On: Wed, 18 Aug 2004 Rodolpho Pajuaba wrote:- > I never liked the 2-lights-45-degree scheme - but it�s oly my POV ;-) .
I have only seen one 2-lights-45-degree scheme that actually worked, and that was at PCL labs in Manchester UK. A huge long blackened room with a 10x8In camera permanently tethered to a railway track, with two hand-built strobes containing custom blown xenon discharge tubes nine feet long. Amazing, the only time I have ever, ever seen - completely flat, yet extremely intense lighting accurate to a 1/4 f-stop all over. Don't care for lights myself, not when copying paintings......I prefer diffuse daylight as the results are more (emotionally:) accurate. I pay a lot of attention to smoothing out bumpy highlights by putting tracing paper in the light path. Nothing worse than a burnt out highlight. Nothing nicer than seeing everything that is there. Yes, copying paintings is THE photographic technical challenge for all you wannabe's out there, AND beware, painters are the hardest of all clients to please as they often know exactly what they are looking at. The kind of artists I hang out with, don't use glass:) Yours digitally William Curwen =============================================================== GO TO http://www.prodig.org for ~ GUIDELINES ~ un/SUBSCRIBING ~ ITEMS for SALE
