I've been shooting with a Canyon 5D for almost 3-1/2 years and have
never previously seen anything like this... truly severe moiré. I was
out back testing my gear before this week's bridal shoot. I'm expecting
that the shot will have to be made at this spot overlooking Lake George
<http://www.tripadvisor.in/ReviewPhotos-g48016-d572160-r5615464-The_Inn_at_Erlowest-Lake_George_New_York.html#1477336>
but in late afternoon sun more like you see here which puts the
background in full sun but the bride in heavy shade.
<http://www.tripadvisor.in/ReviewPhotos-g48016-d572160-r5615464-The_Inn_at_Erlowest-Lake_George_New_York.html#1477334>
Getting the shot right requires setting the shutter speed within the max
sync range, and then adjusting aperture for the sunlit background. Then
the flash power has to be raised on the bride to equal the pre-set
exposure for the background brightness and bring her out of the shadows.
Ignore the fact that the lights aren't really set correctly yet but
check what happens to my shirt on close-up inspection. Note the two
"bulls-eye" moiré patterns centered where the lights are aimed. I'm not
sure if the lights are in any way responsible for this. The pattern in
the fabric where the blue and tan moiré pattern appears (there is no
blue in the shirt) is a very fine vertical and horizontal pattern of
brown lines enclosing small white squares about 1mm on a side. Such a
happenstance on a bridal gown would be deadly.
Film, of course, wouldn't have such a problem... at least until you got
to the scanner. But I wouldn't be able to take this shot with an OM
either. The exposure was ISO 200 at 1/200 second at f/11. An OM would
have required much slower ISO or enough ND filtration to stay within the
sync speed that I wouldn't have enough flash power to punch through it.
I think I'm gonna take the Mynolta A1 along with me just in case.
That camera makes flash work even easier since it can sync at just about
any speed. At 1/500 or 1/640 I could open the aperture enough to be be
able to use some T32s, even with diffusers.
Chuck Norcutt
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