Where can you find a lighting for the home photos?

Any cheap ones would be fine. Just for fun and make the potrait
photos less flashlight dependent. Thanks.


wayne

On 1 Dec 2004 09:53:50 -0800, (E-Mail Removed) (wayne) wrote:

>Any cheap ones would be fine. Just for fun and make the potrait
>photos less flashlight dependent. Thanks.

Here is a really easy method and will cost you under 20 bucks. Go to
your local hardwars store, walmart or box store.

You know those silver dome lights that clamp on things. get on that
can candle a 250w bulb, or buy a pair.

I like to use the 200 in one either off to one side, and then a 150w
Reveal bulb in one on the other side. Depending on how I bounce the
light.

or another thing that I use at the holidays is a Sunpak FP-38 Flat
Panel Flash unit. this has a built in slave unit that can be fire
from up to 90 degrees with your on camera flash. just dim its output,
ot put a piece of tissue over your on camra flash.

Just some ideas.

On Wed, 01 Dec 2004 19:50:49 -0500, Kevin <(E-Mail Removed)>
wrote:

>On 1 Dec 2004 09:53:50 -0800, (E-Mail Removed) (wayne) wrote:
>
>>Any cheap ones would be fine. Just for fun and make the potrait
>>photos less flashlight dependent. Thanks.
>
>Here is a really easy method and will cost you under 20 bucks. Go to
>your local hardwars store, walmart or box store.
>
>You know those silver dome lights that clamp on things. get on that
>can candle a 250w bulb, or buy a pair.
>
> I like to use the 200 in one either off to one side, and then a 150w
>Reveal bulb in one on the other side. Depending on how I bounce the
>light.
>
>or another thing that I use at the holidays is a Sunpak FP-38 Flat
>Panel Flash unit. this has a built in slave unit that can be fire
>from up to 90 degrees with your on camera flash. just dim its output,
>ot put a piece of tissue over your on camra flash.
>
>Just some ideas.

For a little more money, you can buy "Halogen Work Lights" on
collapsable 3-legged stands that work pretty well. They show up on
sale in the 20 to 30 dollar range (cheaper without the stands.) They
are rectangular housings with a built-in reflector and glass cover.
They have very high light output (300 or 500 W tubular lamps). I find
it best to remove the protective wire grid on the front to reduce
patterns in the light. I use two of those to photograph paintings and
other small to medium size inanimate objects. Their color temperature
is remarkably close to tungsten photofloods; I've had good results
with Tungsten Ektachrome slide film, as well as with the digital
camera.

Dave T

>For a little more money, you can buy "Halogen Work Lights" on
>collapsable 3-legged stands that work pretty well. They show up on
>sale in the 20 to 30 dollar range (cheaper without the stands.) They
>are rectangular housings with a built-in reflector and glass cover.
>They have very high light output (300 or 500 W tubular lamps). I find
>it best to remove the protective wire grid on the front to reduce
>patterns in the light. I use two of those to photograph paintings and
>other small to medium size inanimate objects. Their color temperature
>is remarkably close to tungsten photofloods; I've had good results
>with Tungsten Ektachrome slide film, as well as with the digital
>camera.
>
>Dave T

Good idea, just one additional add on to that, which I am going to try
as soon as I get a chance. How about putting and additional piece of
glass in front of the halogens that is similiar shading to a #80
filter. this would correct some of the color balance issues. I
imagine I could find just the piece of glass at a stained glass store
that also makes lamps and stuff.

Just an Idea, think it would work?

On Thu, 02 Dec 2004 08:21:30 -0500, "Kevin <(E-Mail Removed)>" <>
wrote:

>Good idea, just one additional add on to that, which I am going to try
>as soon as I get a chance. How about putting and additional piece of
>glass in front of the halogens that is similiar shading to a #80
>filter. this would correct some of the color balance issues. I
>imagine I could find just the piece of glass at a stained glass store
>that also makes lamps and stuff.
>
>Just an Idea, think it would work?

Maybe. I don't know if heat resistance might be an issue, those lamps
get quite toasty. My digital (Canon A80) can do manual white balance,
in addition to auto and a tungsten setting, so there's not been much
incentive to try that. I have used an on-camera 80B with film. I've
no idea how close to the ideal color you could come from stained glass
suppliers; but maybe close is sufficient.

For even lighting you might want a flat smooth glass, as opposed to
the rough or dimpled stuff I've seen in stained glass work, but it may
not matter. I know that the protective wire grid two or three inches
in front of the glass definitely created some shadow patterns, that's
why I take it off.

DaveT

DaveT wrote:
> On Thu, 02 Dec 2004 08:21:30 -0500, "Kevin <(E-Mail Removed)>" <>
> wrote:
>
>> Good idea, just one additional add on to that, which I am going to
>> try as soon as I get a chance. How about putting and additional
>> piece of glass in front of the halogens that is similiar shading to
>> a #80 filter. this would correct some of the color balance issues. I
>> imagine I could find just the piece of glass at a stained glass store
>> that also makes lamps and stuff.
>>
>> Just an Idea, think it would work?
>
> Maybe. I don't know if heat resistance might be an issue, those lamps
> get quite toasty. My digital (Canon A80) can do manual white balance,
> in addition to auto and a tungsten setting, so there's not been much
> incentive to try that. I have used an on-camera 80B with film. I've
> no idea how close to the ideal color you could come from stained glass
> suppliers; but maybe close is sufficient.
>
> For even lighting you might want a flat smooth glass, as opposed to
> the rough or dimpled stuff I've seen in stained glass work, but it may
> not matter. I know that the protective wire grid two or three inches
> in front of the glass definitely created some shadow patterns, that's
> why I take it off.
>
> DaveT

My experience is the hot halogens put out enough light they can be
bounced off walls and whatnot, which diffuses the light. Among the
whatnots I have used are sheets of foamcore in various colors, allowing
some interesting changes. Standard white or gray foamcore panels are
useful and durable. I have old tripods with coathanger-and-clamp
arrangements to hold the foamcore panels in position. I think I got the
spring-loaded clamps from Radio Shack, twenty years ago. They are like
jumper cable clamps but about five inches long and were meant for some
kind of electrical projects, came four in a package.

With more than one panel or light, distance from the subject can adjust
the intensity of light from a side. You can get your Rembrandt lighting
pretty easily and effectively.

The panels are not restricted to hot light: flash can be bounced off
them, too, but they have to be a bit closer to the subject, or pretty
powerful.

--
Frank ess