dave lackey
Veteran
This week has been productive. How about you folks?
Instead of just shooting "The Deep South" documentary with the X1 (and film Leicas), I am working the X1 into a system that works for me and my own workflow.
As a natural light shooter, it is sometimes difficult to use a flash but there are times it is needed. I have begun using my old Nikon SB24 and the zoom/swivel/rotation options are very useful! Even set it up on the tripod and it works well. Now to get a slave flash for the other tripod.
While on location, it would be nice to not only show portfolio work, but using the Ipad or Ipad mini will be useful to check the images being shot before I leave the shoot location. Nothing worse than having clients/models, etc. coming back because focus/composition/content/lighting or something was not optimal.
I have the whole macro thing worked out and it is working amazing well.
Telephoto? Not sure but a D-Lux 6 would be a great complement.
Why a D-Lux 6? Smallness, fast lens, telephoto capabilities, decent IQ, and will fit in a very small bag/pockets along with the X1, Ipad mini and flash.
For film images, I still use the M3 and R4 for black and white. But not all the time, because the X1 makes life a lot simpler for some things by itself.
I am still stretching the envelope with my own X1 kit and am looking for better ways to use it as a system. It is all fun!
How about you folks? Whatcha doing?
Instead of just shooting "The Deep South" documentary with the X1 (and film Leicas), I am working the X1 into a system that works for me and my own workflow.
As a natural light shooter, it is sometimes difficult to use a flash but there are times it is needed. I have begun using my old Nikon SB24 and the zoom/swivel/rotation options are very useful! Even set it up on the tripod and it works well. Now to get a slave flash for the other tripod.
While on location, it would be nice to not only show portfolio work, but using the Ipad or Ipad mini will be useful to check the images being shot before I leave the shoot location. Nothing worse than having clients/models, etc. coming back because focus/composition/content/lighting or something was not optimal.
I have the whole macro thing worked out and it is working amazing well.
Telephoto? Not sure but a D-Lux 6 would be a great complement.
Why a D-Lux 6? Smallness, fast lens, telephoto capabilities, decent IQ, and will fit in a very small bag/pockets along with the X1, Ipad mini and flash.
For film images, I still use the M3 and R4 for black and white. But not all the time, because the X1 makes life a lot simpler for some things by itself.
I am still stretching the envelope with my own X1 kit and am looking for better ways to use it as a system. It is all fun!
How about you folks? Whatcha doing?
willie_901
Veteran
Creative light control brings the best out of any camera. An off-camera strobe is simplest and least expensive way to add creative lighting to your photography.
The Nikon SB-80 strobe has a very sensitive and reliable optical trigger. It is a good candidate for a second, remote strobe. Unfortunately people who do off-camera strobe work know this and used SB-80s average $150. I use up to 6 of these and I get them from KEH. Unlike the SB-24, the SB-80's power is adjustable in 1/3 stop septs down to 1/128 power. There are inexpensive Chinese knock offs for the SB-80, but I forget their name. I found optical hot shoes to be totally unreliable triggers and when they did work they were insensitive. If you will always be close to the remote strobe, then a high-quality optical hot shoe may suffice. Wired connections are inconvenient at best. The strobe wire and connectors do not hold up so you must have a back up set. This is why I discussed opitcal triggers. Inexpensive radio triggers are a waste of money. Trust me on this. Reliable radio triggers are expensive.
I have no idea what sort of tripod you have for the remote strobe. It is often useful to have a light up high to bounce into the ceiling corner of the room. This avoids odd ceiling colors from light sources with mixed color temperatures. A cheap tall light stand is more useful than a standard tripod. Ther are a variety of small clamps with strobe cold shoe mounts. These can mount a flash atop a door which is another way to bounce light around high up to light ceilings.
You mentioned you prefer natural light. I think an inexpensive, but decent size, white shoot-thru umbrella would be an useful diffuser. Well-placed reflectors are able to increase the impact of a single remote strobe. Thin, white foam-core panels are inexpensive and readily available at home supply and art supply stores. These make great reflectors. You can glue aluminum foil to one side, but I just use the white side for a often light. Cheap plastic clamps are useful to hold the reflectors. To minimize expenses, you can build home made reflector stands out of small diameter plastic plumbing pipe and fittings. If you spray paint these black, clients don't notice they are home made. One of the cheapest ways to create lovely soft light is hanging thin, white, disposable plastic picnic table covers from stands. Just place the strobe behind the stands. If you must tape reflectors to walls or doors, use high-quality painters tape. But taping should be a last resort since there is always a chance for damage when you remove the tape.
A blog called The Stobist is invaluable for anyone interested in inexpensive off-camera lighting.
The Nikon SB-80 strobe has a very sensitive and reliable optical trigger. It is a good candidate for a second, remote strobe. Unfortunately people who do off-camera strobe work know this and used SB-80s average $150. I use up to 6 of these and I get them from KEH. Unlike the SB-24, the SB-80's power is adjustable in 1/3 stop septs down to 1/128 power. There are inexpensive Chinese knock offs for the SB-80, but I forget their name. I found optical hot shoes to be totally unreliable triggers and when they did work they were insensitive. If you will always be close to the remote strobe, then a high-quality optical hot shoe may suffice. Wired connections are inconvenient at best. The strobe wire and connectors do not hold up so you must have a back up set. This is why I discussed opitcal triggers. Inexpensive radio triggers are a waste of money. Trust me on this. Reliable radio triggers are expensive.
I have no idea what sort of tripod you have for the remote strobe. It is often useful to have a light up high to bounce into the ceiling corner of the room. This avoids odd ceiling colors from light sources with mixed color temperatures. A cheap tall light stand is more useful than a standard tripod. Ther are a variety of small clamps with strobe cold shoe mounts. These can mount a flash atop a door which is another way to bounce light around high up to light ceilings.
You mentioned you prefer natural light. I think an inexpensive, but decent size, white shoot-thru umbrella would be an useful diffuser. Well-placed reflectors are able to increase the impact of a single remote strobe. Thin, white foam-core panels are inexpensive and readily available at home supply and art supply stores. These make great reflectors. You can glue aluminum foil to one side, but I just use the white side for a often light. Cheap plastic clamps are useful to hold the reflectors. To minimize expenses, you can build home made reflector stands out of small diameter plastic plumbing pipe and fittings. If you spray paint these black, clients don't notice they are home made. One of the cheapest ways to create lovely soft light is hanging thin, white, disposable plastic picnic table covers from stands. Just place the strobe behind the stands. If you must tape reflectors to walls or doors, use high-quality painters tape. But taping should be a last resort since there is always a chance for damage when you remove the tape.
A blog called The Stobist is invaluable for anyone interested in inexpensive off-camera lighting.
dave lackey
Veteran
Good stuff, Willie...thanks! I hadn't thought about the Strobist lately and I like your ideas above.:angel:
dave lackey
Veteran
Update...the X1 and more than proven itself and I will be learning this camera for a long time. I have come to a conclusion that it is a perfect mate to the M3.
Both now have handgrips instead of the halfcase. The X1 has the A&A black strap and VIOOH finder (plus a regular plastic 35mm finder) while the M3 has a Leica MR4 meter.
What I can't do with the X1 with a 35mm pov, I go to the M3 with 50 and 90mm lenses. Got it covered from 35-90mm, color, black and white, macro capability with the X1, beautiful aesthetics and great handling.
The system is set. All fitting in a nice small Billingham bag. Selling and reorganizing stuff is a good thing with a goal in mind
But then there is that pesky GAS...a 135mm lens, a 28 mm lens, film, etc.
Both now have handgrips instead of the halfcase. The X1 has the A&A black strap and VIOOH finder (plus a regular plastic 35mm finder) while the M3 has a Leica MR4 meter.
What I can't do with the X1 with a 35mm pov, I go to the M3 with 50 and 90mm lenses. Got it covered from 35-90mm, color, black and white, macro capability with the X1, beautiful aesthetics and great handling.
The system is set.
All fitting in a nice small Billingham bag. Selling and reorganizing stuff is a good thing with a goal in mindBut then there is that pesky GAS...a 135mm lens, a 28 mm lens, film, etc.
Eric T
Well-known
I have been surprised that Leica never expanded the X1/X2 family to include other focal lengths - similar to Sigma's DP1m, DP2m, and DP3m series.
dave lackey
Veteran
Eric, they just did...
It just won't be announced until next week, June 11th.
It just won't be announced until next week, June 11th.
robert blu
quiet photographer
Wow Dave, for sure you have a great small system! Sometimes I have in my bag the x1 + m7 with cv 75mm lens. But last week I went another direction, x1 + rolleiflex, notsure yet about the results...
robert
robert
dave lackey
Veteran
Ohh...that sounds good! I am loving 120 lately and can't wait until Wednesday when my last couple of rolls will be processed and scanned.
The Rollie is superb.:angel: