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Thread: Continuous Lights & Metering

  1. #11
    Drew Wiley
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    Re: Continuous Lights & Metering

    Everyone who spent a bundle of money on Hosemaster obviously wanted to recoup their investment as quickly as possible, so all kinds of catalog covers and ads suddenly came out light painted. Anything novel that arrives like a bullet train gets passe equally fast; and within six month, I don't think I personally saw another example of that technique published. But filling in with portable light was nothing new, and is easily improvised anyway. It just got overdone.

  2. #12
    Pieter's Avatar
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    Re: Continuous Lights & Metering

    Quote Originally Posted by Drew Wiley View Post
    Everyone who spent a bundle of money on Hosemaster obviously wanted to recoup their investment as quickly as possible, so all kinds of catalog covers and ads suddenly came out light painted. Anything novel that arrives like a bullet train gets passe equally fast; and within six month, I don't think I personally saw another example of that technique published. But filling in with portable light was nothing new, and is easily improvised anyway. It just got overdone.
    The look that made light painting with a Hosemaster (or other such device--there was at least one copy by Calumet, maybe?) was beyond painting with light, painting with different amounts of diffusion over the lens so highlights would get a soft bloom. All this before digital, so skill was required to determine the amount of each exposure/pass with the lighting unit.

  3. #13
    Drew Wiley
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    Re: Continuous Lights & Metering

    Evidently hundreds of people "acquired" that skill. Yes, I remember those diffuse haloes around painted objects. Novel at first, kitchy soon enough. Cotton candy might be appropriate once a year at a county fair; it would get disgusting eaten every day.

  4. #14
    Pieter's Avatar
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    Re: Continuous Lights & Metering

    Quote Originally Posted by Drew Wiley View Post
    Evidently hundreds of people "acquired" that skill. Yes, I remember those diffuse haloes around painted objects. Novel at first, kitchy soon enough. Cotton candy might be appropriate once a year at a county fair; it would get disgusting eaten every day.
    Kinda like very long exposure moving water.

  5. #15

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    Re: Continuous Lights & Metering

    Quote Originally Posted by Drew Wiley View Post
    Evidently hundreds of people "acquired" that skill. Yes, I remember those diffuse haloes around painted objects. Novel at first, kitchy soon enough. Cotton candy might be appropriate once a year at a county fair; it would get disgusting eaten every day.
    Sad part was some in photo schools at the time taught little about much else then except how to use a Hosemaster... Obvious it would trend out, and a good part of their studies went into that...

  6. #16

    Re: Continuous Lights & Metering

    Quote Originally Posted by Drew Wiley View Post
    Some people prefer flash, some are more comfortable with continuous. Some use both. I never liked flash, so had Arri and Lowell hot lights, but they are, er... hot. I've just recently gotten some decent LED panels, primarily for copystand work. There is also the option of expensive HMI continuous lighting. Why not continuous? Tabletop shooting generally involves a confined area that doesn't need a hydrogen bomb to adequately illuminate.
    Yes, currently using continuous dimmable LED lights. Do you make adjustments on development to properly control highlights? What I notice is that whenever I do have all my lights on, main light, fill lights, etc. there tends to be more reflective light on the scene causing a general blown out feel when I look at the negatives.

  7. #17

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    Re: Continuous Lights & Metering

    Quote Originally Posted by jurgenestanislao View Post
    Yes, currently using continuous dimmable LED lights. Do you make adjustments on development to properly control highlights? What I notice is that whenever I do have all my lights on, main light, fill lights, etc. there tends to be more reflective light on the scene causing a general blown out feel when I look at the negatives.
    Landscape photographers control contrast of the negative primarily though development since they can't control the light. But using artificial lights on a tabletop setup affords you much more flexibility to control contrast of the scene itself through the positioning of various lights, using modifiers to alter the quality of the light, reflectors and negative fill. You also need to pay attention to the reflective properties of what you're photographing to light it appropriately.

    The book Light: Science and Magic is an excellent source to learn how to control your lighting.

  8. #18

    Re: Continuous Lights & Metering

    Quote Originally Posted by gnd2 View Post
    Landscape photographers control contrast of the negative primarily though development since they can't control the light. But using artificial lights on a tabletop setup affords you much more flexibility to control contrast of the scene itself through the positioning of various lights, using modifiers to alter the quality of the light, reflectors and negative fill. You also need to pay attention to the reflective properties of what you're photographing to light it appropriately.

    The book Light: Science and Magic is an excellent source to learn how to control your lighting.
    Oh great, I have that en route from Amazon.com.

  9. #19
    C. D. Keth's Avatar
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    Re: Continuous Lights & Metering

    Quote Originally Posted by jurgenestanislao View Post
    Yes, currently using continuous dimmable LED lights. Do you make adjustments on development to properly control highlights? What I notice is that whenever I do have all my lights on, main light, fill lights, etc. there tends to be more reflective light on the scene causing a general blown out feel when I look at the negatives.
    I would only develop differently for studio work if I wanted especially to force the film into extra graininess. Otherwise, I just control my light to "fill" the dynamic range of the film when developed N. If you're in a studio setting, there's not much reason to do anything except control the negative by controlling your light. It's reliable, gives you excellent control once you learn how, and you can really accomplish anything your mind thinks up. I think you need to learn better how to control your lighting.
    -Chris

  10. #20

    Re: Continuous Lights & Metering

    Quote Originally Posted by C. D. Keth View Post
    I would only develop differently for studio work if I wanted especially to force the film into extra graininess. Otherwise, I just control my light to "fill" the dynamic range of the film when developed N. If you're in a studio setting, there's not much reason to do anything except control the negative by controlling your light. It's reliable, gives you excellent control once you learn how, and you can really accomplish anything your mind thinks up. I think you need to learn better how to control your lighting.
    Yes I think so too. Thanks!

    Sent from my Pixel 2 XL using Tapatalk

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