Show and Tell: My New Light Stand Family

Exactly. In some product images, the long handle (rotation) is black, otherwise chrome (my preference). You should pick up the MSE catalog, it makes for a good evening read. Keep a bucket for drool on hand.

http://www.msegrip.com …hews-catalog-42-download/

In the original scene, I like the pony clamp being used to drape the cables: clever and simple.

RicoTudor wrote in post #18233690
Exactly. In some product images, the long handle (rotation) is black, otherwise chrome (my preference). You should pick up the MSE catalog, it makes for a good evening read. Keep a bucket for drool on hand.

http://www.msegrip.com …hews-catalog-42-download/

In the original scene, I like the pony clamp being used to drape the cables: clever and simple.

He he, thanks for the catalog. Yup, I took notice of that cable draping method.

SYS wrote in post #18233610
My son had a recording session at a radio station today. When I walked into the recording studio, guess what greeted me? Matthew stands! They were everywhere in the studio! The Seniors holding the Kino Flo 80's, the Junior holding up the sound flag, and the Baby's holding a dual mic in one stand and two holding up a single mic close to the wall behind me... The whole Matthew family was working together!

The central stand nearer the piano doesn't have its legs set correctly, meaning that the caster pivots are off vertical - and - several sandbags touch the floor . .

. . but yes, nice kit!

OceanRipple* wrote in post #18233811
The central stand nearer the piano doesn't have its legs set correctly, meaning that the caster pivots are off vertical - and - several sandbags touch the floor . .

. . but yes, nice kit!

Those were set up by the recording engineer. He may not know much about setting these stands and the sandbags properly, but he sure knows what he's doing with sound manipulation! It's always a pleasure watching a master at work. One of the nicest guys I ran into. He spent nearly two hours after the recording session, explaining his tools of the trade to my son when he told the engineer of his audio recording interest.

SYS wrote in post #18233985
He spent nearly two hours after the recording session, explaining his tools of the trade to my son when he told the engineer of his audio recording interest.

Classy.

OP - One day just go to B&H, select grip section, filter on Mathews and you will be amazed at the stuff. Or get Mathews catalog.

bobbyz wrote in post #18234066
OP - One day just go to B&H, select grip section, filter on Mathews and you will be amazed at the stuff. Or get Mathews catalog.

I bookmarked the Matthews online catalog. I've set my goal long ago to visit B&H the next time I visit NY, which might happen this April, actually. I'm sure it'd be like a kid visiting the biggest candy store!

By the way, I was taking a long good look at those Kino Flo Flathead 80's in the studio. For the amount of light and the overall cost of each of those in excess of $2,000 +, I wasn't impressed. I think my modified 10-bulb, as far as the amount of light emitted, isn't too bad in comparison, especially it only cost me about $70.

I am forced to agree.

I love my cameras and I am very into lenses. But, truth be told, the light has a much greater impact on the quality of the image and even on the perception a non-photographer has of the image. They usually won't know that's why they like it, which leads to the ever annoying "great picture! You have a really nice camera!" Yeah, it's all about the camera.

And if you want really good lighting all the time, being able to easily place and adjust your lights is a big help. And having your lights stay where you put them, instead of, say, falling over, is a good thing. Grip gear makes a substantial difference in the quality of your images if you use artificial light.

SYS wrote in post #18233619
Does anyone know what's holding the sound flag between the clamp and the stand? Does anyone know, for that matter, what the proper name is for the "sound flag"? Gobo?

Good thread. The sound flags are called acoustic panels or hanging baffles. Some have their own brand name. They are typically suspended horizontally or vertically with wire by the edges. Note the clever sound logo along the aluminum edge.

NDAPhoto wrote in post #18255036
Good thread. The sound flags are called acoustic panels or hanging baffles. Some have their own brand name. They are typically suspended horizontally or vertically with wire by the edges. Note the clever sound logo along the aluminum edge.

Thanks to the proper ID on the panel, I was able to locate the ones I could use. I haven't seen any, though, with the aluminum edge -- yet.

A member wanted to see the scale of Matthews Jr. Steel Wheeled Stand, so I'm posting a photo with it next to Matthews Baby Jr. Steel Wheeled Stand for comparison. The Jr. stand is paired with Matthews Mini Boom and the Baby Jr. stand is paired with Kupo Steel Baby Boom. I should perhaps have paired the other way, since Kupo boom is bigger, heavier and larger in diameter. But you get the picture.

Thanks. For my application (booming BD or a medium SB) can I get away with the Mathews baby Jr. stand and that mini boom or spend the money and go bigger. Studio space is tight in my case.

bobbyz wrote in post #18302150
Thanks. For my application (booming BD or a medium SB) can I get away with the Mathews baby Jr. stand and that mini boom or spend the money and go bigger. Studio space is tight in my case.

For that, Matthews Baby Jr. is just fine. I'd paired that with the Matthews Mini Boom. I know you've been using your wheeled Avenger for outdoor, on-location shoots, and you might actually prefer Matthews Baby Jr. for that purpose, as well. So, it's good for studio and on-location purposes. It's a bit lighter than a typical C-stand. After folding the legs, I just grab by one of its legs and that offers a very balanced hand carrying, as well.

Matthews Jr. isn't ideal for a small studio, like my home basement studio. I still love it, though, in spite of already hurting my foot running into one of its legs. If space isn't an issue, I'd recommend this over the baby jr. Better to have a big stand on which you can throw anything on it than a smaller stand on which what you can throw is limited. In this case, for Baby Jr., you're limited to booming a BD or small to medium SB.

SYS wrote in post #18302116
A member wanted to see the scale of Matthews Jr. Steel Wheeled Stand, so I'm posting a photo with it next to Matthews Baby Jr. Steel Wheeled Stand for comparison. The Jr. stand is paired with Matthews Mini Boom and the Baby Jr. stand is paired with Kupo Steel Baby Boom. I should perhaps have paired the other way, since Kupo boom is bigger, heavier and larger in diameter. But you get the picture.

Hosted photo: posted by SYS in
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forum: Flash and Studio Lighting

. . Two great stands . .

I was keen to have a leveling leg on my strong heavy (& tall) stand for when used on uneven/sloping terrain. MSE's Digital Baby stand (387032) offers that and accepts castors for use inside - just another option. The footprint D is 128 cm but the design allows that to be reduced by pinching up the base from 36 degrees (to the floor) to 45 - the wheeled footprint D is then 114 cm.