Відео

Well now this is an interesting question. I edited out a long conversation that Matt and I had about the usefulness (or otherwise) of colour temp measurement in BW paper reversal. I suggested that, as BWPrev is orthochromatic, one might infer a greater or lesser sensitivity of the paper if you get a higher reading (ie bluer). Obviously this doesn't work for artificial light, because things like LEDs do their own thing, but for sunlight it's possible that there could be some measurable change in sensitivity of orthochromatic films and papers. But in Matt's own words - "maybe, but there's a ton of other stuff you have to think about". You ask if it was a problem back in the day... I mean, to some extent those tables that you see that suggest different exposure times in winter vs summer, are probably taking into account some element of colour temperature. There's an intensity consideration of course, winter sun is not as strong as summer sun, but there is probably an inherent factoring of different wavelengths of light. I think. Maybe.

@@the120ist Thanks for the answer. It's just because recently I have been looking into buying an analog light meter for film. This here is definitly better equiped. But I think color temp seems to be something that is above my capabilities to shoot (as of now) ;)

And I didn't even cover it all! I had to cut out some of the more technical bits for the sake of keeping the video flowing. I missed out a huge section of graphs, flash durations etc. It's packed!

@@the120ist It's the size that instantly hooked me! Exactly what I need (in conjunction with the gen. 1 Spot Meter with the AAA battery holder).

@@c.augustin I also have the gen 1 Spot Meter, and together you basically have a Sekonic 858... but smaller, lighter and cheaper!

@@the120ist I suggested to Matt that he should do a combined meter (using the same method for aiming the spot), but he wrote that it is not on his list for now. Well, I can use both devices together until he does it … ;-)

Is that right? Didn't know that. Matt said that the 858 can do it, for sure. But with a $1000 price difference!

Technically he is right in regard to the specific light meter but but the 858's smaller brother and previous generations do it too for still way too much money. So in that sense, he is right. I also do not think they really compete and they don't have to since Matt's products already have a unique selling point. The Sekonic is a brick of a tool, built for professionals and Matt's solution is a nice, pocketable solution for enthusiasts. Don't get me wrong, I am backing his project here again, because I love to have a small incident/color meter in my pocket.🙂

Well now I had to look up the word decamired... I've always talked about colour temp in Kelvin, but I now know there is another scale. It looks as though the conversion is a simple formula though, is that right? If so, I'm sure Matt could add this readout as an option if interest was high enough. But I confess, this is the first I've heard of it! Maybe showing my ignorance... I know that Matt has made a lot of tiny light meters in the past. This one is small in comparison to its competitors, but I'd say not so small that it sits in that "micro-meter" category. Feels good in the hand, and is the perfect size to hang around your neck IMO.

@@the120ist I was just being a smarty with that opening. The decamired system was (I think) invented for use in the Hollywood movie industry sometime in the 1950s. It was a quick way to measure light temperature with a dedicated filter system to adjust color temperature of ambient light to match the inherent color balance of your film. On a color meter, you would set the rating for your film in Kelvin, measure the ambient light temperature, and the meter scale reads out the light in Kelvin, also showing the type and density of filter (warning or cooling) required. These sets were sold by Tiffen and also Harrison (?) in sets of several warming or cooling filters, which could be used together to fine tune the match. You have to use a calibrated meter to use them with more accuracy than a conventional Wratten/Kodak style of color balancing filter. The filter sets were wickedly expensive and sold only in Series sizes. I paid $100 for a Series VI full set (6 filters, approx. 49mm) at a time when a top quality Kodak Wratten filter cost about $5. In the 1970s, technology made three-color meters commonly available. Their greater accuracy for color correction eliminated use of the older two-color system. The only consumer class meter I know to have been made for the system was the Gossen Colorsix, which works perfectly (if at all), and is still around on eBay. I occasionally use a Series IX set of filters (about 85mm) when shooting slide film on my Pentax 67. I bought them at a swap meet some years ago for next to nothing.

You'll definitely love this meter. Super simple to use if you want it to be, and then if you want to get really into the nitty gritty of flash durations etc then the options are all there!

It really will be, I've backed it as well!

Ahh that's awesome. Yeah he is amazing right? Really enjoyed my day with him, some of my questions (edited out here unfortunately) got super technical! My idea of heaven!

It really is! Great bit of kit for a pretty mind blowing price point!

Definitely a better price than the market leader for the last 30 years who have been able to get away with it because there's not been competition...

@@lukehenderson5097 It will be interesting to see what then next few years bring. I feel like the light meter world has had some disruption recently!

Hey hey! Welcome back! I don't know where I went... this is an awesome meter though, I would definitely recommend it! I would say more user friendly than all the Sekonics, and way more options and features, so you can grow with the meter. If you want to get more technical, the options are there for you!

Not anymore!

Ha ha! I think he was once!

@@mattbechberger3298I guess it would be a pity to make a light meter without real light. 😆

I know right? It's basically a Sekonic 858 minus the spot option, which is insane!

Thank you! Quite enjoyed the Velvia, more of that coming on the channel!

really? portraits at 1/15 ? is this camera mortis?

Thanks, I have an assistant who helps with production assembly but I do everything else myself

Pretty much a one man operation! As Matt says, he has a part time assistant, but otherwise, it's just one man in his... labs. Pretty impressive stuff!

It's an average. It doesn't contain a spectrometer, I'm not sure if even a spectrometer could give you two temps for two light sources simultaneously

Matt is obviously the man to answer that, other than to say that I think I skipped a bit in this video where matt explains that the colour temperature reading is only available in incident metering mode, ie via the light dome, and therefore is not direction specific. But I'm sure you could, in theory, take the meter to each light separately, hold it close and get a CT reading. The intensity would change drastically, but I don't think the colour temp reading would. But I'm sure Matt will confirm!

@@mattbechberger3298 Thanks Matt. This intrigues me...a lot.

@@the120ist Ave sounds good. Controlling colour is something I'd like tog et into a lot more. I think it opens creative opportunities.

@@tonyhayes9827 Totally agree, and mixing of colours when using artificial light. I'm toying with the idea of doing some RA4 reversal when I get back to the UK, for which this sort of measurement could be very useful. I think...

Not too sure on this. Matt may pop up on here and answer your questions. There are similar questions on the Kickstarter page, if you head on over there and take a look at the comments on there.

It doesn't do tint... yet. I haven't determined yet how to compute tint from an RGB colour sensor reading.

@@mattbechberger3298 See, there he is 👆

Did you get the last one? The sort of back of the hand one? I love the spot meter, one of my favourite bits of kit!

@@the120ist Yes I did. It is probably used most. I use it with my Rolleiflex and M2.

@@rogerbird2208 That is also a great meter!

Good choice I'd say. It's a great meter, so many features!

I'll check it out, thanks!

The images came out, but I'm not sure how much my "shutter speeds" bore relation to what I was aiming for!!

It's not, it's pearl.

I'm terrible for dismissing what I have around me... I see it every day and I find it hard to get excited about it! Need to work on that!

Ha! My pinhole camera with a lens! Thanks!

Good advice! I've still never tried this method, but I know of it, I know it's a tool in our arsenal against jammed screws.

Well well, I hadn't heard of the GTLR. Googled it, now I know! Didn't realise it was out there. Thanks!

Ha! He was pulling my leg. He enjoys doing that! Thanks, I enjoyed building it. Really looking forward to getting back to the UK so I can continue the project!

Thank you so much! I'm glad you enjoyed it! I can't wait to get back and carry on with the project now. Plus so many great ideas for how I can adapt the concept and expand it. Roll on May!

@@the120ist We are waiting for May!!!!😉😊

A few people suggesting this... and actually, at time of taking that image indoors, I hadn't tested the process with flash. Since then though I have. The next video coming to the channel I shot before I left the UK, and I do exactly that. And I can tell you, having tried it, that if I had used flash on that indoor shot with the big box camera, it wouldn't have worked. Even using every studio strobe and flashgun that I own all rigged up together, I don't have enough flash power to expose the paper. The general assumption is that you can get more power from a flash than from constant lights, whereas in fact with constant lights you can get a lot more light, if given the time to accumulate exposure. I haven't done the math, but six flash guns and a 400w/s strobe firing together (total of about 700w/s) gave me the equivalent exposure of about 3 seconds of constant lighting with the ones I had set up. So for a seven second exposure we'd be looking at pumping the full flash set up 3 times to get an equivalent exposure!

@ yeah, I fell into that same mental trap. Always assuming flash has more power than it really does. Thanks for the explanation! Can’t wait to see more from that beast!

Your wishes are not going unheard! It's on the list, it's coming! Interestingly, with this camera I could get a glass plate the size of the back easily enough, and I could coat it, after doing some practice with the technique... but I would need to come up with some means of offsetting the focus by the mm thickness of the glass plate. Hmmmm...

@ even a cm or two of sliding capability somewhere in the lens path would give you that. Don’t need a full on helical or anything more complicated. Maybe even just mount the lens cone on coarse thread bolts with a gasket of some kind to allow adjustments. I’m sure you’ll work it out. Looking forward to what you come up with!

Thanks so much! Definitely a very rewarding moment when you get a decent print out of any process! I wish I had had just a little more time to get this to a point where I felt confident I understood the camera. But time waits for no man! I'll be back to this project before you know it!

It's definitely an idea. I'd need to have a piece of white paper against the back to show the image though. And the major problem I have at the moment is having to remove the camera to load the light sensitive paper, and in the process ruining the careful focusing and framing which I've just done! So the first thing I need to fix is being able to load in situ. I have some ideas, and have received some good ideas from others, about maybe keeping the paper packet inside the camera, maybe installing a thin false bottom to prevent reflections. Lots to think about!