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Re: [photo-3d] Re: flash for Realist


  • From: "John A. Rupkalvis" <stereoscope@xxxxxxxxxxxxx>
  • Subject: Re: [photo-3d] Re: flash for Realist
  • Date: Sun, 29 Apr 2001 11:40:34 -0700


----- Original Message -----
From: "Michael Galazin" <rexlion22@xxxxxxxxxxxxx>
To: "P3D mail list" <photo-3d@xxxxxxxxxxxxxxx>
Sent: Saturday, April 28, 2001 10:48 PM
Subject: [photo-3d] Re: flash for Realist


> But I am dismayed by the weight of the Vivitar.  I
> suppose it will help steady the camera through inertia...  :/  ...but I
> don't think I'll enjoy lugging it around.

Unfortunately, it won't help much to steady the camera unless you hold the
camera/flash combination upside down.   Added weight as a steadying factor
only works if it lowers the center of gravity.  Raising the center of
gravity by adding weight to the top destabilizes.

Incidentally, for those interested in stabilizing (yes, still photography
benefits from being more stable too), one trick is to hang a weight
underneath, the lower the better.

A neat home-made gadget for doing this consists of a wood or plastic rod
about one meter long with a 1/4-20 anchor bolt in the top (for screwing into
the tripod socket) and a weight firmly attached  to the bottom (a battery, a
gadget bag or box, even another Realist for the "low level angle"!).
Practice carrying it so that you don't trip yourself when walking with it,
or hit yourself in the knees.  You may want to adjust the length so that it
is comfortable to maneuver around with, keeping in mind that the closer to
the ground the weight is, the more stable it will be.

Incidentally, the rather facetious comment about the Realist near the ground
is something not that far fetched.  More stereo photographers should
experiment with both high and low angle shots.  I get tired of all the "eye
level" shots in most exhibitions.  A stereo camera near the ground can
produce a "cat's eye" point of view that is quite interesting, and rarely
seen by human beings.  Grass and other irregularities and textures in the
ground surface become predominant in the scene, and are often very
interesting in stereo.  A 45 degree mirror behind the viewfinder will allow
you to look down into it for composing.

JR


 

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