:Try some outdoor floods. Mioght be a bit hardier. Plus
:a flood may
:work without quiote so high a wattage.
I've seen some very high wattage CFLs used by some of my clients, they are
almost 1' long and, like, 85 W. I don't know if you can get them in the USA.
They are not very expensive, I think like 40 euros, but if you break one
that's money down the drain. There are also excellent CFL spotlights, too
(at least on this side of the pond).
major in electrical engineering
The big powerful CFLs you mention are possibly those made by
Megaman. In the domestic medium size ES fitting they only go up to
60W, a tungsten light equivalent output of 300W with a better colour
temperature. In GES fitting they go much larger, although all but the
smallest 80W need separate ballast units included in the power
supply. But they take a while to warm up and produce full power
Mains powered tungsten halogens, if you can still find them in
domestic ES fittings, are robust, long lasting, more powerful light
output per watt than ordinary tungsten, a higher colour temperature,
and possibly the nicest flattest colour power spectrum of any electric
source except xenon.
Warning: none of the above is indisputable fact.
<(Amazon.com product link shortened)>
in cheap 10" flood reflectors from Lowes, etc.
They are 6500K so you will get accurate color rendition. I use them
for artistic photography and they work well.
Not quite an answer to your question, but I learned a technique for
photographing engines and complex three-dimensional objects called light
painting. You set the camera on a time exposure of about 4 seconds (a dark
garage and a tripod or magnetic clamp are a must) and then use a powerful
light and move it all around the area to be imaged.
I used to use tungsten bulbs, but I found that 100 LED showerhead
flashlights are perfect for this work as the ones I have are almost the same
color temp as daylight and emit broad, shadow free light for over an hour
per charge with no cords. They clip into the same sort of clamps used in
tungsten light reflectors, too.
You'll see an improvement right away. The dark shadows thrown by hoses,
levers, rods and wires disappear because they are "filled in" as you move
the light source around the area of interest. .
The 100 LED flashlights are also invaluable in microphotography - they are
like miniature umbrella lights. They also run very cool compared to any
incandescent light source.
I used 4 secs because that was the slowest shutter speed on my camera. I
got to be pretty quick with the lights. Another advantage of a timed
exposure is that you can stop down the lens to get more depth of field. My
best advice is to experiment and determine your own times. You can use a
neutral density or a polarizing filter to let you use longer shutter speeds
if you find you can't do enought light painting in 4 secs.
You'll be amazed at how it eliminates the shadows that plague normal engine
compartment photography. I switched to the 100 LED flashlights because they
allowed me to illuminate areas of interest slightly more than the rest of
the photo. It's like "in-camera" dodging and burning without the enlarger
As long as your camera allows, really as long as you get the exposure right.
You need to experiment a bit to get the shutter speed, aperture and lighting
Here's one of my cat with a 10 second exposure:
This was done with a pretty poor handheld torch. I think you'd get much
better results with a better light source. And cats aren't really the
best subjects for "light painting" because they move...
Why not use a remote flashgun or two? Much more portable, much more
light, only downside is you'd have to do a bit of learning if you
haven't used that kind of thing before. It can also be cheap if you
buy cheap Hong Kong radio flash triggers and second hand film-era
flashguns, but you have to use those in fully manual flash and camera
modes which involves some more learning.
Warning: none of the above is indisputable fact.
If you need a stand Adorama has both;
Using this lighting you will probably have to make some white balance
adjustments if you are shooting jpeg only. Shooting RAW will give you
greater flexibility with WB.
If "color balance" isn't high on your priority list, you might want to
consider using compact flouescent bulbs. Use the type that has a plactic
(not glass) glove over the flouescent tube. You can also use CF with a
built in reflector.
This are pretty expensive compared to incadescent lamps but will last a LONG
time, don't break easily, and don't generate much heat. You don't have to
worry about burning yourself either.
You can get SUPER CFs that put out a fair amount of light. Again, some of
these have a plastic shell on the outside.
We were somewhere around Barstow, on the edge of the desert, when the
drugs began to take hold. I remember Brent
You can get cheap (<20$) 12Volt 55W HID headlamp bulbs on ebay that pump
out 3500 lumens at colour temps from 4500 to 9000K. All you need to do
is procure a spotlight unit from the same source and mount it. Feed it
from a suitable 12V PSU and Bob's yer Uncle.
The same HID setup in studio lighting will normally cost hundreds for a
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