Ghetto lighting.

Spinning Round

Originally uploaded by tourist_on_earth

Most photographers who are even remotely serious about improving their technique will have heard of Strobist, and may even have it in their RSS feed. Me? I have no idea about off camera lighting and although I have heard of Strobist, it’s always seemed slightly prohibitive in terms of cost.

The word SB600 seems to get thrown around a lot in connection with Strobist; I recently saw the price of an SB200 and figured that there was no way I’d ever be able to justify to myself spending that much on just a flash. (I’d rather buy another camera )

So when a flickr contact recently posted some impressive home brew light painting, it got me thinking about my options. Sure I don’t have wireless flashes and numerous tripods with softboxes and tripods to mount them on, but I did have an ancient Mecablitz BCT4 with a manual firing option. I also had a torch similar to the one used on a recent outing, that had proven that fancy equipment wasn’t needed to get a great shot.

Ideas started floating around in my head.

Generally I go out with mates who shoot digital while I shoot film, so I know pretty soon whether my suggestions will work or not. At least during a full moon….

Shooting at night is reasonably challenging, as to achieve a half decent star trail ideally there should be no moon, with a minimum exposure time starting at 15 minutes. Room for error? Not a lot. Even checking on my mates preview screens doesn’t help as after waiting around for half an hour or more for a single exposure, I rarely have the patience to reshoot.

Regardless, we headed out last night. In true wolf_brigade style I hadn’t set anything up, figuring I’d sort it all out on location, despite this approach causing headaches in the past. With only a quarter moon there wasn’t a lot of light. Great for star trails but no so good for trying to setup something new that required light to construct!

I’d brought along a couple of things:

1 packet of orange/red cellophane
1 packet of blue cellophane
1 pair of scissors
1 torch (12 volt battery style with square plastic body) that was found on a previous noctography expedition
1 torch similar in strength to a mag light, and similar in style to the type issued to the SAS; a remnant of my days as a security guard
1 Bronica SQi as a backup camera
1 roll of expired film in box for above camera
1 Pentax 645n with 6 shots left on 100ISO expired Konica Centuria Super
I gold and silver reflector
I roll of Leukoplast (a medical grade tape in lieu of the masking tape I couldn’t find)
1 (rarely used) digital camera to test lighting conditions
1 Slik tripod - my main one
1 dodgy 1 meter high tripod bought for $10 at an antique store so that I had a sturdy portable tripod for pinhole use
1 Gossen Lunasix exposure meter
1 cable release
1 digital countdown timer

First let’s eliminate the “useless items” for night exposure:

Bronica - sure it was nice to have a backup camera, but a set of batteries for the Pentax would have been a smarter move.
Exposure meter - I know from experience the exposure times now, but this is kind of like a security blanket.
The actual roll of spare film.

That’s it! The rest was put together MacGuyver style to allow my mate to take the above shot. Want to know how? Read on…

First I setup the torch I’d found shining up the tree’s trunk. Looked ok, but the lighting was very direct and didn’t illuminate much. I then tried hooking it on a branch, but it kept slipping down facing the ground. Enter the reflector. The gold side provided the best light as the slightly warm cast would help separate the illuminated tree from the deep blue night sky. However, the light wasn’t very strong as you can see here:

Then I remembered about the other flashlight. But with the heat it emitted, it was likely the cellophane sheet would literally melt after a few minutes. How to solve this? Enter the film box from the spare roll of film. Fashioning a home brew style snoot, I slipped it over the torch leaving enough of a gap so as to allow a buffer for the heat. I then taped a small sheet of orange cellophane over the top, cut with the scissors and secured with the leukoplast. I then taped that to the antique store tripod leg. Like so:

I then used a fork in the tree branches to mount my tripod light so that it was facing up. The complete setup looked like this:

Using the digital camera to document my progress, I felt pretty happy. I then setup the Pentax on the Slik tripod with the cable release and took a 15 minute (or thereabouts) exposure:

But Ben’s looked better, so I put it as the opening photo

Almost all the equipment used right? Well all except for the blue cellophane. We played with that later on, though my shots didn’t turn out too well because I was trying some weird techniques and completely forgot about setting the right focus…So in the meantime I highly recommend you check out another of Ben’s shots in which he used my ghetto style lighting I had set up under the bridge for one of my shots as well as passing car headlights to his advantage.

Interest.

How much of an actual focal point do you need to retain interest?

Essentials for film.

Apparently “World Film Photography Day” happened on the 20th March 2008. I forgot, and did not participate. But, I shoot film most days anyway…

Being still relatively new to film, I thought I might share what I’ve learnt so far in regards to the essentials required for successful and fulfilling film photography.

First off, a light meter. Often old cameras have faulty lightmeters, or sometimes they don’t even have one at all. A light meter like the one above can be bought for a reasonable price from ebay and measures both reflected and incident light. If you’re particularly interested in exact values you could always look for a spotmeter (which measures a smaller portion of a scene from a narrower angle), but the more you shoot in varying light conditions, using your lightmeter as a guide, you’ll often find that you can predict the readings anyway.

Secondly, a notebook will be handy (and a pen). I like to record all my exposures in a diary with notes on the camera used, the lens,the frame number, the ISO I shot it at, f stop, shutter speed and subject, as well as any extras such as filters. By doing this I can look back once my film has been developed and evaluate the results. If something didn’t work quite as intended, I can review the exposure details and use these to plan the next similar shot. For the most part it comes down to not a long enough exposure, but occasionally I might aim to get back to the same location with a different camera, or at a different time to change the lighting conditions. By having a record of your exposures you can learn to predict even more what settings will work best, in conjunction with your lightmeter.

What happens if you’re taking “happy snaps” and don’t have time to record the details in your diary? I recently bought the cheapest mp3 player with recording capabilities ($38.00) that I could. While I might look a bit silly talking into it after each shot, there have been many times in the past where I wished that I’d taken the time to write down the details.

A tripod. This is going to vary according to your needs. A pocketable one, like the Gorillapod is great, though I find these unstable occasionally. Of course their flexibility more than makes up for their shortcomings. A larger more solid tripod is also a good investment. The type depends on your shooting intentions. I initially went for a fairly compact one as I was only shooting 35mm at the time. Now that I’ve moved into medium format with a Pentax 6×7, I’m wishing I bought a slightly heavier duty one. Think carefully about your future intentions before rushing out and buying the cheapest one you can. A good tripod should last you at least 20 years, so invest wisely.

If you start making heavy use of the tripod, then a cable release is going to come in handy. None of my film cameras are particularly recent, so all require an actual cable release rather then a remote. I’ve often wished for an air type bulb release, though the standard length cable release has served me well so far.

Spare batteries are a must, as is spare film. Some cameras run through batteries quickly, and while in some cameras the battery only runs the lighmeter, others such as the 6×7 won’t work at all without a battery or start playing up when the battery begins to fail. The 6×7 occasionally locks the mirror in the up position, making me think I’ve lost a frame. Curiously the shutter still works fine even when the battery starts declining…

Your film requirements will depend on your budget, your subject choice, lighting conditions and your personal preferences. I don’t develop my own just yet so I still shoot about the same amount of colour as I do black and white. While I’m still working my way through stock that was given to me for free, I like to have at least one camera loaded with colour film, and another with black and white. It’s a bonus if both cameras can accept the same lens mount, as it means if you need to pack light only one set of lenses needs to be packed. Sadly, I’m rarely that organised. I just tend to grab the camera I feel like using for the day, without a thought for interchangeability…At the moment I have only some 35mm loaded, with Ilford XP2, Kodak 400CN and Konica VX100, but given an option Neopan 1600 and a red filter would never leave my camera.

Finally, a bag. You could of course use that bag you bought for your digital, but what would be the fun in that? Hit up ebay for one of those old skool (faux)leather cases…

I’m always open to suggestions for essential film related items.

The film compulsion.

(Originally a reply to a post in the Film is not dead it just smells funny group on flickr, that ended up slightly longer than I originally intended…)

“Why do I choose to like the non-digital image more?”

For me it is about the effort that goes into that image. For the most part that image represents 1/24, 1/36, 1/10, 1/21 etc., of the shooters efforts. The fact that they (or I) only had that slim chance to get it right, and so had to work creatively to grab the perfect exposure first time makes it so much more special.

A film image makes me feel an affinity with the shooter that I just don’t feel with digital. Sure someone may have got the shot first time, but then it may have also been the hundredth shot. Knowing that the shooter had only ten images, and I’m sharing the experience of the one that worked…well I’m not sure I can describe it any other way.

Shooting film makes me think - I’m a student so while my film stocks are high at the moment I don’t have a stream of never ending cash to replenish them on a regular basis. Take for example my boxes of Konica VX 100. I only recently discovered this film, falling head over heels for it’s soft pastel tones. Being a discontinued line, I spent days searching for a source. While I’ve found one now, his supplies are obviously limited. Yes, I could perhaps achieve those pastel tones had I a computer capable of running anything better than the most basic of editing programs, but it is so much nicer to have the shot finished the moment you press the shutter. The elation experienced at knowing you have the shot, in camera, first time, is something that can’t be explained. You just have to experience it.

And what about Polaroid? Having shot my first “peel-apart” polaroids, (expired 667 film, Camera loaned to me by my local camera shop guy), just a couple of hours ago, I already know that I’m not going to forget how exciting it was to have an image instantly that can ever only exist in one copy.

As mentioned above, film choice and its results is a major factor of why I prefer film shots. But it is also the aesthetic experience that I feel when I use my cameras. Knowing that each camera has different qualities also makes me appreciate film shots. For example, a known problem in the Pentacon 6 is overlapping frames. The user has to makes sure the film is loaded tightly to avoid this issue - knowing this and seeing the amazing results of some Pentacon 6 shooters makes me appreciate their shots as I know how hard they’ve worked to get them.

Finally, from my experience, it would seem that almost anyone is able to pick up a digital and get a half decent image. Try doing that with a non metered Pentax 6×7…