Neuffy's Blog

Gear list, and why I have it

2010-08-03T14:00:00.000-07:00

An In Progress List

Many people will list their gear either in their signatures on forums or in a list.

This is is for two reasons: One is simply to have the list all together, and the other is to enumerate the reasons why I own these items. In other words, what I use them for. If I have anything on this list that I cannot come up with reasons for, I really shouldn't keep it, should I?

Camera Gear:
Canon 5D II w/ grip
Canon Rebel XSi w/ grip
Canon 24-70 F2.8L
Canon 70-200 F4L IS
Canon 60 F2.8 Macro
Canon 50 F1.8

Horseman L-frame 4x5
Schneider 72mm F5.6 XL
Schneider 150mm F5.6

Manfrotto 055 Tripod
Markins Q3 Ballhead
Manfrotto 804RC2 3-Way Head

Lighting Gear:
2 Canon 580EXII Speedlites
Honl 1/8" Grid
Gels

3 Paul C. Buff Einstein 640 Monolights
2 Opus 150ws Monolights - unused for months: sell
Paul C. Buff ABR800 320ws Ringflash
30" and 56" Moon Unit for PCB Ringflash
2 8.5" Reflectors w/ grids

84" Octobox
48" Octobox - Unused now for some time: sell
2 PCB 47" Octoboxes w/ grids
2 PCB 10x36" Stripboxes w/ grids
PCB Beauty Dish w/ grids

3 Manfrotto 307 13' Stacker Light Stands
Manfrotto 5001B Nano Stand
2 Umbrella Swivels with Stroboframe coldshoe clamps
2 40" Extension Grip Arms
2 Manfrotto 035 Super Clamps
Cameron Boom Stand
Manfrotto 087NWB & Red Wing Boom setup
KATA PALMS-3 Lighting Bag

3 PCB CST Triggers
3 PCB CSRB+ Receivers
3 PCB VagabondIIs

Opus Background Stand kit
107" Background Seamless Paper in White, Black, Dark Gray
Muslin in Medium Blue/Gray

Bags:
ThinkTank Logistics Manager (fits the 4x5, all the bodies and lenses as well as a couple 580EXIIs).
KATA PALMS-3 Lighting Bag
KATA 3N1-30 Sling/Backpack Bag

Printing Gear:
Canon iPF8100 44" 12-Pigment Large Format Printer
Canon Pro9000 13" 8-Dye Printer - Infrequently used, but nice for making small prints
X-rite i1Xtreme calibration and profiling kit
NEC 2690Wuxi2 Wide-Gamut Hardware-Calibratable monitor
Rotatrim M24 Rotary Trimmer

Imminent Purchase List:
Canon 135 F2L
2 PCB 86" PLMs
PCB 64" PLM
PCB Retro Laser Reflector

A quick analysis of shadow noise in DSLRs.

2010-03-21T13:58:00.001-07:00

I've noticed that at ISO 100 the Nikon D3X does much, much better in the deep shadow areas than the Canon 5D Mark II. However, it doesn't do much better in the midtones or highlights.

If we look at DXOMark's tests, we can see that with the Signal-to-Noise @ 18% grey chart, the cameras have almost identical levels of noise. This should indicate that the noise levels are the same, but it does not. We have to look at the full SNR graphs in order to get a fuller picture.

Let us say that we require for "acceptability" a Signal-to-Noise ratio of 18 dB. Looking at the full SNR graphs on DXOMark, the Nikon D3X achieves this signal strength at about 0.25% on a logarithmic scale. The Canon 5D Mark II achieves this signal strength at about 0.66% on a logarithmic scale. This implies that we can push the shadows from the D3X over a stop before they have the same noise level as the 5D Mark II. Essentially, for the deep shadows we can shoot a stop underexposed and push in post to achieve similar quality.

This would be why the D3X is rated as having 13.65 stops of dynamic range at ISO 100 while the 5D Mark II is rated as having only 11.86 stops of dynamic range.

One last thing is that this does not take into account that the 5D Mark II has significantly more pattern noise in the shadows. This makes it much more noticeable.

In essence, I really hope that we see more cameras producing deep shadow noise similar to the D3X in the future.

Brief Summary: Frequency 2010

2010-02-21T21:28:00.000-08:00

For Frequency 2010, a major electronica event in Edmonton (Alberta, Canada), we created a photobooth in conjunction with Limages Night.

The setup is an 8x8' mural, made up of three overlapping 3x8' panels. This is supported on its frame by the boom setup previously mentioned, with the boom extending over the 8x8' panel and holding a small strobe. Other lighting is provided by two softboxes on either side, all triggered with Paul C. Buff CyberSyncs.

Shots are taken tethered to a computer, and then forwarded to a second computer for printing. Prints are made and sold on-site.

Here's what the setup looks like:

Lightweight Mobile Lighting Setup

2010-02-07T20:13:00.000-08:00

I have now arranged my mobile location shooting lighting setup.

The first is far more mobile than the second:
1-2 Canon 580EX II speedlites
1 6' Manfrotto 5001B Black Nano Stand
1 13' Manfrotto 307 Stacker Stand
Umbrella swivels (importantly, upgraded with Stroboframe cold shoes which hold the flash much more securely)
Westcott 43" double-fold collapsible umbrellas
Triggered with a Paul C. Buff CyberSync CST and CSRB+ transmitter/receiver set with all settings manual.

If I'm going for a very lightweight setup, I'll only take the one light, with the Nano stand. The weight added by a second light is significant if I am going to be walking any real distance, and my inclination is to leave it behind when I'm not going out specifically to take photos. However, if there is much wind, the larger stand is much more stable.

This is all in keeping with the principle that a mobile lighting setup is useless if it is not carried on one's person. As soon as a setup gets too big to comfortably carry for an extended period of time, it stops being used.

Adjusting the Canon iPF8100 for length

2010-01-21T01:12:00.000-08:00

Most printers have a tendency to print slightly shorter than they should on certain media. Canvas in particular is troublesome, particularly as canvas prints frequently have specific length requirements due to the need to stretch them on stretcher bars.

Earlier I printed a 16x20 canvas, on a 20x24 piece (losing two inches on each side for stretching). This prints sideways on a 24-inch roll. Unfortunately, the canvas, while 24 inches wide, was only 19.75 inches tall. While this might be acceptable at this size, it will scale up and make a 40x60 print utterly worthless, as it will be unstretchable. Being 1.25% too short is something that must be fixed.

While one could fix this manually in Photoshop before printing, it would be excessively tedious. My Canon iPF8100 has a per-media-type length adjustment. The quick calculation is that to compensate for a 1.25% shortness, one must make the print 1.27% longer. In the length adjustment field for the media, percentages are in 0.02% intervals, so I adjusted it to +1.28%. After adjustment, the new 20x24 canvas now measures closer to perfect than I can measure.

Note: For any iPF users, the media length adjustment is only applied if "Feed Priority" is set to "Print Length". Otherwise, it has no effect. Additionally, length adjustments are iterative. That is, one can set the length to anywhere between plus 0.70% to minus 0.70%. Then, once one goes back in to the setting, it is still at 0%. If you were to set the length adjustment to +0.15% twice, the true adjustment would be +0.30%. In order to set it back to zero, you would then need to enter -0.30%. As far as I know, the only place to check your actual setting is in the Status Monitor application, under Information->Status Display.

Boom Stand Setup

2009-12-19T23:08:00.001-08:00

I have finally received the stand for my Boom Setup. It had been ordered in August, but was backordered from Italy.

Setup:
Red Wing Standard Boom.
Manfrotto 087NWB 3-section crank stand with Wheel Set 104G (100mm, with brakes). Maximum height is 370 cm.

Weights: 3kg for wheels, 17lb for boom, 25lb for counterweight, 21.4kg for stand.
Total setup weight: 44kg/96lbs.

This allows me to place a payload of up to 15lbs 6 feet horizontally displaced from the stand's center column. With the 48-inch extension arm (as opposed to the default 18-inch extension arm) it extends the reach to approximately eight and a half feet from the stand.

One of the primary reasons that I have gone with this boom is that it is a parallelogram design. A parallelogram causes the center column to remain horizontal (or, at least, perpendicular to the stand) regardless of the height or angle of the boom itself. Once set, an attachment such as a monolight will remain at a constant angle even as one moves the boom up and down.

Something mildly amusing is that I took two days to realize that the Red Wing Boom's bottom portion (with 5/8" female) actually is a 1 1/8" male as well, which means that it does not require any adaptors to fit into the Type 14 socket on the Manfrotto 087 stand.

Thanks to Romy Young for the photo in use.

Printing and Color Management

2009-12-17T10:39:00.000-08:00

I've recently acquired a rather large upgrade to my printing setup.

Equipment:

Canon iPF8100: Large Format 44" 12-Pigment Printer.
X-Rite i1 Xtreme: Calibration and Profiling Suite.
NEC 2690Wuxi^2: Wide Gamut Color-Accurate Display.

Setup:

NEC 2690: Calibrated to D55, 135cd/m^2, 400:1 Contrast Ratio. Results as follows:

This is a little bit bright for print matching, but as this is a very new monitor (note the 15.5 hours usage), it still has trouble calibrating properly to lower brightness levels.

Update: Increasing usage does indeed reduce Delta E for a new monitor.

iPF8100: Setup went mostly smoothly after getting it through the door. At 312 pounds without any accessories, ink or stand and over 6 feet long, getting it up the stairs and around the corner was somewhat difficult. We did it with three people, though, and it is now permanently ensconced upon its stand.

Error Reports:

Upon the initial install of the ink tanks, the iPF8100 produced a rather perplexing error: "Error E144-4048" and indicated that it required a service technician. This problem's only mention online was in the iPF wiki, indicating that it was some kind of problem with the ink lines initial fill. It was solved by resetting each ink cartridge and resetting the printer. It did, however, waste a fair amount of ink as this error results in the refilling of all lines - whether a technician is repairing it or not. It also filled the maintenance cartridge nearly completely. Canon Service is amazing, however, and took care of the wasted consumables.

The first time I attempted to make a custom profile using the i1 Pro, I received "Error 20310" upon attempting to read the white target. Having previously used the same device to calibrate several monitors, it was rather odd. I failed to find a solution on Google, but finally hit upon it when I realized that when calibrating monitors the device is reading an emissive target, while when profiling paper it is reading a reflective target. This means that it requires more power as it must activate its built-in light source as well. The final solution was very, very simple: I unplugged it from its USB extension cable and plugged it in directly. This solved the problem completely.

TL;DR: Error 20310 on the X-rite i1 Pro is caused by low power to the device, usually due to USB extension cords or low-power USB ports.

At this point, I ran into the problem of having too many read errors on each strip of the profiling target. This is due to the light not turning on immediately upon depressing the "scan" button on the i1 Pro. It takes approximately 1/3 second in order for the light to activate and seems rather sensitive to the scan speed. However, after getting the hang of it, scanning in Bill Atkinson's 1728 patch target takes only around 12-15 minutes.

Quick Summary of Techniques:

Custom Profiles are generated as per iPFwiki's listing using Bill Atkinson's custom targets. Currently I am using his 1728 patch target, as it uses significantly less paper and time than his 4096 patch target. With the neutral grays of this printer, there likely is not significant improvement using the larger target.

Results:

The print quality is excellent. Greys are neutral, tonal gradations are smooth. Print speed is amazing, although at faster settings it can lay ink down too quickly for some papers. Using my custom profiles, screen-to-print matching is nearly perfect.

In all, I am eminently pleased with this setup. There is every indication that it will work wonderfully for my print service.

I would like to thank Klyment for his assistance in selecting the NEC 2690 and in answering some questions regarding initial setup and hardware selection.

HyperSync without Pocket Wizards

2009-06-28T00:59:00.000-07:00

When I first heard about the new Pocket Wizards, the main thing that intrigued me was the possibility of getting better sync speeds for the purpose of overpowering ambient light.

The problem? I don't own or plan to own any Pocket Wizards. I use Paul C. Buff CyberSync radio triggers, and I intend on staying with them. This is partially due to cost, and partially due to my being utterly and completely seduced by the idea of adjusting power wirelessly (once the Cyber Commander comes out) for the Paul C. Buff lights that I use.

Since HyperSync is simply a mechanism whereby the Pocket Wizard pre-fires the flash (having predicted the imminent shutter release from the hotshoe), I decided to test whether I could use a single Pocket Wizard TT1 Mini to trigger my entire CyberSync setup. If successful, this would mean that I had merely to purchase a single PW TT1. Using it between the camera and a CyberSync CST transmitter, it would trigger the flashes and, once calibrated, theoretically result in better sync speeds than the CyberSync system alone.

This would provide the benefit of both systems for me. I would be able to use my current transmitters and receivers as well as adjust power remotely while getting HyperSync benefits. While I believe this could potentially be done by having a receiver from both systems (one CSRB+ and one Pocket Wizard) on each light, this seems somewhat economically prohibitive as I would require one TT1 Mini as well as five-to-seven Pocket Wizards. Additionally, I am uncertain as to whether I would have issues with the double-wireless system, particularly with the new Alien Bees MAX units that use a CyberSync transceiver in a built-in slot.

Note: I had rather a lot of problems getting the PocketWizard Utility software to recognize the TT1 unit. While it detected without a problem system-wise, two computers could never modify settings and another only exceedingly sporadically. By sporadically, I mean three times in as many hours of restarting and reinstalling; of attempt after attempt leading to terminal frustration. Finally, I tried an Acer AspireOne netbook which worked flawlessly. Given that all four systems were running Windows XP, I have no idea why this would be.

The setup:

Canon XSi + PCB CyberSync CST, with or without PocketWizard TT1 Mini.
Canon 580EX II @ 1/4 power triggered by PCB CyberSync CSRB+.

Results:

With the CST alone, the maximum sync speed was 1/250.

Any further, and black bars appeared.

Now, onto HyperSync:

The required offset in configuration required was 750. With this setting, 1/320 showed no black bars whatsoever and 1/400 was properly balanced with minimal black bars at both the top and bottom of the frame.

Naturally, a better camera would allow improved sync speeds and reconfiguration would need to be done with different light sources but this proves that, in principal, the PocketWizard TT1 Mini can be used to cause an offset with a different radio trigger system to gain the benefits of HyperSync.

I know I'll be picking one up.