Nude

[Peter De Smidt]

If you use a Super Clamp or similar, along with a 3/8 threaded bolt to allow you to mount a tripod head to the clamp, you can clamp the Super Clamp on one of the tripod legs as low as you want. Mount the tripod head to the super clamp... Another option is to use something like a Gitzo flat plate. Bolt it along the circumference using three screw/bolts and washers, such that you don't damage the plate, to a flat board Place board on ground. You can get fancy by putting some rubber/vinyl on the bottom of the board and using weights to hold the board down.

[StoneNYC]

If you use a Super Clamp or similar, along with a 3/8 threaded bolt to allow you to mount a tripod head to the clamp, you can clamp the Super Clamp on one of the tripod legs as low as you want. Mount the tripod head to the super clamp... Another option is to use something like a Gitzo flat plate. Bolt it along the circumference using three screw/bolts and washers, such that you don't damage the plate, to a flat board Place board on ground. You can get fancy by putting some rubber/vinyl on the bottom of the board and using weights to hold the board down.

Thanks, normally I have a different tripod with me that will go all the way flat, I just didn't happen to have it with me that day.

I like the super clamp idea, I have a few for studio work but not a bad idea at all, thanks for the tip!

[Dan Quan]

Thanks, normally I have a different tripod with me that will go all the way flat, I just didn't happen to have it with me that day.

I like the super clamp idea, I have a few for studio work but not a bad idea at all, thanks for the tip!

Be VERY careful of clamping to a tripod leg. It is VERY easy to bend the tube out of round and mess up the leg, even with aluminum.

[StoneNYC]

Be VERY careful of clamping to a tripod leg. It is VERY easy to bend the tube out of round and mess up the leg, even with aluminum.

Noted, thanks.

[Tin Can]

Thanks Ben,

Here's one in super low light, I think this was FP4+ pushed to EI 200 and still I think it was a 2-3 minute exposure with reciprocity, I didn't use it as it didn't come out how I had planned, it holds new meaning to me now, though practically speaking I don't think it's all that good, but was a different time in my life and a fond memory, it's probably a 150mm or 90mm close to wide open f/8-f/11? I took poor notes then.

Attachment 131272

I also couldn't get low enough and devised this "rig" to make it work and stay stable and balanced for such a long exposure.

Attachment 131273
Attachment 131274

I like the 'breathing' belly of the model, shows she was alive.

[Dan Quan]

One could screw a 3/8" screw through a piece if 3/4" or so plywood and mount a head to that. Maybe make it around 24" square or round whatever and add sandbags or weights as needed. Heck even use tent stakes to hold it down outside.

[StoneNYC]

One could screw a 3/8" screw through a piece if 3/4" or so plywood and mount a head to that. Maybe make it around 24" square or round whatever and add sandbags or weights as needed. Heck even use tent stakes to hold it down.

Had forgotten the sandbags somehow, hence the improvised wood and cast iron kettle. lol.

I like the 'breathing' belly of the model, shows she was alive.

That part was intended, I didn't account for her chest cavity to also be moving, so it wasn't as effective as I hoped. They were really test shots to see the capability of the film to find one I liked.

This one was what made me decide on HP5+ for pushing over TMY-2, but after printing in the darkroom vs scanning, I've grown to like the contrast of TMY-2 more. Still wish I could blend the two films somehow.

TMY-2@1600 4 second exposure



Again, test work, not "actual work".

[benrains]

Even more so when you look at his studio setup: http://benrains.tumblr.com/post/1124...-cozy-on#notes

Apparently you don't need a bazillion w/s of flash to make great images.

I think commercial studio strobes have only been around since the 1950s, so there's also the 100 years or so of portrait photography that precedes electronic flash to give you plenty of ideas of the possibilities. (I do have a set of strobes, but I only use them when I don't have any alternative--like when I'm shooting something that has to have it's movement frozen, or if the shoot is happening at night.)

My most frequently used bit of lighting gear is a $5 white nylon fabric shower curtain draped over a window to diffuse light.

[ghostcount]

I think commercial studio strobes have only been around since the 1950s, so there's also the 100 years or so of portrait photography that precedes electronic flash to give you plenty of ideas of the possibilities. (I do have a set of strobes, but I only use them when I don't have any alternative--like when I'm shooting something that has to have it's movement frozen, or if the shoot is happening at night.)

My most frequently used bit of lighting gear is a $5 white nylon fabric shower curtain draped over a window to diffuse light.

I notice a Marantz in your studio. Nice!

[benrains]

I notice a Marantz in your studio. Nice!

Hah! A sharp eye; doubly so because there's only a small bit of it in peeking out in that photo. It's a 2252B. Not quite as old as my camera, but still pretty old.