tag:blogger.com,1999:blog-45656991569404147802024-03-08T19:23:25.225-05:00Carl Kotheimer's DIY Photo and Video RigsThis blog is primarily dedicated to DIY rigs for DSLR video and photography.Carl Kotheimerhttp://www.blogger.com/profile/16268896053179007000noreply@blogger.comBlogger6125tag:blogger.com,1999:blog-4565699156940414780.post-7040869301962520682011-11-15T09:35:00.001-05:002011-11-15T09:39:21.641-05:00Posted my $14 Rack Focus Device on YouTubeI have just posted my DSLR rack focus device on YouTube here: <a href="http://www.youtube.com/watch?v=6S2XXdpLE-w&feature=feedu">http://www.youtube.com/watch?v=6S2XXdpLE-w&feature=feedu</a>. I really do believe this device offers functionality far beyond other devices I am seeing for rack/follow focus. At $14, you can't go wrong. Give it a try!Carl Kotheimerhttp://www.blogger.com/profile/16268896053179007000noreply@blogger.com0tag:blogger.com,1999:blog-4565699156940414780.post-34067731380650463222011-11-05T15:17:00.002-04:002011-11-05T15:17:23.452-04:00Dolly Slider for DSLR video<a href="http://www.youtube.com/watch?v=OjhiYki7D90">http://www.youtube.com/watch?v=OjhiYki7D90</a><br />
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I will be posting more complete instructions here. In the meantime, catch my video on YouTube via the link above.Carl Kotheimerhttp://www.blogger.com/profile/16268896053179007000noreply@blogger.com0tag:blogger.com,1999:blog-4565699156940414780.post-72327261274059744012009-03-14T18:22:00.003-04:002009-03-14T19:05:03.154-04:00DIY Studio Camera StandI needed a studio camera stand for regular copy, portrait, product and still-life work in my studio, but was not willing to part with the $800 - $2000 for a good commercial stand. While considering my options, I knew I wanted my stand to be heavy and rock-steady, with the standard horizontal and vertical movement offered by a good commercial stand. I didn't need micro-adjustment as long h/v movement was smooth. I decided there may be a <span class="blsp-spelling-error" id="SPELLING_ERROR_0">DIY</span> solution.<br /><br />My initial design <span class="blsp-spelling-corrected" id="SPELLING_ERROR_1">envisioned</span> two large diameter pipes intersecting at 90 degrees, with the vertical shaft controlling height and the camera attached to the horizontal shaft. Connecting two pipes in this fashion required something I didn't know existed, but is common in the theatrical lighting and scaffolding industries--something called a "<span class="blsp-spelling-error" id="SPELLING_ERROR_2">Cheeseborough</span> Clamp".<br /><br />Such clamps come in various sizes, "weights" and articulation ability. Some <span class="blsp-spelling-error" id="SPELLING_ERROR_3">cheeseborough's</span> swivel, some are locked at 45 degrees, and some are locked at 90 degrees. I finally found the perfect clamp, strong and heavy and locked at 90 degrees. This clamp is the secret to making this project <span class="blsp-spelling-corrected" id="SPELLING_ERROR_4">feasible</span>, and is the only hard-to-find item on the shopping list. It's also the most expensive part at $45.<br /><br /><div align="center"><span style="font-size:130%;">Parts List</span></div><div align="center"></div><ul><li><div align="left">10' 1 1/4" galvanized pipe</div></li><li><div align="left">1 1/4" galvanized flange</div></li><li><div align="left">1 1/4" galvanized cap</div></li><li><div align="left">1 1/4" to 1" galvanized <span class="blsp-spelling-corrected" id="SPELLING_ERROR_5">reducing</span> coupler</div></li><li><div align="left">"Mega-Claw" <span class="blsp-spelling-error" id="SPELLING_ERROR_6">Cheeseborough</span> clamp <strong>locked at 90 degrees</strong></div></li><li><div align="left">3' x 6' plywood or hardboard</div></li><li><div align="left">Tripod head and shaft</div></li><li><div align="left">Epoxy putty</div></li><li><div align="left">Heavy wood screws</div></li><li><div align="left">Misc. screws and glue</div></li></ul><p align="center"><span style="font-size:130%;">Preparation</span></p><p align="left">First, go to Home Depot or the like for the pipe, the flange, the cap, the screws and the glue. They don't carry the reducing coupler, but I found it at a large Ace Hardware in the plumbing section. Otherwise, it's a trip to the plumbing supply house or on-line. It costs about $1.50, but it's a key part. </p><p align="left">Get the Mega-Claw from i.weiss.com in NY. I don't have a part number, so you should call them to make sure you get the right thing. Again, you want a 90 degree <strong>fixed</strong> clamp.</p><p align="left">As a base for the stand, I wanted two thicknesses of 3/4" material. Two feet wide by three feet long should be about right. Here's how to put it all together.</p><p align="center"><span style="font-size:130%;">Assembly</span></p><p align="left">In the plumbing isle at Home Depot, have them cut the 10' pipe into two sections, one 6', the other 4' long. Keep just one end threaded on the 6' section, but thread both ends of the 4' section. Screw the cap on one end and the reducing coupler on the other end of the 4' pipe.</p><p align="left">Now you will have to make a tough decision. I <span class="blsp-spelling-corrected" id="SPELLING_ERROR_7">cannibalized</span> an old heavy tripod by removing the center shaft and attached a very good ball head. I recommend getting a hold of a used heavy-duty tripod -- look for a used <span class="blsp-spelling-error" id="SPELLING_ERROR_8">Bogen</span> on <span class="blsp-spelling-error" id="SPELLING_ERROR_9">Ebay</span> if you don't have an extra tripod around. The shaft of the tripod is inserted into the coupler and secured with epoxy putty -- it's a permanent modification. At this point, you have the heaviest, most stable <span class="blsp-spelling-error" id="SPELLING_ERROR_10">monopod</span> in the universe. Great for shooting sports and birds, just don't take it on a hike. It weighs over 15 lbs.</p><p align="left">For the base, cut 2 boards 2' by 3', then glue and screw the two together. It makes a solid, stable base. Screw the flange into the base, centered on the long edge, but close to the edge on the short side (see picture). The 6' section <span class="blsp-spelling-corrected" id="SPELLING_ERROR_11">of</span> pipe screws directly into the flange. Your base structure is now complete.</p><p align="left">A few words on galvanized pipe. You really need to clean it thoroughly. Use a metal cleaner/polish, then apply a heavy coat of wax to both sections. Spend some time on these steps and it will pay big dividends in your use of the stand.</p><p align="left">Next, attach your Mega-Claw to both sections of pipe, and you have a super studio stand that weighs about a hundred pounds, costs less than $100 and breaks down flat for transport. You could easily add casters to the base for added mobility and a computer tray on the <span class="blsp-spelling-corrected" id="SPELLING_ERROR_12">cross arm</span> for <span class="blsp-spelling-corrected" id="SPELLING_ERROR_13">tethered</span> shooting. It works great! </p>Carl Kotheimerhttp://www.blogger.com/profile/16268896053179007000noreply@blogger.com2tag:blogger.com,1999:blog-4565699156940414780.post-36563753110916998532009-03-14T08:31:00.002-04:002009-03-14T08:41:22.545-04:00Infrared Wrap UpWorking with infrared has been a joy that brings me back to the film days of IR. The outcomes, when properly manipulated in Photoshop, mimic film: high contrast, deep rich black skies and a fair amount of grain. Green foliage translates to white as does beach sand and, as always, clouds really pop as the blue skies translate to black. Four efforts from my infrared shooting to date have made it into Goldeneye. I call the series "Endless Summer". Taken on the Outer Banks these four really display the graphic power of infrared.Carl Kotheimerhttp://www.blogger.com/profile/16268896053179007000noreply@blogger.com0tag:blogger.com,1999:blog-4565699156940414780.post-50172868255259969802008-05-27T15:23:00.008-04:002009-03-14T08:31:51.536-04:00IR Photography: My Recent Tests (continued)My first digital SLR was the Nikon 100D, which I purchased in 2003 and used before switching over to the Canon line of digital <span class="blsp-spelling-error" id="SPELLING_ERROR_0">SLRs</span>. The 100D went to my father and he used it until his eyesight failed due to <span class="blsp-spelling-error" id="SPELLING_ERROR_1">macular</span> degeneration. When the camera came back to me, I decided to have it modified for IR after listening to a lecture on IR at <span class="blsp-spelling-error" id="SPELLING_ERROR_2">Photoshop</span> World in Orlando earlier this year. The instructor was impressed by the conversion service of <span class="blsp-spelling-error" id="SPELLING_ERROR_3">LifePixel</span> Infrared Conversion in Washington state so I started my investigation there.<br /><br /><br /><br />Conversion is pricey, $350 for my Nikon, but after speaking to several photographers who had had the "operation" I decided to proceed using <span class="blsp-spelling-error" id="SPELLING_ERROR_4">LifePixel</span>. The process is simple using the <span class="blsp-spelling-error" id="SPELLING_ERROR_5">LifePixel</span> website: You pay upfront and <span class="blsp-spelling-error" id="SPELLING_ERROR_6">LifePixel</span> sends detailed instructions on how to send the camera. The conversion is specific to a lens in that focus is adjusted during the process. <span class="blsp-spelling-corrected" id="SPELLING_ERROR_7">Remember</span> the little infrared offset on old lenses? Since IR light focuses at a different point than visible light, this adjustment is critical in order for <span class="blsp-spelling-corrected" id="SPELLING_ERROR_8">auto focus</span> to work properly. For the Nikon, they calibrate focus to a 18-70<span class="blsp-spelling-error" id="SPELLING_ERROR_9">DX</span> lens. If you want to calibrate focus to a lens other than the 18-70, they will be happy to do it for you (for a fee, of course). By the way, Canon and Nikon point and shoot cameras are also supported for conversion at $300. I'm told some folks have new cameras shipped directly from a retailer like B&H Photo in NYC to <span class="blsp-spelling-error" id="SPELLING_ERROR_10">LifePixel</span>.<br /><br /><br /><br />It takes about a week to 10 days to do the conversion, but if you are using ground shipping from the East Coast figure another 2 weeks in transit. Quick turn-around service and shipping are available, but again, it will cost you. I actually forgot to place the email conversion form in the shipping carton with my camera, which caused me some momentary panic, but it all got straightened out over the phone. Service is really good with this company and I was very pleased with the entire operation.<br /><br /><br /><br />When your converted camera returns, take the time to read the <span class="blsp-spelling-error" id="SPELLING_ERROR_11">LifePixel</span> tutorials and watch the videos available on the site if you haven't done so already. These tutorials cover the basics, but there is a lot more information out there that you may want to absorb. For me, the most important procedure is to set up your newly converted with a custom white balance <em>using green grass as the balance source</em>. Also, shoot in RAW mode if at all possible. The flexibility you will achieve in your favorite RAW converter is amazing, whether sticking with color infrared, or converting to black & white. The whole process is about experimentation. The first thing I wanted to do was to get rid of the magenta cast that naturally occurs in every shot with a newly converted camera. If you are not familiar with performing a custom white balance, get out your camera's manual.Carl Kotheimerhttp://www.blogger.com/profile/16268896053179007000noreply@blogger.com0tag:blogger.com,1999:blog-4565699156940414780.post-81182493522136095302008-05-17T10:27:00.005-04:002008-06-09T10:57:12.189-04:00IR Photography: My Recent TestsDuring the 1970's and '80's BD (before digital), I had been an occasional user of both color and black & white infrared film. The results were interesting and unpredictable because one can never really be sure how objects will reflect or absorb the IR spectrum of light. I especially liked the results produced by B&W infrared film because they were similar in many ways to results I got using standard film with a red filter: blue skys recording as very dark, with contrasting stark white clouds, for instance. The big difference was the green foliage. Instead of recording as various shades of gray, green leaves almost always appear very white, with a soft glow that looks like trees are covered in snow.<br /><br />In the digital era, there are various post-production software filters that claim to simulate IR, both color and B&W, but none of them can match a true IR photograph taken with light from the IR spectrum as opposed to the visible light spectrum. This is primarily due to the previously mentioned reflective/absorbtive qualities of organic matter when struck by IR light. So how does one take real IR pictures in the digital age? As it turns out, digital sensors are extremely sensitive to invisible IR light, and if left alone, would produce IR photos right out of the box. Camera manufacturers have had to compensate for this "feature" by placing a thin IR blocking filter on top of the sensor. Still, some IR light gets through and the trick for the IR photographer is to block the visible light rays and maximize the IR light striking the sensor.<br /><br />If you just want to do a little experimentation with IR, check out the various posts online that detail which cameras are more sensitive to IR light. There is quite a range of sensitivity to the IR spectrum, and if you are lucky you may already own such a camera. Older and more inexpensive point and shoot cameras can be great candidates for IR photography.<br /><br />Now that you have IR light striking the sensor, how do we get rid of the <em>visible</em> light? That is done with a "blocking" filter placed in front of the camera lens. Such filters are available as clip-on filters for various point and shoot cameras, and as screw on filters for SLR's. Again, there are lots of references on the web on the effectiveness and purchase of various filters. One thing to note about going this route is that exposure times will increase dramatically and the camera will almost always need to be mounted on a tripod to remove the issue of camera movement during exposure.<br /><br />This method does work. You can view lots of pictures on the web taken using the filter method and many of them are quite striking. It's a low-cost way to extend your creativity by experimenting with IR photography which can be very rewarding. Expect to spend a lot of time testing various exposure, ISO, and white balance settings and with post-production software to achieve the effect you like.<br /><br />Next, the expensive way....Camera modificationCarl Kotheimerhttp://www.blogger.com/profile/16268896053179007000noreply@blogger.com0