Hello,
I am starting a project soon, and I have a few thoughts to mull over.
I have here, stored and taking up much space, over 40 boxes of my late father's books. He was a really brilliant and eccentric guy, and the variety of interesting titles he owned in his life makes for fun browsing, though I doubt I would ever actually read about 75% of the books.
So, I am "simply" (ha!) going to photograph them all, and make a slideshow and picture book for those of us who knew and loved him, then get rid of those 75%.
I am welcome to use my product shooting area at work to shoot the project on my days off. I use a 20D with the 50mm f/2.5 macro lens and two Dynalite heads with a 1000 Ws pack shooting through my tent that I made of C stands and thrift store sheets. I will be borrowing an EOS 1 or EOS 3 for the project, so I can use the 50. I will be shooting, as I do for work, on a white seamless, which I will want to be minimum density on the transparencies.
Or, possibly the Orbiculight at my school (affectionately referred to as the "Oh, bitchin' Light").
I want a daylight-balanced, high-contrast, color-neutral transparency film.
My experience tells me to use Provia 100F exposed -1/2 to keep the saturation rich, and pushed +1 to pop the white background.
However, I thought this might be a good time to give Kodachrome one last hurrah, especially considering the "vintage" nature of the subject matter. I rarely have use for Kodachrome, as I usually want a transparency film only in the larger formats.
Conceptually, having this on Kodachrome would be great in my mind. However, I have no experience whatsoever with K-64 in a studio environment pursuing perfect color.
My questions are for those who have done extensive shooting with K-64 in this sort of a situation. Is it a fairly neutral film? If not, please elaborate on the color and contrast, and on what CC filters I might need to use with Dynalites or Orbiculights.
*Also, can Duane's push the film?* This is important, as I almost never shoot and process a transparency "straight". I am used to altering exposure and development to tweak the color and contrast of transparencies to get them the way I want. Kodak recommends against, but I am wondering what happens when you do it only 1/2 stop or perhaps 1 full stop. The same red-magenta shift you get with K200?
Obviously, if I go the K-64 route, I will do my own testing, but I wanted to get some advice on whether I am barking up the wrong tree or not before burning the film.
Thank you in advance.
P.S. I have seemingly permanently lost my MacBeth chart via a loan to someone who it seems has disappeared. It seems a new one is $70; far more than I paid for mine, it seems.
Does anyone have one they are not using that they would loan to me? I would take good care of it, return it fairly quickly, and would loan or give you something in return. I am in L.A., CA. Thanks.
I am starting a project soon, and I have a few thoughts to mull over.
I have here, stored and taking up much space, over 40 boxes of my late father's books. He was a really brilliant and eccentric guy, and the variety of interesting titles he owned in his life makes for fun browsing, though I doubt I would ever actually read about 75% of the books.
So, I am "simply" (ha!) going to photograph them all, and make a slideshow and picture book for those of us who knew and loved him, then get rid of those 75%.
I am welcome to use my product shooting area at work to shoot the project on my days off. I use a 20D with the 50mm f/2.5 macro lens and two Dynalite heads with a 1000 Ws pack shooting through my tent that I made of C stands and thrift store sheets. I will be borrowing an EOS 1 or EOS 3 for the project, so I can use the 50. I will be shooting, as I do for work, on a white seamless, which I will want to be minimum density on the transparencies.
Or, possibly the Orbiculight at my school (affectionately referred to as the "Oh, bitchin' Light").
I want a daylight-balanced, high-contrast, color-neutral transparency film.
My experience tells me to use Provia 100F exposed -1/2 to keep the saturation rich, and pushed +1 to pop the white background.
However, I thought this might be a good time to give Kodachrome one last hurrah, especially considering the "vintage" nature of the subject matter. I rarely have use for Kodachrome, as I usually want a transparency film only in the larger formats.
Conceptually, having this on Kodachrome would be great in my mind. However, I have no experience whatsoever with K-64 in a studio environment pursuing perfect color.
My questions are for those who have done extensive shooting with K-64 in this sort of a situation. Is it a fairly neutral film? If not, please elaborate on the color and contrast, and on what CC filters I might need to use with Dynalites or Orbiculights.
*Also, can Duane's push the film?* This is important, as I almost never shoot and process a transparency "straight". I am used to altering exposure and development to tweak the color and contrast of transparencies to get them the way I want. Kodak recommends against, but I am wondering what happens when you do it only 1/2 stop or perhaps 1 full stop. The same red-magenta shift you get with K200?
Obviously, if I go the K-64 route, I will do my own testing, but I wanted to get some advice on whether I am barking up the wrong tree or not before burning the film.
Thank you in advance.
P.S. I have seemingly permanently lost my MacBeth chart via a loan to someone who it seems has disappeared. It seems a new one is $70; far more than I paid for mine, it seems.
Does anyone have one they are not using that they would loan to me? I would take good care of it, return it fairly quickly, and would loan or give you something in return. I am in L.A., CA. Thanks.
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