The rule of thumb did come from the little yellow boxes, but I learned it in the Army. f 16 was just the starting point. If you were using 200 ASA film, set the shutter speed to 1/250 (or set the shutter speed close to the ASA). On a clear sunny day, a subject in the sun, of average reflectivity, would be properly exposed at f 16. If the day was cloudy bright, open up one stop. For overcast, open up one more, and for open shade, open up another stop. That takes care of the basic conditions of light. Then you have another set of one-stop adjustments for the brightness of your subject.
The end result was a 4x4 grid that covered most situations of light conditions and subject brightness, each separated by one f stop (or shutter speed click) of exposure. As I recall, a light subject at the beach or in snow was in the top left, and a dark subject in the shade was at the lower right.
I searched "Kodak film exposure guide" and got this grid for exposure;
the light categories are more accurate than my recollection.

Use the exposures in the table below for average frontlit subjects from 2 hours after sunrise to 2 hours before sunset.

Lighting Conditions Shutter Speed (second) Lens Opening
Bright or Hazy Sun on Light Sand or Snow 1/125 f/16
Bright or Hazy Sun (Distinct Shadows) 1/125 f/11*
Weak, Hazy Sun (Soft Shadows) 1/125 f/8
Cloudy Bright (No Shadows) 1/125 f/5.6
Heavy Overcast or Open Shade** 1/125 f/4

All this brings back memories of hand-cocking manual shutters and loading 4 x 5 sheet film holders,

off the topic a bit, but what kind of sticker do you use?
Any worries about adhesive or signature bleeding through?

If you are shooting flowers and use a green chroma key background, don't you risk confusing the green bits of the flowers with the background? Green chroma works with flesh tones because there is so little green there.

btw, a recent demo by some nice Apple folks showed that just about any shade of green will work, including the cheap remnant they had picked up the day before at a closeout fabric store, wrinkles and all.

I don't know, but I just painted two of my studio walls 18% gray.

Thanks MT! I had just answered my own question in David Busch's NikonD90 book, and ordered exactly that. I dont ming that it has a wire attchment... I just don't want to be reaching for the shutter button on the camera.

Is there a wireless option for the Nikon D90 that does not require the clicker to be in front of the camera? Who remembers the old "squeeze the bulb with a 10 foot tube" shutter release?

And while we are on electronics: what cable/software can I use to connect my Nikon directly to my laptop (mac) so that I can see photos onscreen as I shoot?

Tks!
Robert

This answer makes a lot of sense.

In the old days, I printed onto anodized aluminum. Now, I'm sure there is a way to digitally print photographs onto metal.

David, I don't have a problem with anything your have said or shown.

Let me see if I can get this thread back on track.
There have been some mention of the shadows under the brim of his hard hat. It would not seem to me that the goal of lighting would be to produce a shadow-free face. Such an arrangement would lack modeling and fullness. Referring back to my Snowdon book, I see many portraits with dramatic shadows, sometimes deeply shadowing parts of the face.

I have another question which I will save 'til I have a good example of my own.

Here's a quote from Anthony Armstrong-Jones (aka Lord Snowdon) from a Harper and Row book titled "Snowdon Sittings 1979-1983"

"A background has to be just on this side of being something, and just on that side of being nothing: you can only use it until it becomes recognizable, then it's past its usefulness."

I appreciate all the comments and suggestions here!

Thank you all... I have so much to learn!
R

I don't see any problem with the way it is!
Shadows = modeling. Not a bad thing.

I was trying out my new lights today, and my landlord came by. I invited him in for a quick sitting, as I was tired of shooting myself (not in the foot). I had an improvised softbox (silver umbrella with white fabric in front)close on the left, some reflected fill on the right, and a softbox hairlight (new to me). The light backdrop might not have been my first choice, but it's an painter's dropcloth, and seemed to fit.

Would I have been better off without the hairlight (given the white hat)? How can I keep hairlight light off the backdrop? Light ratio ok?

He sat naturally in this position, and I did not change it. He seemed comfortable and had an easy smile.

I'm lazy about lenscaps, so the UV filter is always on. I don't think I have ever seen a problem with indoor/studio shots.