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Old 07-24-2013   #51
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Default Re: Shooting the impossible (mirrored cylinder)

Yes Sir! The old Ektachrome film and electronic flash yielded cyan/blue results without some serious filtration and those filter packs were outrageously thick and absorbed lots of light- add to that a bellows factor and you really needed the big guns! To add insult to injury just add a polarizer and 4000 watt/seconds in a big soft box was a drop in the bucket. Somehow I managed! When Fugichrome came out with their improved transparency emulsions, it was like shooting in heaven! Little or no filtration and the color was far better that the old Kodak stuff ever was- then Kodak got on the ball and started to produce better materials.

Ah- Nostalgia!

Regards, Ed
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Old 07-27-2013   #52
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Wow. I thought I was the older than dirt guy. I remember those days well. When I first started doing commercial work I had a Norman 400 w/s unit that really got warm after popping for a while. hahahaha brings back some memories. Later after moving into the studio I used Speedotron Blackline 4800 & 2400's mostly because Helix Camera was close by in Chicago.
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Old 07-27-2013   #53
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Quote:
Originally Posted by RetCombatVet View Post
... Later after moving into the studio I used Speedotron Blackline 4800 & 2400's mostly because Helix Camera was close by in Chicago.
Yep, Speedotron 4800ws packs and heads are what I used back in the day and, with the addition of several 800ws packs, still use today.

4800ws into a single flash head will part your hair at 20 ft.!
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Old 07-27-2013   #54
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Rats! Here I though I was the oldest guy around- even before dirt was invented! I had an Ascor unit that was removed from a sports venue in Queens, New York. American Speed Light Corporation, which was a 15 minute drive from my home in the day, called me knowing that I was getting into big power and only had a few 800w/s packs that they had sold me. This unit packed 10,000 Watt/Seconds over 4 heads- there was a power control module and the capacitors were contain in a stemmer trunk-like case. They took this monster out of a Queens, New York boxing and wrestling arena and replaced it with a more compact system. I got the trade in unit. Meanwhile, a big commercial studio downtown closed up shop I picked up their unit with another “trunk”- that studio specialized in cars and trucks.

Nowadays I am into Speedotron gear.

Ed
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Old 07-27-2013   #55
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I think you win Ed!

Seriously, getting back into commercial several years ago, the Sinar/Bron approach never failed to deliver in the past (or more accurately, get in the way of delivering), and with the prices being what they were, a couple of cameras, a sinar shutter and piles of lenses, as well as several packs and a dozen or so heads found a new home.

The only downside is that it's real easy to have too much power, I guess. I find myself shooting with continuous light more and more these days. And I still filter on camera whenever possible, especially when shooting tungsten, as digital sensors are filtered and balanced for daylight (5k) and shooting tungsten tends to easily saturate the red channel before the others.
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Old 08-05-2013   #56
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Well done zemlin!


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