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A topic on the light meter

I recently put a topic on social media and got so many good responses that I thought it also needed a place on the blog. Now let me make one thing 100% clear before starting this topic.  The light-meter is a tool, it’s nothing less and nothing more. If you don’t use a light-meter you’re not a bad person, you are without any doubt not a lesser photographer than someone who is using it, I think that from all “photographers” out there now a days less than 1% is using a light meter, from the pros this percentage will be a little bit higher and as you know those people can create stunning images.

I for one however strongly believe that someone that is into photography should at least look at the light meter to see what it does and how it operates, because if you use one, one thing is for sure it WILL speed up your workflow considerably and also helps you to create the same quality of exposure over and over again.

 

Now in the past I’ve written a lot on the subject and I still believe that there are areas that I did not touch (so who knows what you will see more in the future), during my workshops and talks to photographers I find that the group using a meter is very very small, when I talk about the reasons I often get the same responses “You don’t need it with digital right?” and that’s ok, with digital you can indeed judge an image on the “instant polaroid” on the back of your camera or on your screen. However I also get responses like “I use the histogram”, “I always thought meters were only for the landscape guys”, “I was told that the meter was inaccurate and that with digital you could nail the exposure so much better”…..

 

I’m not sponsored by Sekonic (and trust me I tried :D) but somehow the whole light meter thing did got me thinking and I decided a few years ago during PSW to do a class on why I use a meter with stunning results (I believe they sold out the meters in a few hours) ever since it’s been a solid part of what I teach.

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Glyn and Frank

Today a shot we took very quickly during the Professional Imaging on our booth.
Glyn en Frank PI dag 2-1-Edit
Glyn Dewis and me.
Thx to Johnny ten Have for shooting it.

Some new images from Manon

Shot during a workshop last week.

Manon Maart 22 2014 (7 of 118)-Edit

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Some speed with Manon and the ELCs

Because animated gifs are popping up everywhere I thought “let’s try one with the ELCs”.
So today I present you “headache” with Manon.
Shot during a workshop.
By the way, the speed of the ELCs (and most of all the freezing power at these speeds) do help the photographer to get the perfect frozen motion shot a lot quicker.

manon-headbang

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Some more Corine

Today some left over shots from the shoot we recently did with our model Corine.

Corine Maart 26 2014 (26 of 143)-Edit

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Some Impossible blue scans

Polaroid, which photographer (and non photographer) doesn’t love the stuff?
When Polaroid stopped making the film a lot of people were feeling bad about it, but then there was “the Impossible project” rebuilding the instant film following and materials. I think they are doing pretty good because you see the film popping up everywhere and they keep making improvements.

 

When I visited the store in Vienna I bought some Impossible Blue film, it was already “tricky” by then and it’s now 2 years later so to be honest I kept my fingers crossed to see if something usable would come out, but to my surprise it did, it’s not perfect but it also adds a bit to the charm I think.
Shot on a Mamiya RZ67ProII / 110mm  during a session with our model Corine.

Corine Polaroid Blue Maart 26 2014 1-Edit

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Some film scans

As you all know I love shooting film, there is something special about it.
I won’t say it’s better than digital, just different.
I do have to add that we recently switched from the Epson V750 scanner to a Reflecta MF5000 and that difference is pretty huge, I dare to say that the scans from my Mamiya RZ67ProII actually out resolves my 36MP Sony A7r but then again you can’t really compare the two, where digital is razor sharp film is very detailed but not “razor” sharp, it’s just ….. well pretty sharp. But that is judged on screen, as soon as you print it does look razor sharp and in essence that’s where it counts.

 

For me shooting film is that “different look” it’s a bit more organic and I love the large frame from the RZ67ProII, I use that camera also with my Leaf Credo60 but on the RZ it results in a pretty severe crop (although the Credo is actually slightly bigger than a 6×4.5). With film all that is gone and you can enjoy the huge real estate the camera gives you.

 

These shots were done during a shoot with Nadine on location and were shot with the RZ67ProII with a 110mm f2.8 lens (closed down because we used strobes) on FujiFilm RPII positive film. Development of the film I did at home with the appropriate E6 chemicals.

 

One tip if you are into film, make sure you invest in good scanning software, this makes a HUGE difference.
I’ve been using Silverfast studio for quiet some time and when I switched from the Epson software to Silverfast the difference was very noticeable, now with the Reflecta MF5000 Silverfast really shines, it’s not the fastest to learn software but if you scan in basic mode you pretty much are good from the get go, if you dive into it there is however an enormous amount of extra detail to be extracted from the files.

 

These files were scanned with one pass (double pass gives you a bit more dynamic range), and are straight out of the scanner, only thing changed is a slight touch up of the skin.
Nadine arnhem 12-Edit

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