Shooting Checklist

[angusparker]

So I'm writing up my shooting steps for LF and I wanted to share them to see if someone has an alternative flow / perspective. Thanks for your input.

Best, Angus




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[Graham Patterson]

25 and 26 look to the in the wrong order if you plan on test firing the shutter. Personally I attach the cable release when I mount the lens.

I usually check for traffic/trains/wildlife/tourist groups at various stages to avoid sudden scares 8-)

[Tim Meisburger]

I never get beyond 24 or 25 before I run out of time and have to go home:(

[faberryman]

If I say I need to get up, shower, shave, get dressed, have a cup of coffee, and hit the road before 7:00am, and I had a list that detailed, I'd never make it. As Graham noted, don't pull the darkslide until after you have tested the shutter.

[Leigh]

25 and 26 are reversed, unless you like your negatives always at full Dmax.

- Leigh

[angusparker]

If I say I need to get up, shower, shave, get dressed, have a cup of coffee, and hit the road before 7:00am, and I had a list that detailed, I'd never make it. As Graham noted, don't pull the darkslide until after you have tested the shutter.

Funny!

[angusparker]

25 and 26 are reversed, unless you like your negatives always at full Dmax.

- Leigh

Ha! Duh!

[angusparker]

I never get beyond 24 or 25 before I run out of time and have to go home:(

I do most of this intuitively but for ULF I always forget things like bellow draw and mess things up. So I thought I'd put it all down!

[Leigh]

I do most of this intuitively but for ULF I always forget things like bellow draw and mess things up.
Bellows draw compensation is a function of magnification, which i expect will be much less with a ULF camera.

- Leigh

[Merg Ross]

#23 Remove Darkcloth. Not sure about this one. I have always used the darkcloth to cover the camera back when removing and inserting a darkslide.

[Leigh]

#23 Remove Darkcloth. Not sure about this one. I have always used the darkcloth to cover the camera back when removing and inserting a darkslide.
I leave the darkcloth on all the time also.

I missed that item in the list. :o

- Leigh

[angusparker]

I leave the darkcloth on all the time also.

I missed that item in the list. :o

- Leigh

That's really interesting. I can't see how I could slide the film holder into the camera given that my dark cloth has an elastic opening. Plus sliding out the dark slide would be hard too. I also use the dark cloth to prop up my bellows.....


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[Graham Patterson]

That's really interesting. I can't see how I could slide the film holder into the camera given that my dark cloth has an elastic opening. Plus sliding out the dark slide would be hard too. I also use the dark cloth to prop up my bellows.....
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I think that should be under the local rules addendum for elasticated dark cloths. Come to think of it, there should probably be an addendum for shutter-less lenses...

Joking aside, it does pay to find a sequence of operations that works and stick to it. There are special conditions (for me) like bellows extension, reciprocity correction, and some filter factors, that only apply to a subset of images. Others might use them all the time and just fold it into the exposure calculation without much thought.

[Doremus Scudder]

Angus,

Your list seems a bit over-detailed for me too. I really only concentrate on the things that are not fail-safe and likely to cause errors.

For me, choosing the lens happens before I set up the camera; I use a viewing frame and have a good idea of composition and lens before I unpack. If I mount a wrong lens, it's obvious when initially viewing the image and I change to a better one.

Leveling the camera is part of image management for me. For architectural work, I level carefully and use shifts and rise along with the grid to frame my shot. For shots with the horizon in them, I'll level vertically and use the grid to orient the camera back. For many other shots, I frame as desired, which may not be level.

All my lenses have dedicated cable releases, no fiddling with that with recessed boards and cold hands on winter days for me!

I don't need to worry about opening the shutter and aperture for viewing; can't see a thing unless I do...

Focusing and applying movements is all a part of image management for me as well. I include in this finding the focus spread and choosing the optimum aperture based on that. Also, mounting and orienting a polarizing filter if I need one happens here.

Metering, applying filter, bellows and reciprocity factors and choosing a shutter speed based on that and my optimum aperture is one step for me. Unless I'm doing table-top work or real close-ups, I don't measure my bellows. You'll quickly find at about what subject-to-camera distance you need to start worrying about bellows extension compensation.

When I get ready to shoot, my check list comes into play.

1.Tighten all tripod head knobs, especially the pan knob so I don't swing the camera when inserting the holder (don't ask me why I'm so careful here :( )
2. Add filters if I want them, close to taking aperture and check for vignetting.
3. Close the shutter (however the particular shutter I'm using works)
4. Set the shutter speed.
5. Cock and fire the shutter and cock it again (this ensures step one has been done).
6. Check to make sure the side of the filmholder I plan to use is the correct one, i.e., not already exposed (don't ask ... )
7. Insert holder and make sure it is seated correctly
8. Pinch the spring back to the rear standard and remove the darkslide.
9. Make the exposure asap after removing the darkslide and replace it quickly with the exposed side facing out, pinching the back as above.
10. Stow the holder and make my notes.
11. Take down making sure to return the camera to "zero position" if any movements have been used.

That's about it. And I don't really have a list, just a routine that I try not to vary too much from to prevent errors.

Best,

Doremus

[Drew Bedo]

Each of my lenses have a dedicated cable release attached. They are stored with the shutter uncocked and the preview lever in the open position. When the lens is mounted, it is ready to go.

When shooting the last thing before pulling the slide is to cock the shutter. I then fire it to check that the preview lever is cloded and to double check the speed by sound (OK that's not really close tyo being an effective test, but ai listen anyway).

Composing, focusing and adjusting movements may b e a work-flow loop resulting in relocating the whole operation a few feet or way-over-there.

My lenses and other bits of gesr are stored in individual boxes (PhotoBackpacker) pouches or bags (Crown Royal), then stowed back into a camera bag. If there is an empty box, pouchor bag laying around, there is something loose thet musdt be found.

As Dornious said above, no list or protocol, mostly routine.

[angusparker]

Angus,

Your list seems a bit over-detailed for me too. I really only concentrate on the things that are not fail-safe and likely to cause errors.

For me, choosing the lens happens before I set up the camera; I use a viewing frame and have a good idea of composition and lens before I unpack. If I mount a wrong lens, it's obvious when initially viewing the image and I change to a better one.

Leveling the camera is part of image management for me. For architectural work, I level carefully and use shifts and rise along with the grid to frame my shot. For shots with the horizon in them, I'll level vertically and use the grid to orient the camera back. For many other shots, I frame as desired, which may not be level.

All my lenses have dedicated cable releases, no fiddling with that with recessed boards and cold hands on winter days for me!

I don't need to worry about opening the shutter and aperture for viewing; can't see a thing unless I do...

Focusing and applying movements is all a part of image management for me as well. I include in this finding the focus spread and choosing the optimum aperture based on that. Also, mounting and orienting a polarizing filter if I need one happens here.

Metering, applying filter, bellows and reciprocity factors and choosing a shutter speed based on that and my optimum aperture is one step for me. Unless I'm doing table-top work or real close-ups, I don't measure my bellows. You'll quickly find at about what subject-to-camera distance you need to start worrying about bellows extension compensation.

When I get ready to shoot, my check list comes into play.

1.Tighten all tripod head knobs, especially the pan knob so I don't swing the camera when inserting the holder (don't ask me why I'm so careful here :( )
2. Add filters if I want them, close to taking aperture and check for vignetting.
3. Close the shutter (however the particular shutter I'm using works)
4. Set the shutter speed.
5. Cock and fire the shutter and cock it again (this ensures step one has been done).
6. Check to make sure the side of the filmholder I plan to use is the correct one, i.e., not already exposed (don't ask ... )
7. Insert holder and make sure it is seated correctly
8. Pinch the spring back to the rear standard and remove the darkslide.
9. Make the exposure asap after removing the darkslide and replace it quickly with the exposed side facing out, pinching the back as above.
10. Stow the holder and make my notes.
11. Take down making sure to return the camera to "zero position" if any movements have been used.

That's about it. And I don't really have a list, just a routine that I try not to vary too much from to prevent errors.

Best,

Doremus

Very helpful. Will try and shorten my overly long list!


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[Vaughn]

Many times under the redwoods, I will set up the camera, put lens on (w/ cable release soon after), and compose/focus the image, toss in the holder, etc, and get the exposure started...then meter. When the exposure time is going to be in minutes, I might as well get the exposure started while the light is right! Long exposures give me plenty of time to make all the notes before the exposure is over. I have also been known to nap during an exposure, but I would not put that down on a checklist...

[loonatic45414]

Is this a forum for newbies? You have to remind yourself which side of the film holder to shoot with? Maybe we need to add remove pacifier from mouth & wipe drool too.

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[faberryman]

Everyone was a newbie at one time, even you.

[Merg Ross]

Is this a forum for newbies? You have to remind yourself which side of the film holder to shoot with? Maybe we need to add remove pacifier from mouth & wipe drool too.

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Your comment is rude and contributes nothing to the forum.

[loonatic45414]

I believe that if someone starts at the large format level, they are robbing themselves of a lot of valuable experience that is learned at the 35mm and 120 format level. By the time one gets to LF, there is a lot you'll notice about the lighting, point-of-view, detail, film capability & exposure you choose that no checklist could ever replace.

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[domaz]

More important then a shooting checklist for me is remembering to bring all the various parts. I.e. I've forgotten film holders, lensboard adapters (when I had only 4x4 lensboards to use with a 6x6 camera), tripod quick release plates etc etc and the list goes on. Make sure you have a functional kit before you get in the field!

[angusparker]

More important then a shooting checklist for me is remembering to bring all the various parts. I.e. I've forgotten film holders, lensboard adapters (when I had only 4x4 lensboards to use with a 6x6 camera), tripod quick release plates etc etc and the list goes on. Make sure you have a functional kit before you get in the field!

I agree - I have another checklist for that. Constantly leaving things behind....

[loonatic45414]

Guys.. I love your dedication to the art, I'll throw you a freebie and I'm serious.

Exposure isn't just about metering and setting aperture/shutter. While focusing & making movements, adjust your aperture to preview your depth of field. In extreme cases, I'd read up on hyperfocal distance. Know that the sharpest part of the lens is toward the center and avoid using the extreme edges if possible. Avoid extreme movements unless necessary. Extreme edges also have more distortion and light drop-off.

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[swmcl]

Hi,

I use a portable MP3 recorder and speak my exposure settings and image / vision desires and interpretations into it. So there is no writing of settings at all. I also make a recording of the various circumstances surrounding the image - like "I just got bitten by a swarm of bees but I'll fire the shutter anyways ... "

The other thing I do before I take out the darkslide is to fire the shutter a few times at the chosen speed to prehaps free things up on an old shutter !!

When I talk to myself into the MP3 recorder it helps to look at the camera and the settings too. So I say, "The aperture is ... " and actually look at the lens aperture settings.

Gee I reckon people must think I'm mad !

:-)

[Drew Bedo]

Folks; we all have recognized that the LF world is shrinking from the 1990 onward. Anyone should be welcome to come in at any level of experience or talent. Nothing is to be gained by making someone feel uncomfortable or unwelcome here. This should not be a community that requires a new contributor "Pay their dues" or earn credibility as a "serious" photographer . . .or anything like that.

Everyone has a slightly different way of doing things. There is a great dfeal of sharing here, and the pool of knowledge and aslant is both deep and Wide. In the years I have read these threads, I feel that we mentor each other,

[angusparker]

Folks; we all have recognized that the LF world is shrinking from the 1990 onward. Anyone should be welcome to come in at any level of experience or talent. Nothing is to be gained by making someone feel uncomfortable or unwelcome here. This should not be a community that requires a new contributor "Pay their dues" or earn credibility as a "serious" photographer . . .or anything like that.

Everyone has a slightly different way of doing things. There is a great dfeal of sharing here, and the pool of knowledge and aslant is both deep and Wide. In the years I have read these threads, I feel that we mentor each other,

I don't mind good natured ribbing! Lots of interesting ideas coming out on this thread.


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[loonatic45414]

It's not about paying dues. I think you'd be hard pressed to find any LF shooter who will tell you that years spent on 35mm was a waste of time & money.

It's been often said that your first 10,000 shots are your worst, and the next 10,000 aren't so great either. It's about finding yourself & trying things you'd never otherwise do.

Of course we welcome everyone, but my message is don't shortchange yourself the experience of a truly versatile format that is both challenging & rewarding not to mention cheaper.

With 35mm, oftentimes the lighting, exposure, film, etc, is all wrong but you take the shot anyway. Eyeball exposure metering becomes a huge talent which teaches much about film latitude, one you'll never get from the likes of digital. I encourage everyone to have fun, only then can you really appreciate LF. I sincerely urge those getting started in film photography to pick up a good manual SLR & have fun.

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[Vaughn]

I learned to photograph with a Rolleiflex, and when I used 4x5 at the university a couple years later, I realized that I had been using the Rollei like a 4x5, just without the movements. So I have been using LF ever since...and have I loosened up a bit when I use the Rollei now! Only 35mm work has been copy work and a couple of weddings. Don't think I have missed a thing by skipping 35mm and quickly jumping into LF!

In fact, equally strong arguments can be made that LF is a much better way to learn photography than 35mm/medium formats. Learning is the key!

Whether one takes a checklist out into the field or not -- just sitting down and writing down the steps will help speed the process towards making it an auto-routine...so that one's mind can concentrate on the more important details

[loonatic45414]

I suppose I wasn't specific enough.

You'd be hard pressed to find someone with plenty of 35mm experience in their background who will tell you it didn't somehow greatly contribute to becoming a better photographer in LF and was instead a waste of time.

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[xkaes]

I encourage everyone to have fun, only then can you really appreciate LF. I sincerely urge those getting started in film photography to pick up a good manual SLR & have fun.

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Why stop there? I learned more about proper exposure using sub-35mm cameras with bare-bones features. For example, the Minox IIIc (exposure adjustment by the shutter speed and filters), the Minolta 16 II (exposure adjustment by the shutter speed and aperture), the Toko 17.5mm Tone (exposure adjustment by the shutter speed and aperture), the Olympus SLR Pen F (exposure adjustment by the shutter speed and aperture), etc. I could go on. All I had was the glorious f-16 rule to start, but I finally got the hang of it. Of course, with my Toko 4x5 cameras I use a Minolta hand-held meter, but my older, much smaller, manual-only buddies have taught me to ponder the meter's readings -- without accepting them blindly.

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[Merg Ross]

In fact, equally strong arguments can be made that LF is a much better way to learn photography than 35mm/medium formats. Learning is the key!


Interesting you say that, Vaughn. I have often recommeded the use of large format as the best introduction to photography.

[loonatic45414]

Xkaes... yes. I love my Minox B!!! I'm going to try Rollei 80s with it. Should be interesting.

But when I want to explore a new technique like intentionally shooting flare from light sources, shots low to the ground, shots portraying motion, or playing with artificial light sources and reflectors, reflections in pools of water or recurring patterns in man-made structures, I'll pull out the 35 and take a hundred shots creatively exploring everything my mind can come up with.

It is not unlike stream of consciousness & brainstorming creative random thoughts are to a writer.

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[Alan Gales]

I learned to photograph with a Rolleiflex, and when I used 4x5 at the university a couple years later, I realized that I had been using the Rollei like a 4x5, just without the movements.

I completely understand that.

When I started in photography I shot 35mm. I would buy those rolls of 36 exposures because I read that was what the pros bought. I finally realized that if I slowed down and really thought about my subject I got a lot more keepers. I ended up buying 12 exposure rolls and wishing they made them in 6 exposures.


For the OP, when you remove your dark cloth, get in the habit of draping it over the bellows if you are not all ready doing so. Just an added protection against light leaks.

[DrTang]

I suppose I wasn't specific enough.

You'd be hard pressed to find someone with plenty of 35mm experience in their background who will tell you it didn't somehow greatly contribute to becoming a better photographer in LF and was instead a waste of time.

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Polaroid


Polaroid made me a better LF photographer


gone are the days when one can pick up a couple boxes of 52 and head to the studio to 'get that shot'

digital is okay..but it's not the same looking at the small back screen... if you're shooting tethered maybe..but still..you are not previewing with the exact lens you will be using with film

Polaroid