Pieter Estersohn is a regular client at TREC.
He is a regular contributor for Elle Decor and many other magazines.
For more images and info, please go to: www.pieterestersohn.com
*Please click each image to see larger photo
11.19.2009
11.17.2009
Promotion / Profoto Air Pro 8 Pack
Experience the new Profoto Pro 8 Pack for the same price as Pro 7 Pack !
Pro 8 Pack is faster and leaner than the Pro 7 Pack.
** We can upgrade your Pro 7 pack to Pro 8 for no additional charge. **
** Note: Subject to availability **
News / Discount on Canon EOS 1DS MK III
Now, you can experience Canon's top of the line, EOS 1DS Mark 3 for a discount price !
Please contact our digital department for detail.
News / Revivable of Profoto 1.2 HMI
We rebuilt 20 Profoto 1.2K HMI lights (Pro Daylight) ! The Profoto HMI heads can be used with almost all Profoto accessories (with the exception of the pro globe and Pro Zoom Spot) making them the ideal choice for any and all Profoto shooters.
We also modified a new style Profoto Zoom Spot by removing the internal head and leaving a Profoto mounting ring making it a dream companion for these legendary continuous lights.
5.07.2009
News
We just got Leeside Windscrim ! Rent cost: $35/day
Please see "Product Review" on this blog for detail.
TREC Digital continues to update and upgrade both hardware and software. Leading the way is the highly requested Canon 5D mkII, its' predecessor the 5D was already popular for it's high image quality in low light situations and small body size. The new model features higher ISO range (ISO 100 - 6400 standard), a bump to 21.1 megapixels, live view, 3" LCD screen, HDMI output and the ability to shoot 1080P video. High quality stills and video from the same body plus the ability to use all the Canon lenses from fisheye to super telephotos.
There are many software updates as well since the programs and workflow is as important as the gear itself. Capture One Pro has been upgraded to version 4 (C4) and features the ability to capture tethered with the Canon 1Ds MkIII. C4 training is coming soon, contact TREC Digital for info. Capture One Pro version 3.79 will continue to be available to those who prefer that iteration. Next up is Adobe Photoshop and Lightroom, upgraded to PS CS4 and LR2 respectively. They offer the latest version of Adobe Camera Raw and the ability to work with current RAW formats. The popular CD/DVD authoring software Toast 10 Titanium Pro is another recent addition.
The new software are available today on all towers and laptops.
Call for entry ! TREC ASSISTANTS BI-MONTHLY PHOTO CONTEST.
Please send your info (Name, email address, phone number) to orders@trecrental.com for detail. ***subject line: photo contest****
TREC is now open Saturdays for your convenience. Hours are 9:00AM to 4:00PM
TREC has New Profoto Pro 8A Air available.
We have 24 Pro 8A Air Packs for your needs.
Product Review / Leeside Windscrim
Measuring 6.5' x 8.2'. Weight 4.6 lbs. The scrim will reduce wind to a workable level and will diffuse light by a neutral one stop. The scrim is constructed on an aluminum pop-up frame with a shock cord running through enabling each pole to fold into three sections. The vented fabric has been coated with PVC layer, making the scrim durable, weatherproof and light.
Funny / Strange Episode
This is a excerpt from an article published in 1996 on PDN.
TREC rents out nearly every kind of equipment a photographer may use. Many fashion photographers arrange for TREC to deliver every piece of equipment needed for a shoot, including cameras to rental studio. The photographer can simply show up for the shoot, then submit a single all encompassing bill to the client..... In addition to their working with individual photographers, the company also sells and supplies equipment to major studios in New York such as Industria and Studio One. Sharanevych says his individual customers include top names in fashion photography and a following of photographers in all areas who have been turning to him for technical advice for the past 15 years."I have a relationship with my customers," he says. "If they call me before or during a shoot when they are having a lighting problem, I troubleshoot and help them find a way to make it work".
One particularly memorable S.O.S. came to Sharanevych from a fashion photographer, who mid shoot, called complaining that his rented strobes were firing by themselves. Sharanevych asked him to describe the setup; the photographer explained that he had placed three genarators in a inner tube, which he was floating in the middle of a swimming pool while his assistant stood in the water holding flash heads. Sharanevych remembers his advice. "I said to him in slow, measured tones, ' This is very important. First, I want you to get everyone out of the pool. Then I want you to unplug the power.' If power had been discharged into the water, it would have killed everyone...instantly. Fortunately, most lighting problems are not so dramatic."
Expert Column / Canon 1DS Mk3 vs 5D Mk2 - by Doug Williams
First off let me just point out that the 5D mark 2 is NOT a video camera it is a still camera with the option of video. It seems since its birth the camera has stirred up talk about why one should spend 8 grand on a 1ds mark 3 when they can get the same size file and get video for much less. In this article I will touch of some of the things that makes the price difference worth it or maybe in your opinion not worth it.
The major difference between the two systems is their image processor which is the heart of any system. The 5D MK2 uses the latest processor from canon the DIGIC 4. DIGIC by the way stands for digital image core. The major improvements to this processor from the previous ones are noise reduction in the higher iso’s, faster image processing and of coarse the ability to shoot HD1080p video. Now the for the 1DS MK 3, this system uses a Dual DIGIC III image processor, which gives you faster capture speeds and better detail and overall image quality. Both image processors are full frame CMOS chips
Now the minor stuff or maybe these will be the major stuff to you. The next thing that’s on peoples mind is speed, the 1DS mark 3 (don’t confuse it with the 1D mark 3 which is twice as fast but half the file size) has a capture rate at 5 frames per second with a burst rate of approx. 12 raw frames before it has to yell at you to stop, the 5D MK 2 has a capture rate of 3.9 frames per sec with a burst rate of approx. 13 raw frames before buffering. After speed I would say the camera companies are really focusing on ISOs. It seems with every new digital camera their files are really holding up more in the high-end ranges and this is especially the case with these two cameras. Now both cameras hold up great the 5D MK2 really pushes the range with in a range of 100-6400 with the option to expand with custom functions to (L)50, (H1)12800, (H2)25600 while the 1Ds MK 3 range between 100-1600 with the option of expanding to 50 and 3200.
Other differences, 5D MK 2 syncs at 200, has 25 custom functions, 9 AF points +6 AF assist points, and weighs 28.6 oz (body only) versus the 1DS MK 3 syncs at 250th, has 57 custom functions, 45 AF points + 26 assist AF points, and weighs 42.5 oz (body only).
So to say that these cameras are equals because they have the same file size, is not really a true statement, the 1DS MK 3 clearly has more bells and whistles and has better image detail. So the question you need to ask yourself is, are all the extras worth it for what works with your budget. If you have the budget for a 1DS MK 3, which rents for 345.00 a day, then that camera is clearly the choice, but if the budget is tight or you want to shoot HD video then go with the 5D mark 2 which rents for 195.00 a day. Both cameras will give you amazing results, now it’s just up to you to make those photographs happen.
Artist Showcase / Kana Okada
Kana Okada is one of our clients at TREC.
*Please click each image to enlarge
Comment from Kana :
I get excited most when I shoot overhead. It is just more fun to play with the composition.
These images are from recent editorial works.
Two of them (risotto and clam) weren't actually selected.
They chose other variations.
3.17.2009
Product Review / Photek softlighter II by Ichiro Okada
When you go to a location that has limited space or you just don't want to carry extra equipment to your shoot, what would you do?
Here is a little help; Photek softlighter II a.k.a. Photek sock.
It comes in three sizes: (Sm) 36", (Med) 46" and (Lg) 60" and it attaches right on to the Photek umbrella.
They are foldable nylon, very light weight material and can fit in your pocket.
Setting up and breaking down are a breeze.
It produces nice soft light that you can use for portrait work or for an interior shot.
In the March 2009 issue of Vanity Fair magazine featuring photos of Obama's cabinet, Annie Leibovitz used Photek umbrellas and socks to execute her job.
Photek sock: Simple, yet effective.
News
TREC Digital continues to update and upgrade both hardware and software. Leading the way is the highly requested Canon 5D mkII, its' predecessor the 5D was already popular for it's high image quality in low light situations and small body size. The new model features higher ISO range (ISO 100 - 6400 standard), a bump to 21.1 megapixels, live view, 3" LCD screen, HDMI output and the ability to shoot 1080P video. High quality stills and video from the same body plus the ability to use all the Canon lenses from fisheye to super telephotos.
There are many software updates as well since the programs and workflow is as important as the gear itself. Capture One Pro has been upgraded to version 4 (C4) and features the ability to capture tethered with the Canon 1Ds MkIII. C4 training is coming soon, contact TREC Digital for info. Capture One Pro version 3.79 will continue to be available to those who prefer that iteration. Next up is Adobe Photoshop and Lightroom, upgraded to PS CS4 and LR2 respectively. They offer the latest version of Adobe Camera Raw and the ability to work with current RAW formats. The popular CD/DVD authoring software Toast 10 Titanium Pro is another recent addition.
The new software are available today on all towers and laptops.
Call for entry ! TREC ASSISTANTS BI-MONTHLY PHOTO CONTEST.
Please send your info (Name, email address, phone number) to orders@trecrental.com for detail. ***subject line: photo contest****
TREC is now open Saturdays for your convenience. Hours are 9:00AM to 4:00PM
TREC has New Profoto Pro 8A Air available.
We have 24 Pro 8A Air Packs for your needs.
Root Brooklyn a.k.a. TREC Brooklyn will open in Spring !
Stay tuned....
Funny / Strange Episodes by Morgan Anderson
My best friend and I went to England and Italy for two weeks after we graduated last March. Needless to say we had the times of our lives. These two pictures were taken in Salisbury, England. I smile every time I look at them.
We were staying in London and decided to go see Stonehenge for a day trip. We took a train, which we fell asleep on, and almost didn’t make it off at our stop in time. We walked through town and finally made it to the bus station where we’re informed that we just missed the last bus to Stonehenge seconds before. Of course, we can only laugh. These two men, with their brilliant accents, tell us no worries that we can just go see castle ruins instead. We buy our bus tickets and the gentlemen directed us toward our bus. So we’re wondering how we’ll know when to get off, seeing as the lady driver really doesn’t tell you which stop is for what. But we really can’t even think about it because we’re so excited to be on one of those big red double decker buses. All of the sudden, we’re in the middle of nowhere and the driver screams in a harsh British accent “Castle stops here”. We look at each other and just get off the bus. There are no signs pointing us in the right direction and we have no idea where we are, or why we were just let off in the middle of nowhere. We wander around and end up in a pasture where sheep were roaming. Seeing as where I grew up, if a stranger is caught on your property, they’re usually greeted with a shotgun, I was scared to death we were on someone’s private property. We eventually strolled up on the castle ruins. It was beautiful! Even though the day didn’t go at all as planned we got some great laughs and photos out of it.
Expert Column / All Amped Up - Part 2 by Joe Daly
continued from All Amped Up 1...
Knowing how to use your gear is, naturally, of the utmost importance. Shaping light, working with computers, building an environment, shooting, etc. These are the things that make a shoot what it is. But it is just as important to understand the gear as well. Not as its function on set, but simply, as a piece of machinery. Photography gear, particularly lighting gear, uses a lot of electricity. A standard Profoto 7A 2400 pack uses approximately 15 amps. So basically, you don't want to plug anything else into the socket that the pack occupies. It's kind of like money. You only have so much to spend, so how much does your gear "cost."
As your gear becomes more "costly," the more intense the situation becomes. What if your location does not support the amount of power you need? Once you get into larger HMI's, or even an abundance of small lights, a lot of locations will either not have enough power, or not have the proper plugs. Larger lights don't have a standard edison plug and they uses a lot more juice. Say, a 6K Arri, is roughly 60 amps and uses a Bates paddle. Therefore, it can't be plugged into any normal edison socket. This is where either generators (either portable or a generator truck) or a tie-in is required. Both of which require, at least, a basic understanding of power distribution.
A tie-in is basically tapping into the main power source of the location through the breaker box. Basically, it gives you access to the bulk of the power, to be distributed in the manner required for the shoot to run smoothly and accurately (with a few variables such as power drawn by house lights, fridges, etc.) Though helpful, TIE-INS can be VERY DANGEROUS and SHOULD NOT be done by anyone except a skilled, experienced technician.
Generators, generator trucks, house power, studio power and tie-ins still follow the same rules though. How much power is provided, how is it divided, and what do I need for each piece of equipment? With these sources, the power will be divided differently among different lines. It is, essentially, your job to know what is available with each line. For example, certain generator trucks provide 600A, distributed through 3 different lines on a cam-lock 5-wire (5 color coded wires put together as a ground, neutral, and 3 hots). Usually, studios have the same set up, as far as using cam-locks from the wall. So from there, you have to figure out how you want to balance your load. In this case, there are 200 amps per line to distribute accordingly. There are many different ways to split the power, so you would need to figure out where you want the hubs of power to be. This can be done during the scout, or day of.
With that in mind, say you want to run a 12K Arri (120A roughly), two 4K Arris (40A each), two Profoto 2400 packs (15A each), a computer, two make up mirrors with lights, and a hair dryer. The power has to come from different lines to power all of that. Maybe one line for the 12K. Another line for one 4K, one pack, and the computer. Another line for the rest. Really, however you wish to do it will be ok, as long as you don't exceed the allotted amount of power.
Its always better to have too much than too little. You never know when you might need a little more juice. Electricity, just like a photo shoot, can be unpredictable at times. So, try to give yourself some breathing room, scout your location, research your gear, and take your time. If you don't know how to do something or are unsure, don't pretend to know. There are technicians in this industry that can make your shoot smooth and safe. Even a small screw up with your electricity could tear down the entire shoot or be very harmful to your health. So, be careful, and good luck!
Knowing how to use your gear is, naturally, of the utmost importance. Shaping light, working with computers, building an environment, shooting, etc. These are the things that make a shoot what it is. But it is just as important to understand the gear as well. Not as its function on set, but simply, as a piece of machinery. Photography gear, particularly lighting gear, uses a lot of electricity. A standard Profoto 7A 2400 pack uses approximately 15 amps. So basically, you don't want to plug anything else into the socket that the pack occupies. It's kind of like money. You only have so much to spend, so how much does your gear "cost."
As your gear becomes more "costly," the more intense the situation becomes. What if your location does not support the amount of power you need? Once you get into larger HMI's, or even an abundance of small lights, a lot of locations will either not have enough power, or not have the proper plugs. Larger lights don't have a standard edison plug and they uses a lot more juice. Say, a 6K Arri, is roughly 60 amps and uses a Bates paddle. Therefore, it can't be plugged into any normal edison socket. This is where either generators (either portable or a generator truck) or a tie-in is required. Both of which require, at least, a basic understanding of power distribution.
A tie-in is basically tapping into the main power source of the location through the breaker box. Basically, it gives you access to the bulk of the power, to be distributed in the manner required for the shoot to run smoothly and accurately (with a few variables such as power drawn by house lights, fridges, etc.) Though helpful, TIE-INS can be VERY DANGEROUS and SHOULD NOT be done by anyone except a skilled, experienced technician.
Generators, generator trucks, house power, studio power and tie-ins still follow the same rules though. How much power is provided, how is it divided, and what do I need for each piece of equipment? With these sources, the power will be divided differently among different lines. It is, essentially, your job to know what is available with each line. For example, certain generator trucks provide 600A, distributed through 3 different lines on a cam-lock 5-wire (5 color coded wires put together as a ground, neutral, and 3 hots). Usually, studios have the same set up, as far as using cam-locks from the wall. So from there, you have to figure out how you want to balance your load. In this case, there are 200 amps per line to distribute accordingly. There are many different ways to split the power, so you would need to figure out where you want the hubs of power to be. This can be done during the scout, or day of.
With that in mind, say you want to run a 12K Arri (120A roughly), two 4K Arris (40A each), two Profoto 2400 packs (15A each), a computer, two make up mirrors with lights, and a hair dryer. The power has to come from different lines to power all of that. Maybe one line for the 12K. Another line for one 4K, one pack, and the computer. Another line for the rest. Really, however you wish to do it will be ok, as long as you don't exceed the allotted amount of power.
Its always better to have too much than too little. You never know when you might need a little more juice. Electricity, just like a photo shoot, can be unpredictable at times. So, try to give yourself some breathing room, scout your location, research your gear, and take your time. If you don't know how to do something or are unsure, don't pretend to know. There are technicians in this industry that can make your shoot smooth and safe. Even a small screw up with your electricity could tear down the entire shoot or be very harmful to your health. So, be careful, and good luck!
3.16.2009
Artist Showcase / Kim DeLise - Wet Plate Collodion
For other images by Kim DeLise:
http://www.flickr.com/photos/k-bella
The wet plate collodion process was the leading mode of photography
in the 1850's and 1860's. Ambrotypes are positive images exposed
onto blackened glass; tintypes are made the same way but onto
blackened metal.* The process is called wet plate because the plate
must be sensitized, exposed and developed all while the plate is
wet. The finished plates are one-of-kind three-dimensional objects.
I first learned the wet plate process from Eric Taubman and Keliy
Anderson-Staley at The Center for Alternative Photography
(www.capworkshops.org) where I work when I'm not working at T.R.E.C.
Rental. As a teacher's assistant, I help instructors at CAP conduct
workshops and get a first hand look at how to make photographs using
alternative processes. I made these plates during one of the wet
plate collodion workshops. As a student of the wet plate collodion
process, I am learning all of the intricacies of making plates
(estimating time exposures and trouble shooting when a plate doesn't
come out quite right). I am excited to continue to develop as a wet
plate photographer and make more plates!
*Keliy Anderson-Staley's wet plate description from website
(www.andersonstaley.com)
3.06.2009
Special Discount Items !
1 Day free rental of the Pro 8A air for photo assistant.
(One rental per assistant. Includes Pro 8A air Pack and head only. Subject to availability. Must be reserved as a free assistant rental at the time it is reserved. Deposit, Charge card and/or proof of insurance may be required)
Please click the image above and download pdf file. Fill out all information and send it to us
Special Introductory Rate Until March 31st !!
Pro 8 Pack for $85.00
Pro 8 Kit for $95.00 (1-pack, 1-head, 1-reflector, 1-stand, 1-umbrella)
Discount Code: PRO80309
March Madness ! 50% off - Leaf Aptus 75 & body Kit (H2 Body, Digital Back, 80mm lens)
Discount Code: LFAK0309
Discount Code: LFAK0309
Apple 17" Laptop rental rates are reduced from$205 to $160 daily !
Discount Code: AL170309
***No other discount can be applied to this offer***Please place your order via email below - type in discount codes above in the subject line
order@trecrental.com
News
There are many software updates as well since the programs and workflow is as important as the gear itself. Capture One Pro has been upgraded to version 4 (C4) and features the ability to capture tethered with the Canon 1Ds MkIII. C4 training is coming soon, contact TREC Digital for info. Capture One Pro version 3.79 will continue to be available to those who prefer that iteration. Next up is Adobe Photoshop and Lightroom, upgraded to PS CS4 and LR2 respectively. They offer the latest version of Adobe Camera Raw and the ability to work with current RAW formats. The popular CD/DVD authoring software Toast 10 Titanium Pro is another recent addition.
The new software are available today on all towers and laptops.
Call for entry ! TREC ASSISTANTS BI-MONTHLY PHOTO CONTEST.
Please send your info (Name, email address, phone number) to orders@trecrental.com for detail. ***subject line: photo contest****
TREC is now open Saturdays for your convenience. Hours are 9:00AM to 4:00PM
TREC has New Profoto Pro 8A Air available.
We have 24 Pro 8A Air Packs for your needs.
Root Brooklyn a.k.a. TREC Brooklyn will open in Spring !
Stay tuned....
The new software are available today on all towers and laptops.
Call for entry ! TREC ASSISTANTS BI-MONTHLY PHOTO CONTEST.
Please send your info (Name, email address, phone number) to orders@trecrental.com for detail. ***subject line: photo contest****
TREC is now open Saturdays for your convenience. Hours are 9:00AM to 4:00PM
TREC has New Profoto Pro 8A Air available.
We have 24 Pro 8A Air Packs for your needs.
Root Brooklyn a.k.a. TREC Brooklyn will open in Spring !
Stay tuned....
Product Review / VESA Mount by Andrew Altman+Ken Chan
Matthews is a company known for their wide array of grip equipment. One of their latest items connects monitors to Matthews stands and bases. The Matthews VESA Mount connects any monitor with a VESA mount to a 5/8" baby pin. This opens up a variety of ways you can use monitors on photoshoots.
It is an excellent tool for shooters as you can get immediate feedback on a large screen without looking away from your subject. You can set it up low on a turtle base with a BP pin in front of you without blocking your view. It can be eye level when set on a lowboy, medium roller or c-stand (sandbags are always recommended when used on a stand).
Another good use utilizes a 30' DVI cable, allowing you to place a monitor on a stand for clients and art directors to view without being right on top of the digital tech. Using a stand also means you do not need a table for the monitor and thus, one less piece to bring on location. With the right pieces of grip you can easily mount 2 monitors on a single stand (don't forget the sandbag).
The mount itself is machined from a solid piece of aluminum for strength and is able to hold up to 65 lbs. There are many points of articulation allowing for easy positioning to optimize viewing. Equipped with multiple hinges, the mount folds flat against the monitor for easy transport. Currently, T.R.E.C. Rental offers this mount for our 21" Eizo monitors upon request. The mount will come attached. All you need to do is place it on a suitable stand or pin (no tiny screws or hex keys to deal with). Try it out on your next job and let us know what you think.
Letters from Clients
Dear Mr. Oleh Sharanevych and Mr. Isaac Litchfield,
Recently I had one of those photoshoots that make one question their career choice. In 34 years shooting in NYC I have seldom had a more frustrating shoot. We were able to persevere, totally thanks to Andrew Altman. Andrew once again, as he has done countless times in the past, went the extra mile, demonstrating a knowledge of digital and providing a level of service that has kept me coming back to TREC. With his incomparable and impressive knowledge in the constantly changing digital world he has kept ahead of the curve and patiently helped me through the frustrating maze digital can be.
Years ago I rented from another company. To say I was constantly disappointed would be putting it mildly. From the way they prepped and haphazardly packed gear to limited tech knowledge I found myself constantly thinking there had to be a better alternative.
When I switched to TREC the difference was night and day and I feel that is due in part to Andrew and what he contributes.
Just thought you ought to know how much I value Andrew and TREC. Integral to my business.
Thanks,
John
John E. Barrett Photography
Recently I had one of those photoshoots that make one question their career choice. In 34 years shooting in NYC I have seldom had a more frustrating shoot. We were able to persevere, totally thanks to Andrew Altman. Andrew once again, as he has done countless times in the past, went the extra mile, demonstrating a knowledge of digital and providing a level of service that has kept me coming back to TREC. With his incomparable and impressive knowledge in the constantly changing digital world he has kept ahead of the curve and patiently helped me through the frustrating maze digital can be.
Years ago I rented from another company. To say I was constantly disappointed would be putting it mildly. From the way they prepped and haphazardly packed gear to limited tech knowledge I found myself constantly thinking there had to be a better alternative.
When I switched to TREC the difference was night and day and I feel that is due in part to Andrew and what he contributes.
Just thought you ought to know how much I value Andrew and TREC. Integral to my business.
Thanks,
John
John E. Barrett Photography
Funny / Strange Episodes by : Oleh Sharanevych
It was 1991 I was running the equipment room at Sun Studios . I was
walking past stage one and I overheard a still well known photographer
screaming at the lab . "You dropped my film !---- It's all out of focus !! ""
walking past stage one and I overheard a still well known photographer
screaming at the lab . "You dropped my film !---- It's all out of focus !! ""
Expert Column / All Ampep Up - Part 1 by Joe Daly
The lights are set. The computer is on and ready. Hair and make
up are finished. The photographer is ready to shoot. Your edgy
abandoned Brooklyn factory is looking perfect and gritty. Just one
thing. Its a little too cold in there. No worries. Just get an
couple heaters, plug them in, turn them on and... lights out!
It's very easy in the hustle and bustle of location shooting
to lose track of how much equipment you are actually using. Plugging
to much gear into a specific line of power, can result in power lost,
just like your house or apartment, or anywhere for that matter. Its
something we all know, essentially. The only difference being, at
home, you don't have to deal with photographers, digital techs,
producers, hair stylists, caterers, etc., all trying to take from the
same power you are trying to use for high end, high draw lighting
equipment. The last thing you need is to have the photographer or
producer breathing down your neck, asking you why the computer went
down and now all of the lights are out and you are in the middle of
shooting. That is why it is good to have, at least, a general idea
of how much power your equipment takes. In order to have this,
though, it is important to start from the top of the chain.
First off, depending on where your location is, you must find
out how much power you have to work with. Shooting in the US, unless
in situations with high power, high wattage lights (such as some
large Arri lights), or places that usually operate heavy machinery,
you will be probably be dealng with 110 volt power. Yet, it is
always good to find out, just in case. Plugging in a 110V strobe
pack, or any piece of equipment for that matter, into a 220V outlet
could mean fatal results for your gear. For basic shoots, though,
its is the amperage you need to be conscious of. How many amps does
your location provide, and how is it divided amongst the area? One
must figure out how many and what lines there are in the location,
along with what amount of power is on each line. The line is set up
to provide a few sources of power (multiple duplexes, outlets) with a
limited supply (amperage). What does all of this really mean? Once
you have the understanding of basic electricity and distribution, you
must obtain the information of YOUR electricity and distribution.
This means the location must be properly scouted.
Now that you've scouted your location and you've obtained the
info you need, you have to ask yourself, "does this amount of juice
support the gear I need for this shoot?" Well, that is where things
can get tricky....
to be continued....
up are finished. The photographer is ready to shoot. Your edgy
abandoned Brooklyn factory is looking perfect and gritty. Just one
thing. Its a little too cold in there. No worries. Just get an
couple heaters, plug them in, turn them on and... lights out!
It's very easy in the hustle and bustle of location shooting
to lose track of how much equipment you are actually using. Plugging
to much gear into a specific line of power, can result in power lost,
just like your house or apartment, or anywhere for that matter. Its
something we all know, essentially. The only difference being, at
home, you don't have to deal with photographers, digital techs,
producers, hair stylists, caterers, etc., all trying to take from the
same power you are trying to use for high end, high draw lighting
equipment. The last thing you need is to have the photographer or
producer breathing down your neck, asking you why the computer went
down and now all of the lights are out and you are in the middle of
shooting. That is why it is good to have, at least, a general idea
of how much power your equipment takes. In order to have this,
though, it is important to start from the top of the chain.
First off, depending on where your location is, you must find
out how much power you have to work with. Shooting in the US, unless
in situations with high power, high wattage lights (such as some
large Arri lights), or places that usually operate heavy machinery,
you will be probably be dealng with 110 volt power. Yet, it is
always good to find out, just in case. Plugging in a 110V strobe
pack, or any piece of equipment for that matter, into a 220V outlet
could mean fatal results for your gear. For basic shoots, though,
its is the amperage you need to be conscious of. How many amps does
your location provide, and how is it divided amongst the area? One
must figure out how many and what lines there are in the location,
along with what amount of power is on each line. The line is set up
to provide a few sources of power (multiple duplexes, outlets) with a
limited supply (amperage). What does all of this really mean? Once
you have the understanding of basic electricity and distribution, you
must obtain the information of YOUR electricity and distribution.
This means the location must be properly scouted.
Now that you've scouted your location and you've obtained the
info you need, you have to ask yourself, "does this amount of juice
support the gear I need for this shoot?" Well, that is where things
can get tricky....
to be continued....
Artist Showcase / Ken Chan
1.22.2009
Special Discount Items !
Get to know Pro 8A Air !
Special Introductory Rate Until March 31st !!
Pro 8 Pack for $85.00
Pro 8 Kit for $95.00 (1-pack, 1-head, 1-reflector, 1-stand, 1-umbrella)
Discount Code: PRO80209
***No other discount can be applied to this offer***
Monthly discount items and bi-weekly items are coming soon with special discount codes
News
TREC will open Saturdays beginning February 21 for your convenience. Hours are 9:00AM to 4:00PM
TREC has New Profoto Pro 8A Air available.
We have 24 Pro 8A Air Packs for your needs.
Root Brooklyn a.k.a. TREC Brooklyn will open in March !
Stay tuned....
We have 24 Pro 8A Air Packs for your needs.
Profoto "fight night" event is happening at Drive In Studio on February 26 from 7 pm to 10:00 pm. For detail:
Root Brooklyn a.k.a. TREC Brooklyn will open in March !
Stay tuned....
Product Review / Profoto Acute B 600R by Ken Chan
Big pop in a small packageAs the chill of winter thaws, we begin looking outdoors. We start planning for shoots on location in the sun. Except there isn't always sun when you want it, or where you want it. This is where battery powered lights such as the Profoto Acute B 600R comes in. There are a wide variety of battery powered lights, but the Acute B 600R has many features which make it stand out.
The ability to get 600 WS of power combined with Profoto's full range of light shaping tools is an amazing asset. At 11 lbs. for the pack plus battery, it weighs the same as the Profoto B2's battery alone. Size is another feature of this pack, roughly the size of a 6-pack, it is easy to transport in backpacks as well as shoulder bags. You can carry this pack with a shoulder strap and a ringflash attached. This allows you the freedom to be mobile and follow your subject as it's moving. Despite the small size, this is a full featured Profoto pack. The Acute B head which accompanies the pack is also smaller, lighter and easier to transport. You can get up to 160 full power pops with this energy efficient head. Keep in mind that there are many factors which affect how many pops you will get, such as temperature and modeling light usage. Luckily, extra batteries are also small and lightweight coming in at only 5 lbs. The R in the name means it has a built-in Pocket Wizard receiver, meaning 1 less piece of equipment and wire to bring and connect. The ability to go from 9WS to 600WS give you great flexibility as well.
If you need more power or need to use multiple heads you might want to consider the Profoto B2 instead as that gives you 1200WS and two head sockets compared to the Acute B 600R's one head socket. For me, the portability and value makes it a very worthwhile option especially for smaller productions or ones where the ability to move quickly is valued.
Expert Column / Physics of lighting by Oleh Sharanevych
TREC owner, Oleh Sharanevych, says many photographers don't understand or ignore these fundamentals. That's why they are always trying to find out from assistants the lighting of other photographers, instead of applying the physics of lighting.
1a. The larger the light source, the softer the light.
Example: the light on an overcast day - the whole sky to the horizon - becomes one gigantic light source, producing shadowless light.
1b. The closer the light source, the softer the shadow
2a. The smaller the light source, the harder the light (creating strong, sharp shadow), like the bright sun overhead, the size of the sun is much smaller than we assume. If we take the tip of a pencil eraser and extend it to full arm's length, we can completely block the point of light.
2b. The further the light source, the harder the light.
Funny / Strange Episodes
This is from Profoto's old archive.....
The 80s was also the time when the American market was won. One key incident happened in the mid-80s. Oleh Sharanevych, future owner of the famous TREC Rental studio in New York, set up a Pro-3A to flash every three seconds, in order to test its durability. He then forgot about it only to find the unit three days later, still dutifully flashing. The generator had output around 90 000 flashes without failing or overheating. With results speaking for themselves, Profoto quickly established a very strong market position in New York, and then the rest of the US.
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