Issue 382                               

                                               23 April 2020
To: Firstname Lastname
Your BPS Membership No:
 
Hello, Firstname
 
Newsletter Copy - Thankyou
A big thankyou to the members who rallied to the call for articles to fill the newsletter and so enable me to keep it going through these troubled times - these last few issues of have existed to a great extent because of their contributions. I have articles to cover the next few weeks, but looking into the future I am still going to need contributions, so please keep these wonderful collections of words coming and if you have anything you think other members would like to know about, such as special on-line events or exhibitions, photographic hints, tips and tricks, etc. please let me know at the usual address: bpsnewsletter@bristolphoto.org.uk

On-Line Meetings
Things are now beginning to move breakneck speeds and the Zoom team will be announcing upcoming "virtual" meetings imminently. Watch this space, as a special BPS On-Line edition of the newsletter will be winging its way to your inbox shortly. 

Members' Contributions
The following 2 articles are from Kevin James and should both be very useful when confined to barracks.

Hints & Tips about Flashguns & Flash Heads
by
Kevin James
There are now, many types of portable flashguns on the market, brought about by the dif-ferent camera makes and types. Some of them are now very expensive, for the power they put out.
 
However, they all work on the same basic principle, discharging a high voltage charge from a large capacitor thru’ a xenon gas filled tube. This is ionised, when the shutter is fired. The voltages involved are very high, and vary from 250v DC to 500v DC, for the more powerful units.
 
The trigger voltage that ionises the tube, is often way above 2000 volts. For this reason, I do not recommend you pull one apart, as quite often the charge remains in the capacitor for some time after switching it off. While repairing one once, I accidentally shorted it out with a small screwdriver. There was a deafening crack, as it blew a chunk out of the screwdriver shaft. If they get wet in rain, leave well alone until dried out!
 
Flashguns - are usually rated by guide No, which gives you an idea of its power capabil-ity. Sadly, some manufacturers are less than honest with their guide Nos, ie - it was tested in a room with all white walls! Most of them have heads that will rotate a full circle and swivel up or down.
 
Remember - there is a square law relationship between exposure and distance from the flashgun. For example:- if the correct exposure was F11 for a subject 5 feet away, by doubling the distance to 10 feet, your aperture would need to be opened up to F5.6, NOT F8 as you might expect.
 
This is important, in a studio situation, the slightest movement of a model from a flash head, can result in a noticeable difference in exposure. To minimise this, put your studio lights further away from the model, and turn the power up to compensate. Proportionally, the distance the model moves in relationship to the flash head distance away, will now be far less. This results in a more consistent set of exposed shots. This is regularly forgotten in the excitement of a photoshoot!
 
Light Modifiers - most flashguns now have included, a clip-on soft box, this removes some of the harshness of the flash, however there is an overall light penalty for getting that softer light. If shooting bounce flash, take the soft box off. Direct the light slightly be-hind and to one side on the ceiling, to give more modelling to your subject. Some have pull out diffusers, that widen the light throw, for say a 24mm lens. They both have a light out-put penalty. Raise your ISO accordingly.
 
Wireless Remotes - the more expensive units now have wireless trigger capability includ-ed, and for an additional cost of a controller, they can be remotely triggered and controlled from several hundred feet. Some like the one I purchased recently (shown below), will do adjustments to TTL, manual, output power, and control several guns all at a distance. This can be very useful in some situations, saving you a lot of running around.
 
Speed Light - flashguns are sometimes called speed lights. The general flash duration usually goes from about 250th of a sec to 2500th of a second. However, the faster and more powerful you get, the price rises exponentially. If you want to freeze action like danc-ing, 2000th + is required. For general studio work, 1000th sec works fine, however, if the model starts rapidly waving their hair or arms around, you will notice slight blurring of the moving parts in your picture.
 
Flashguns are quite demanding on batteries; a set of AA cells do not last to long. I always use rechargeable ones, most of the more powerful units use 4X AA cells. Lower powered units use just 2. The best I have come across for capacity and reliability are manufactured by Panasonic, they are called “eneloop pro”. They have a capacity of 2500ma. They come in packs of 4. I obtain them from a online battery company called:-
 
 
I have used them for years. Obviously if you have a mains powered unit, you usually get more power, and no need for batteries.
 
A lot of the studio medium power units are now going all portable. They contain lithium-ion battery packs, that can be removed and charged doing up to 500 full power flashes. They are ideal for Pro’s who are in awkward locations with no power around ie: in the middle of a beach or field.
 
However, be warned, lithium batteries have a life, used a lot or not, replacing them every 5 years will not be cheap, they are quite large batteries. We nearly all have lithium-ion batteries in our mobile phones, they are usually shot, after 3-4 years regular use.
 
Some of the portable studio battery powered lights now have a mains socket on the back. It both powers the light and charges the battery at the same time.
 
 
Hoping some of this, is of use to you all, in these unprecedented times,
 
Enjoy your Photography
 Kevin James
 
Printer Hints & Tips
by
Kevin James
                                         
I have lost count of the number of printers I have owned over the years. One thing is for sure, they don’t last forever. However, there are a number of things we can do to help extend their lives, to ensure they give us a good clean print. They are not cheap either, replacing a photo capable A3 machine, costs in the region of £600 now.
 
I have tried many different makes of printer but found the best for photography was Epson. One of the reasons for this, is Epson owns the patent on the piezo-electric head. These are highly efficient and keep relatively cool compared with thermal heads. All other printers use thermal heads. These are fine for a short while but need regular re-profiling as the head tires and finally wears out. Failure to re-profile results in flat prints, with low contrast, and no oomph!
 
HP printers solved this problem, by putting a print head on every cartridge, so you throw away a head every time you change a cartridge! However, you always have a fresh head to start with. This gives you consistent print quality, but unfortunately does put the cartridge price up.
 
HP have always printed well on cheap photo copier paper, using a pigment black ink, and dye colour inks. Sadly, they lacked the image quality we photographers want. I found total lack of highlight detail at the top end, (rendering of clouds for example} being the main problem. Also, last grey before black, rendered as black, on a 20-step grey scale. Profiling did not improve either of these problems. HP now seem to have got out of the photo printer race.
 
Epson is still not perfect, when printing gloss or matt paper. They have an annoying need to clear the black tube full of ink, that goes to the single black head. This costs you 5ml of wasted ink every time you switch paper types, when printing in either matt black, or glossy ink. Years have gone by, but Epson has never added that extra head for the 2 blacks.
 
Canon, however, has a head for each black ink. Canon also extend their printer lives, by having replaceable thermal heads, which cost dear! (£160 on a £1000 A2 printer) But being well made, {try and lift an A2 model, it takes 2 people!} It makes sense to extend the life with a new head.
 
Epson printers, have roughly a working design life of 5 years, get any more, and you are doing alright! The print heads on an Epson last the life of the printer with careful use, they don’t wear or tire like thermal heads. Replacing a head on them is not economic, costing £100 + on a small A4 printer.
 
The ink waste sump on smaller printers is an internal large felt pad across the base of the printer. This gradually fills up with regular automatic head cleans. When full, a sensor in the pad locks up the printer until it is replaced or serviced, (£100+) or just thrown it away. If it did not do this, you would end up with ink all over your desk, leaking out of the printer, not an easy mess to clean up!
 
On larger printers a waste cartridge is installed, which on my Epson P800, lasts about one and a quarter full sets of inks, thru’ the machine. When the waste tank is full, the printer locks up. They cost £23, but I removed the top, binned the soggy felt, and replaced it with folded kitchen paper towel, or an old vest cut up and folded, works quite well. I then reset the chip to a 100% again. I have been doing this for years, saving a fortune. It’s also very green, by recycling. I was doing this with my old Epson 3880 as it has the same waste tank cartridge. I just transferred it to the new printer!
 
Running costs, for my P800 is roughly £500 for a set of original Epson inks, this includes the waste tank. The ink cartridges are claimed to hold 80ml of ink each. This works out at around 70 pence per mil of ink. This asks the question, should I use alternative inks and refillable cartridges? I do and have never ever bought Epson cartridges for any of their printers, purely because of the cost. A complete refill costs me £75, a bit different from £500! Results when profiled, are very comparable with the original inks.
 
Alternatives? I buy sets of refillable carts from Fotospeed, who I have found very helpful over the years. Their alternative inks are a very good match to the Epson original inks. They work out at about 21p per ml. However, using a large printer, I have found by going to professional ink suppliers, if you are prepared to buy in bulk, this can be reduced to 10p per ml. For this ink, I use a company called “Advance Inkjet Systems”. They supply industry, architects, engineers, graphic design studios etc.
 
However, the minimum quantity of ink for each colour is 250ml. Unfortunately, their yellow ink is to light, so I use Fotospeed Epson compatible yellow. What people don’t realise, is that when Epson brought out the new “P” range of printers they changed the inks as well. The blacks are now roughly one shade darker on a 20-step grey scale. This does improve your prints punch or ping. However, I have noticed the extra carbon black or whatever they have added to the pigment matt black ink, has resulted in it not being absorbed properly by several papers. Some of it, sits on the surface, and rubs off under pressure. A good example is in a foot-high pile of prints! I now use A.I.S matt black inks.
 
Head Alignment is very important for good sharp prints. This should be done when you very first set up your printer, and also if you go moving or transporting it around. Head alignment can be selected from under the printers Maintenance menu on the machine, it will use a couple of sheets of A4 paper to do this. It prints a dozen or so sets of small filled rectangles, asking you which square is contains least No of lines in it, along with a number beside it. You then enter this number in the menu and move onto the next line of nozzles.
 
Siting your printer, it goes without saying do not locate it near any sources of heat, from radiators, fires, air conditioning units etc. It will just dry out the nozzles in the head double quick! Also make sure it is on a rock solid and level surface, so that it is not swaying left to right, as the head goes back and forth.
 
Paper not transported properly, or slipping? After some considerable use, paper is not dragged into the machine properly from the paper shoot. This can often be fixed quite simply. The paper is usually dragged into the printer, by an eccentric soft rubber cam on a rotating shaft. This is just above the paper. The cam is located about a third of the way across the paper (A4} on its shaft.
 
Solution - Unfortunately, the soft rubber cam gets coated with chalk that’s in ordinary paper combined with household dust, making it quite slippery, the opposite of what it’s supposed to be, high friction! I have found by taking a small cloth and soaking it with a little meths, then wiping the drag surface of the rubber cam, sorts the problem out. It’s a fiddly job shoving your fingers into where the paper enters the printer, make sure the printer is off before attempting this!
 
Blocked head nozzles are a direct result of not using an inkjet printer enough. If you are not printing at least once a week, switch the printer on and allow it to boot up, then turn it off again. During the boot up process, the printer will do a mini head clean, using a small amount of ink. This keeps the nozzles in the head freed up. If leaving your printer for weeks on holiday, I place a dampened wad of folded kitchen towel next to where the head parks, to keep the air moist around it. Don’t forget to remove it on your return, or printer damage will result!
 
Sometimes it is wise to do a nozzle check via the program within the printer menu system under “Maintenance”. This will print a pattern of sloping lines, any gaps or missing bits and a head clean is required. Do this from the computer, in the printer “Utilities menu”.
 
“Power Clean” under Maintenance menu on the printer, can be used, to remove stubborn blocked nozzles, due to a printer being left idle for months. It will cost you in ink though, it uses a lot of ink. Best not to let it get to this state in the first place!
 
From what I have noticed, there appear to be 3 levels of head cleaning, a mini clean on boot up, a standard clean from the menu on your computer printer utilities menu, and a power clean actually on the printer’s screen. This is activated from within the printer’s own maintenance menu actually on the machine. They progressively use more ink, the power clean being the worst.
 
Annual Maintenance, obtain some Head Cleaning Fluid, it is possible to buy this product online in small 150ml bottles or so from most ink suppliers. It is very good for general maintenance which I do once a year. Switch your printer on and allow it to boot up, as the head moves out of the parking bay quickly pull the power plug out. You can now move the head to one side to access the parking bay.
 
Do not leave the printer like this for long, or the head will dry out! Use a small syringe to Squirt a small amount of head cleaning fluid onto the pads where the head parks. I use a small 10ml surgical syringe. There is also a small rubber strop that swings out to wipe the underside of the head free of any ink, each time it parks. Clean this as well, it will be covered with dried ink. The strop also wipes itself, on a felt pad nearby, in order to clean itself as well. Squirt cleaning fluid on this pad as well.
 
You may need to do this wiping with a cotton bud dipped in the cleaner, as these areas are not easy to access. Good lighting helps while you do this. Finally, and this is important, move the head back into its parking bay, before turning the power back on. Failure to do this may damage the head belt transport system. When power is restored, the head moves back and forth to auto re-calibrate its location, since power loss. 
 
The head moves up and down a precision, highly polished chrome bar in order to print, this is lubricated by a felt pad soaked in light oil on the print head, that rests on the bar. However, it can dry out after 2 years use or so. I use a little WD40 squirted on a sheet of toilet paper and rub the bar with it.
 
Remember “Love Your Printer” and it will reward you with good prints for years.
 
Happy Printing,                                                                                                         
Kevin James
 
CV-19 Competition
Following on from last week's pictures of BPS CV-19 masks, it has been suggested (by BPS member, Paula Wride) that it might be a good idea if we ran a little unofficial BPS competiton for pictures taken during this enforced lockdown. Pictures should be on a CV-19 theme and can be taken during the lockdown or dragged up from the depths of your archives! The pictures will be judged by yours truly (well, being newsletter editor has to have some perks!) and the top pictures will be reproduced in the newsletter. 
Each week I will give you a CV-19 related theme and entries can be emailed to me at bpsnewsletter@bristolphoto.org.uk - this week's theme is the now well known distance that we must all keep from each other: "6 feet".
You can interpret "6 feet" any way you wish, but remember that it needs to be CV-19 related and you may well have guessed that I'm more likely to pick humour than photographic perfection!
 
RPS DIG Online Meeting
RPS DIGITAL IMAGING GROUP ONLINE EVENT
What to photograph during the lockdown
 The RPS Digital Imaging Group
Saturday 25 April 2020 4-5pm
Online Event
Register HERE 
A close up of a colorful backgroundDescription automatically generated
 
What to photograph during the lockdown
John Gravett draws on his considerable creativity, photographic skill and energy for this online event which will show a creative view of everyday objects, including things we all have in our homes, as well as gardens and things you might see on your ‘necessary exercise’ outings. John will make good use of his diverse professional background and years of teaching experience to cover a variety of techniques, possibly including making full aperture macro lens pics, focus stacking and some creative ideas involving what he used to call ‘slide sandwiching’.
 
Tickets for this online event are free for Digital Imaging Group members.
But everyone is welcome, with tickets for non-members from £3.
This event will take place via video-conference using Zoom. If you have not used Zoom before, it is really quite easy. Support will be provided. See the booking page for more information.
 
Useful Links
 
And Finally ..................
Things to do during lockdown:
  • Photograph your valuables for your insurance (that won't take me long!).
  • Sort out your camera kit - get rid of all those old filters that you thought would come in handy one day but don't, and most likely will never fit some wonder lens that you might buy when your Lottery ticket comes good.
 
Downloads
To download issue 254 of the PAGB eNews, please click here.
 
To download the latest edition of Photogtraphy News, click here.
 
This is a new one: to download the latest issue of FIAP News, please follow this link.
 


Make Money For BPS Every Time You Shop On Amazon!
Now, if you so wish, each and every one of you can support BPS with every purchase you make on Amazon by using Amazon Smile. Click on the link below – then it’s self-explanatory.
It must be easy, even I managed it!
Ed
 
Trumpet Blower's Corner
Salon acceptances: BPS photographers are now achieving large numbers of salon acceptances and constraints on time and space mean we can't include them all. So please only advise of awards or other milestones.
Contrary to popular belief, I do not possess psychic powers and need you to tell me if you've had successes. If you want to blow your own trumpet (or someone else's), then this is the place to do it. Please let me know and I'll include details in a future issue.
 
For Sale
If you have anything to sell, or you're looking for something to buy, just let me know and I'll include it here. Please bear in mind, we only advertise items for BPS members.

Studio Bookings
PLEASE NOTE: ALL STUDIO BOOKINGS ARE SUSPENDED UNTIL THE LIFTING OF THE COVID-19 RESTRICTIONS.
Would all members please note that before you plan your shoot and book your model, you should check whether the studio/clubroom will be free. This can be done easily and at any time by viewing the Clubroom Bookings calendar in the Members' Area of the BPS Website. Bookings can be made by contacting Mike Bigger at bookings@bristolphoto.org.uk.
Log in details to the Members' Area are at the end of this newsletter.
 
Personal Detail Changes
Please don't forget that if you change your address (home or email), or gain additional photographic distinctions, it would be appreciated if you could let the Membership Secretary know so that she can keep her records up to date, this will also ensure that you continue to receive your newsletters - please email all changes to membership@bristolphoto.org.uk
The distinctions we have on record are those shown at the top of this newsletter. If they are wrong, please visit the Members' Area of the BPS website where you can register any changes using the on-line form provided; this form can also be used for change of address, email etc.
 
Photographic Acronyms
For those of you who aren't sure what MPAGB, EFIAP/s and many more such seemingly random collections of letters mean, just click here to download the list.

 
Missed a Copy of the Newsletter?
To view past editions of this Newsletter, please click on the following link and then select the date(s) you are looking for - BPS Newsletter Archive
 
BPS Website - Members' Area "Log in"
To enter the Members' Area of the BPS website you will need the following:
Username - chatroom            Password - pixels
 
If you have any problems getting into the Members' Area, please contact Carol, either by email: membership@bristolphoto.org.uk or by telephone: 0117 924 1338
Bristol Photographic Society,
Unit 13, Montpelier Central, Station Rd, Bristol, BS6 5EE