Elinchrom users only- whatcha got? (Mark II)

My purpose for the Vari-ND is to eliminate the need for singles or combinations to give me from 2 stops to about 6 stops of density.

I would hope that a small range with the max being about 6 stops shouldn't be a problem. I believe the issues with banding and strange degradation of IQ are occurring when using about 8 or more stops of density.

Can anyone verify that?

Here's what I found on the topic...

"A consequence of filtering light through two sheets of polarizing glass in this way is that when the filter is set to its maximum density, a dark cross will appear on your images. For this reason, we do not recommend using the filter at its maximum setting. The point at which this cross will appear is also directly related to the focal length being used. On wide angle lenses, especially when used on full-frame cameras, this cross will begin to appear at densities of less than 9 stops. The point at which the shadow begins to be observed depends on the exact camera & lens combination, but below is a guide (based on our own testing) of the recommended range of densities which should be sought at varying focal lengths. When used within these ranges, you should achieve even exposure across the image:
12mm: 2 stop (ND4) – 3 stop (ND8 ) operating range.
15mm: 2 stop (ND4) – 4 stop (ND16) operating range.
18mm: 2 stop (ND4) – 5 stop (ND32) operating range.
24mm: 2 stop (ND4) – 6 stop (ND64) operating range.
35mm: 2 stop (ND4) – 7 stop (ND125) operating range.
40mm: 2 stop (ND4) – 7.5 stop (ND175) operating range.
50mm: 2 stop (ND4) – 8 stop (ND250) operating range
70mm: 2 stop (ND4) – 8.5 stop (ND350) operating range.
100mm: 2 stop (ND4) – 9 stop (ND500) operating range.
The test results above are based on an APS-C camera. On a full frame camera, the operating range will be slightly smaller at any given focal length. For example, at 35mm on a full frame camera, the maximum density is likely to be something in the region of 5 stops. "

Sheldon N wrote in post #11045574
Here's what I found on the topic...

"A consequence of filtering light through two sheets of polarizing glass in this way is that when the filter is set to its maximum density, a dark cross will appear on your images. For this reason, we do not recommend using the filter at its maximum setting. The point at which this cross will appear is also directly related to the focal length being used. On wide angle lenses, especially when used on full-frame cameras, this cross will begin to appear at densities of less than 9 stops. The point at which the shadow begins to be observed depends on the exact camera & lens combination, but below is a guide (based on our own testing) of the recommended range of densities which should be sought at varying focal lengths. When used within these ranges, you should achieve even exposure across the image:
12mm: 2 stop (ND4) – 3 stop (ND8 ) operating range.
15mm: 2 stop (ND4) – 4 stop (ND16) operating range.
18mm: 2 stop (ND4) – 5 stop (ND32) operating range.
24mm: 2 stop (ND4) – 6 stop (ND64) operating range.
35mm: 2 stop (ND4) – 7 stop (ND125) operating range.
40mm: 2 stop (ND4) – 7.5 stop (ND175) operating range.
50mm: 2 stop (ND4) – 8 stop (ND250) operating range
70mm: 2 stop (ND4) – 8.5 stop (ND350) operating range.
100mm: 2 stop (ND4) – 9 stop (ND500) operating range.
The test results above are based on an APS-C camera. On a full frame camera, the operating range will be slightly smaller at any given focal length. For example, at 35mm on a full frame camera, the maximum density is likely to be something in the region of 5 stops. "

Hey, that's great Sheldon. Thanks. That works out exactly as I was hoping. I'm shooting a full frame body and most often I'm shooting at the long end of my 24-70mm, using a 100 or 105mm prime or using a 70-300mm or 70-200mm, and I will be using about 3 to 6 stops of density.

mickeyjuice wrote in post #11039684
Hard to get it attached to the camera and move around easily...

well, right, but in these scenarios, they aren't attached to the camera anyway; they're boomed 9 feet in the air (referring to the ringflash discussion)

sc0rp wrote in post #11044472
Yeah they have replaced it the with Q line.

The main difference is the QR plate.

So the Q10 replaced the M10? Good to know, you'd think they'd make that clear. Thanks for the info.

Sheldon N wrote in post #11045574
Here's what I found on the topic...

"A consequence of filtering light through two sheets of polarizing glass in this way is that when the filter is set to its maximum density, a dark cross will appear on your images. For this reason, we do not recommend using the filter at its maximum setting. The point at which this cross will appear is also directly related to the focal length being used. On wide angle lenses, especially when used on full-frame cameras, this cross will begin to appear at densities of less than 9 stops. The point at which the shadow begins to be observed depends on the exact camera & lens combination, but below is a guide (based on our own testing) of the recommended range of densities which should be sought at varying focal lengths. When used within these ranges, you should achieve even exposure across the image:
12mm: 2 stop (ND4) – 3 stop (ND8 ) operating range.
15mm: 2 stop (ND4) – 4 stop (ND16) operating range.
18mm: 2 stop (ND4) – 5 stop (ND32) operating range.
24mm: 2 stop (ND4) – 6 stop (ND64) operating range.
35mm: 2 stop (ND4) – 7 stop (ND125) operating range.
40mm: 2 stop (ND4) – 7.5 stop (ND175) operating range.
50mm: 2 stop (ND4) – 8 stop (ND250) operating range
70mm: 2 stop (ND4) – 8.5 stop (ND350) operating range.
100mm: 2 stop (ND4) – 9 stop (ND500) operating range.
The test results above are based on an APS-C camera. On a full frame camera, the operating range will be slightly smaller at any given focal length. For example, at 35mm on a full frame camera, the maximum density is likely to be something in the region of 5 stops. "

Good get, Sheldon. Seems to be about right, based on my memory of it. (It's been winter, so I haven't been shooting it.) You can't crank it right up, but back it off a bit - still a huge exposure difference - and it's good.

TMR Design wrote in post #11041418
That's exactly the reason why I love using the 69" octa as a fill source directly behind me. It's large, and even and gives me really beautiful, soft fill with no cross shadows of any kind.

How high off the ground do you have it when it is behind you?

Sylvester XxX wrote in post #11046298
How high off the ground do you have it when it is behind you?

The height is determined but the position of the subject. If I'm doing full length work then one of the flat sides of the octa is about a foot off the ground at most. I'm literally standing directly in front of it and centered, give or take.

Thanks Sheldon, I mainly shoot 50mm on a 1d MKII, or somewhere in the 70-200 range on the same body. Can't wait to try it out with the Quadra, get some nicely lit and beautiful bokeh images.

TMR Design wrote in post #11046352
The height is determined but the position of the subject. If I'm doing full length work then one of the flat sides of the octa is about a foot off the ground at most. I'm literally standing directing in front of it and centered, give or take.

Thanks

OH crap mumbles!

this guy wants to start a gang war. You are the blue green
this guy is red https://photography-on-the.net …p?p=11036285&po​stcount=14

TMR Design wrote in post #11043746
I don't really want to take us off topic but I'm wondering what the differences are between the Fader ND and the SIngh-Ray Vari-ND? They seem to do the same thing and I've always heard mixed reactions about the Vari-ND.

Do you guys have any first hand info or have you done comparisons?

I have the Singh-Ray Vari-ND although I haven't used it extensively. While I was playing with it for a studio shot because I couldn't turn down my Ranger RX any farther, I figured out an easy way to set it. I placed my Sekonic 758DR in a fixed position in front of the strobe with the dome down and took a reading. I then placed the vari-ND on top of it and took readings while rotating it until I got the stop difference I wanted.

cortes wrote in post #11046939
I have the Singh-Ray Vari-ND although I haven't used it extensively. While I was playing with it for a studio shot because I couldn't turn down my Ranger RX any farther, I figured out an easy way to set it. I placed my Sekonic 758DR in a fixed position in front of the strobe with the dome down and took a reading. I then placed the vari-ND on top of it and took readings while rotating it until I got the stop difference I wanted.

Hi Curt,

I would definitely test and measure the positions on the Vari-ND just to have a mental note of the density.

For instance, with my B+W 2 stop (.6) ND I measured and determined that it actually reduces light by 2.2 stops. I suspect that no filter is exact and the Vari-ND will probably have a + or - figure at each setting.

TMR Design wrote in post #11047414
Hi Curt,

I would definitely test and measure the positions on the Vari-ND just to have a mental note of the density.

For instance, with my B+W 2 stop (.6) ND I measured and determined that it actually reduces light by 2.2 stops. I suspect that no filter is exact and the Vari-ND will probably have a + or - figure at each setting.

Robert, which Vari-ND are you getting?

pnmd wrote in post #11047434
Robert, which Vari-ND are you getting?

http://www.singh-ray.com/varind.html

The 77mm Standard Ring Mount.

TMR Design wrote in post #11047488
http://www.singh-ray.com/varind.html

The 77mm Standard Ring Mount.

seems like the best choice