On 16 Jun 2004 at 18:03, John Mustarde wrote: > Very nice. Wanna trade? I have an F 50/1.7, a stretchy neck strap, > three rolls of film, and a flash to be named later...
LOL. Don't think so, > Seriously, the even lighting is very successfully done. Any > Photoshopping - drop-shadows or erasure of background? OK, the original was shot as JPG, the exposure and contrast setting was selected to over-expose the very white background material which is a roll of table-top vinyl covering that I bought specifically for jobs like this. The little areas of under exposed background that remained were burnt in using the dodge/highlights tool. No drop shadow, it is as is. > Also, what > exactly is the "low-temperature tungsten lighting" you mention? I am > looking for lighting options to outfit a plate examination area at > work - high-ceiling (28 ft), open area about 30 x 30 feet, money no > object (up to a few thousand) for lighting... LOL How about two el-cheapo 10W tungsten table lamps :-) The secret to shooting under tungsten lights is to use good neutral reflectors, pre-filter for colour correction and then manual colour balance off a reliable white surface. I use an 80A filter, a high quality bright white ink-jet paper as my white balance reference and white styro-foam reflectors made out of slabs of inch think foam with fishing sinkers embedded along the side so they stand up by themselves. > BTW, at Medium size, each letter of PENTAX-A and FISH-EYE are outlined > by artifacts. Sharpening halo, unavoidable at low resolutions, maybe? I suspect it's just a function of the sizeing algorithms used at the site, the original is pretty much halo free, in fact it's even possible to see where the milling has overshot during manufacture. Cheers, Rob Studdert HURSTVILLE AUSTRALIA Tel +61-2-9554-4110 UTC(GMT) +10 Hours [EMAIL PROTECTED] http://members.ozemail.com.au/~distudio/publications/ Pentax user since 1986, PDMLer since 1998
