>There was a little ghosting of moving figures because the shutter speed
>was so slow to bring up the background (usually 1/8 or 1/4). This isn't
>necessarily bad, but maybe someone has some suggestions?
Well, bigger flasher, and more of them, of course. But then, you have to
realize that you are lighting the whole place like an architecture shot, so
there goes simplicity.
As I have hereitically said before, the T32 is a pretty weak flash, as those
things go. I've found my sumpak120j advantageous in these situations. I have
made a little aluminum reflector that goes behind the flashtube when it is
in the raised (bare bulb) position. the GN, of course, goes to nothing, but
what light there is goes all over.
That said, I don't mind the slight gosting a bit.
>Rating the film at 250 was absolutely necessary as some of the negatives
>were a bit thin even with the extra 2/3 stop! This may be due in part
>to my calculations, but I will keep the rating as a minimum from now on.
When you do this, you are exposing for the highlights, and, as it were,
playing to the strengths and weaknesses of the film. This will be expecially
important in the situations of strong highlights and deep shadows that you
experienced. This is sitation that is made for the Portra NC films. they are
a little flat, and can handle the contrasty situation well.
>The 35 shift has again proven its weight in gold. Everyone NEEDS to
>have one of these lenses!! Seriously.
Explain.
>Most of the long shots were done w/ the 135/2.8 at about 50 feet at full
>aperture. I wish I could have used the 200/4 for some, but I would need
>to get faster film, or a more powerful flash. Has anyone used the zoom
>extender for the T32? Does it give you much more power in the long
>shots?
This is the ideal. Most strobe users are more concerned with wider lenses,
so the reflectors are made to favor wider lenses. For what you want to do,
a stobe with interchangable reflectors would be ideal.
>I will fabricate a diffuser for the T32 from some vellum for the 21mm
>shots. Even at close distances with half power, it was so strong that
>my f-stop darkened the background too much.
I actually used some of that very material to good result.
We could all nitpick your photos to death, but the fact is, difficult venue
or not, they're great photos. I think the ghosting simply adds a little to
the shots. It's like airplane photos, if the prop is frozen, it looks silly,
if it's blured, it looks natural. the ghosting also gives a bit of
interesting softness.
I have noticed that this very slow shutter with strobe look is popular with
annual report shots and the like.
Bill Pearce
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