08-31-2009, 10:55 AM
Yes, Robert. My first layout, the hurried three-sheets of 1/2" ply slab I threw together, had two flourescent 4" tubes assemblies with two tubes in each. Overhead, they provided very poor illumination for the rods and valve gear of my steamers. I resorted to tall lamps. They got in my way. As you can see by my image, I purposefully had the electricians install the twin 8' tracks so that all the pots would be aimed near 45 deg downard from over my shoulders when I was operating the layout from the obvious central pit. That change, plus the warmer light from the floods, has made a huge difference for my now 57 year old eyes.
Also, for those who are not familiar with the tracked lighting, those pots can be twisted and unlocked, and then slid along the track to where their use would be most advantageous. Really useful in photography.
Thanks for your kind comments about the lighting in my images. I do actually have to work at it, and it is often just luck. I have learned to stop down the camera and to let a friend use his software to accent what needs it...but he has told me several times he can't subdue overexposed spots, by which my light ground goop is a nasty struggle. It also depends on the total light incident on the exposure detector and on the recording CCD at the back of the camera. When I get close in good light, the tone changes, and the scene takes on a brighter sunlit look. Many of my shots are not so, as you have observed. The overcast effect is probably an artifact of my tampering with the too-dark image in FastStone...I reduce contrast and brighten it a bit for stuff to stand out more naturally, but that imparts a hazy or overcast hue to the whole. At least, that is what I have concluded.
-Crandell
Also, for those who are not familiar with the tracked lighting, those pots can be twisted and unlocked, and then slid along the track to where their use would be most advantageous. Really useful in photography.
Thanks for your kind comments about the lighting in my images. I do actually have to work at it, and it is often just luck. I have learned to stop down the camera and to let a friend use his software to accent what needs it...but he has told me several times he can't subdue overexposed spots, by which my light ground goop is a nasty struggle. It also depends on the total light incident on the exposure detector and on the recording CCD at the back of the camera. When I get close in good light, the tone changes, and the scene takes on a brighter sunlit look. Many of my shots are not so, as you have observed. The overcast effect is probably an artifact of my tampering with the too-dark image in FastStone...I reduce contrast and brighten it a bit for stuff to stand out more naturally, but that imparts a hazy or overcast hue to the whole. At least, that is what I have concluded.
-Crandell