G
Guest
Flash-tricks from others
There are a few hints on the net, how to improve the results with the external flash. The first one is coming from one member of the G-list.
Here's the text from the Contax G Pages...
“1. It gives very good exposure when set to the lens your using. 2. For fill flash portraits, it gives a "velvia" type of exposure when set to one lens wider than your using (if using the 35 lens, set it to 28). Perfect exposure every time. No glare. 3. For fill flash landscapes, set it properly and it gives great results. 4. Using the 35/70 zoom is great with this flash. You want to highlight something, zoom to 35 & set flash high (up to 90). You want a diffuse light for portraits, set flash to 28 for the 35 zoom length, and 45 for the 75 zoom length. 5. Still concerned, try a female nylon stocking bootie over the head- wow. 6. In over 100 rolls of film I've shot with the 200 (I use it a lot during the day), I have only a few red-eye pictures. Almost as a rule, these occur where I am shooting at an angle to the eyes, not directly into them. I'm not sure this makes sense, but that's what I see. “ end of quote.
So it seem so make sense to set the TLA 200 on position 28 instead of 35 to achieve better results with the T3. I have not tried that yet, because I use seldom flash.
The other one is from a different thread for the T3:
“Most of the times I shoot indoors I find that a lot of what I do exposure compensation-wise depends on the surroundings (high ceilings? light or dark walls? color of furniture?). That translates to mean that, depending on those variables, I'll shoot at +.7 to +1.5 with color neg film and with Tri-X because with the diffuser negs can be a little on the thin side when indoor lighting is subdued or non- existent. The TTL feature with the diffused TLA200 on the off-camera sync cord, however, works like a ch& and I've been really pleased with the results (the first time I got back color prints I was dazzled). Nevertheless, you'll probably have to experiment a little with your combination. I calculate conservatively that with the Rosco on the flash I'm cutting my distance in half, so I set my aperture with that in mind; I've found that the "P Mode"--as the manual shows-- gives you the greatest range so I stick with that a lot unless I'm trying to isolate my subject a little more. Oh, one thing, make sure your T3 is set on one of the autoflash settings unless you're going for some other-than-normal effect.
I'm telling you, if you want to travel light and can work with a 35mm lens, you can do a whale of a job with the T3 and its gear (for instance, indoors with some ambient light or outside with lights in the background (whatever) try setting the T3's flash on the "night" setting with the TLA200 off-camera zoomed out for the 90mm lens . . . whooa!).
Let me know how all this works out for you.
-- Cosmo Genovese (cosmo@rome.com), November 15, 2001â€
End of quote.
There are a few hints on the net, how to improve the results with the external flash. The first one is coming from one member of the G-list.
Here's the text from the Contax G Pages...
“1. It gives very good exposure when set to the lens your using. 2. For fill flash portraits, it gives a "velvia" type of exposure when set to one lens wider than your using (if using the 35 lens, set it to 28). Perfect exposure every time. No glare. 3. For fill flash landscapes, set it properly and it gives great results. 4. Using the 35/70 zoom is great with this flash. You want to highlight something, zoom to 35 & set flash high (up to 90). You want a diffuse light for portraits, set flash to 28 for the 35 zoom length, and 45 for the 75 zoom length. 5. Still concerned, try a female nylon stocking bootie over the head- wow. 6. In over 100 rolls of film I've shot with the 200 (I use it a lot during the day), I have only a few red-eye pictures. Almost as a rule, these occur where I am shooting at an angle to the eyes, not directly into them. I'm not sure this makes sense, but that's what I see. “ end of quote.
So it seem so make sense to set the TLA 200 on position 28 instead of 35 to achieve better results with the T3. I have not tried that yet, because I use seldom flash.
The other one is from a different thread for the T3:
“Most of the times I shoot indoors I find that a lot of what I do exposure compensation-wise depends on the surroundings (high ceilings? light or dark walls? color of furniture?). That translates to mean that, depending on those variables, I'll shoot at +.7 to +1.5 with color neg film and with Tri-X because with the diffuser negs can be a little on the thin side when indoor lighting is subdued or non- existent. The TTL feature with the diffused TLA200 on the off-camera sync cord, however, works like a ch& and I've been really pleased with the results (the first time I got back color prints I was dazzled). Nevertheless, you'll probably have to experiment a little with your combination. I calculate conservatively that with the Rosco on the flash I'm cutting my distance in half, so I set my aperture with that in mind; I've found that the "P Mode"--as the manual shows-- gives you the greatest range so I stick with that a lot unless I'm trying to isolate my subject a little more. Oh, one thing, make sure your T3 is set on one of the autoflash settings unless you're going for some other-than-normal effect.
I'm telling you, if you want to travel light and can work with a 35mm lens, you can do a whale of a job with the T3 and its gear (for instance, indoors with some ambient light or outside with lights in the background (whatever) try setting the T3's flash on the "night" setting with the TLA200 off-camera zoomed out for the 90mm lens . . . whooa!).
Let me know how all this works out for you.
-- Cosmo Genovese (cosmo@rome.com), November 15, 2001â€
End of quote.