necessarily unattractive, result. There is no 'one true exposure' after all, just the one that allows us to turn the scene in front of us into the scene we have imagined in our heads as the desired end picture. This means that the same scene can produce more than one interesting shot according to how you expose, and that you have a lot of control over the final image: this is espcially true at sunrise and sunset when the viewer doesn't know how intense the colours 'should' be, and so a much wider range of interpretations will all produce end results that look 'believable'. For example, see the picture at the bottom of the page at: http://www.bard-hill.co.uk/usa-2003/monumentvalley.html and the (smaller) middle picture at: http://www.bard-hill.co.uk/usa-2003/...ntvalley2.html These are the same sunrise, taken a few moments apart, but with very different exposures to produce two totaly different interpretations of the scene. The second has the drama, but personally I like the subtlety of the first one better. (Lousy scan, must re-do it, as the slide shows more foreground detail than comes through on screen.) Hope that makes sense. Peter |
#38
|
|||
|
|||
Hi Peter,
Bandicoot wrote: Not sure what you mean by "borrowing", but if I understand your question, I don't know what I had been smoking that day, but I wanted to say "boring". Hope that makes sense. Thanks a lot for the extra information (and watch for my submission for the next SI). Martin |
Thread Tools | |
Display Modes | |
|
|
Similar Threads | ||||
Thread | Thread Starter | Forum | Replies | Last Post |
Canon 1Ds replacement ... shooting the Canon 20D in Alaska | Bill Hilton | Digital Photography | 63 | September 10th 04 08:30 AM |
Shooting sports at night/indoors | [email protected] | Digital Photography | 1 | July 13th 04 08:11 PM |
Shooting sports at night/indoors | Roe Thomas | 35mm Photo Equipment | 0 | July 13th 04 08:11 PM |
Shooting sports at night/indoors | john | Digital Photography | 6 | July 12th 04 10:41 AM |
fast action shooting, FZ10, S1, other? | Pierre_Cat | Digital Photography | 19 | July 3rd 04 03:35 PM |