View Camera Magazine - What Would You Like To See?

[steve simmons]

Now that some of the shouting is over I do have a sincere interest in hearing wh at people would like to see in future issues of View Camera magazine.

steve simmons

[Andre Noble]

Steve, in general, I enjoy technical articles relating to film, paper, and printing - which we large format photographers tend to be interested in. Don't be afraid to re-cover something, perhaps in a different shade. Andre

PS Also portraiture: any chance of getting Richard Avedon to submit an article? Or have I missed that one already?

[M.]

Articles and interviews (if living) in each issue of great and near- great LF photographers, with examples of their best work. Suggestions: Paul (not John Paul) Caponigro, Marie Cosindas, the Westons, the Muenchs, Saint Ansel, John Blakemore, Avadon, Meyerwitz, Sudek, Strand, George Tice.... Dig into their philosophy, give specific first-hand reviews of what they were doing and thinking for specific pictures (ala AA's "Examples"). The difference between LF and other photography is much more than the size of the cameras and film -- it is the attitude, which should be emphasized.

[Natha Congdon]

Some of your finest articles, including those that originally inspired me to pick up my first camera (a LF one as it happens), have been thoughtful interviews with photographers, usually featuring some of their work. It's fine to dwell on the brass tacks of equipment reviews and darkroom techniques, but at the end of the day it's presumably meant to be about the art itself. In addition to Avedon mentioned above, it would be great to hear (again?) from Sally Mann, Joel Peter Witken, Nicholas Nixon, just to touch on a few. Actually, now that I think about it, there has been more emphasis generally on landscape than portrait (in terms of artists, techniques, history, etc). I'd love to see more portrait photographers, both in terms of their work, but also their ideas and techniques. Not a criticism, and I'm sure these areas have been touched on in the 13 year life of the magazine, but they are what I'd like to see more of.

Still the first magazine I read despite a dozen professional journals in ophthalmology I'm supposed to get through every month!

Nathan

[Alan Barton]

More interviews/portfolios of current photographers.

More detailed "history of lens design" type articles.

Reviews/samples from current books (not how to stuff)

Workshop reviews/descriptions (part promotional from the people offering the workshop plus a couple of reviews from participants)

Articles by leaders of phot suppliers (eg Kodak, Ilford) on how they see the future of their business.

Bios of the greats with some insights from their "assistants" etc

Keepup the good work

Alan

[Daniel Taylor]

I read 'View Camera Magazine' in thirty mintues. rarely find value. I read 'Camera Arts' for days, constantly returning to relevant articles.

you'd never know they were related publishings.

[Chad Jarvis]

Better editing of articles, especially those submissions by readers.

[Sandy Sorlien]

I agree there should be lots of interviews/profiles of contemporary LF artists with generous reproductions of their work. You do a good job with those sorts of features. But more women please. You may have to beat the bushes a bit but they are out there.

Along the same lines, continue coverage of (and feature users of) smaller format view cameras, which some women (and men) prefer for ease of transport. One of my female students saw my 6x9 Arca and her jaw dropped: "That makes me want to work with the view camera! The 4x5s at school are so unwieldy..."

How about a whole issue on medium format view cameras and practitioners?

Cheers, Sandy

[Ken Burns]

I know that you are asking what we would like to see, but I will tell you what I don't want to see. I have no desire to see the number of articles concerning digital imaging that you have been running for the last couple years. That's why I haven't renewed. Get rid of all the digital articles and I might consider resubscribing.

[steve simmons]

Thanks for your comments. Portraiture will be the theme of our Jan/Feb 02 issue.

I will work on your other suggestions.

steve simmons

[S Ratzlaff]

MORE COMMERCIAL WORK !!!

No, I don't mean more ads.

I mean more articles about commercial photographers who use large format in their ad jobs. You know ... product photography, etc. There's a huge amount of commercial (non-arsty) photographers doing very good, creative work in large format. Yes, many have gone the digital route but there are still many using traditional methods.

Tip/techniques of the aboved mentioned photographers. Interviews, a day in the life of so and so while he/she tackles an assignment. Above all, something with substance.

Regards

BTW, I'm glad you asked. I consider that pretty gutsy.

[David R Munson]

I first started reading View Camera in September 1998 when my father picked up an issue for me while on a business trip. Since then, my favorite articles have been those regarding the art and philosophy of large format photography as well as some of the more advanced technical articles. I'm no a huge fan of digital, and I think that at times there has been too much concentration on digital techniques in your magazine. There are other magazines devoted entirely to digital processes that can do a better and more thorough job. That said, I don't object to the occasional article on digital- there have been a few that I have found very interesting and informative("Mixing Traditional and Digital Processes," Nov/Dec '99), but like others I think that after a point it becomes overkill.

I've always enjoyed articles by/about photographers like John Wimberly, John Fokos, and Gordon Hutchings. As someone else said- I'd like to see some more still life/commercial work, too- along the lines of the Jan/Feb 2001 article on Rob Stanton.

As far as technical articles are concerned, I think equipment review type articles are kind of a given, but shouldn't be over- done. What I'd like to see more of are articles pertaining to refining technique in traditional b&w darkroom proceses in pursuit of making fine prints- things like split contrast printing, use of papers like Azo, and split toning techniques.

[Robert Fox]

How about something for the novices and newcomers to the world of LF? Do only professionals read View Camera Magazine? I doubt it - I'm not a professional and I read it .....

[Sal Santamaura]

Ditto to everything Dan Smith said. As a specific example, I'd like to see an extended exploration of the qualities of available fiber based b/w papers, especially with regard to differences between graded and VC types. My own tests show very significant sharpness distinctions, usually in graded's favor, but there are undoubtedly other factors that can be demonstrated such as tonal scale, etc. This is a lot of work, but effort that would be very much appreciated by those of us who do not do photography professionally and have limited time to dedicate to it (see recent thread on that subject).

Most of all, thanks Steve for what you've provided us over the years. It is appreciated.

[John Bailey]

Dear Steve

Thanks for giving all of us the opportunity to contribute our personal ideas and preferences. However, even more thanks for working hard and publishing a great magazine!

As some have pointed out, no matter what track is pursued, some will feel left out or not given their due. If you talk about architecture, a table top person might not feel enough coverage has been done to their field. Hopefully, over time, you can write about all of our favorite subjects.

I enjoy studio tours to learn how past and present photographers have set up their operations. Also, I learn much when a photograph is shown and there is a full explanation of the setup with diagrams and discussions about difficulties or obstacles overcome. Maybe an article about how photographers deal with urban shooting when there are lots of people milling about. Perhaps, a panel discussion about lens selection when taking various types of shots-not just numbers, but why they feel certain lens act or react better than others. I personally would like to read histories (not merely the PR sections taken from company literature) of the various companies who are involved in large format-how big is the Sinar factory, how many employees does Linfhof have, how many lenses has Rodenstock produced over the years, a tour of Schneider's factory or maybe an article about how Kodak makes sheet film today. Possibly a photo tour of the US giving suggestions of interesting landmarks and directions where out of area photographers can go when they are visiting. Tips from photographers who travel extensively about their suggestions for the packing and safe shipment and delivery of photographic equipment both domestically and abroad.

Again, thanks for taking the time to ask our input.

Regards,

John Bailey

[Jim Chinn]

I thouroughly enjoy the magazine and it has contributed greatly to my ability and expanding my interests in different aspects of large format photography. Keep up the somewhat ecclectic approach to material. I especially like the sprinkling of the mixed bag issues with those that follow a more specific theme. My only suggestion would be the folowing.

It is in the interest of everyone who loves working in large format to help increase interest in the format. I think a series of articles discussing how to get started and the pros and cons of buying used gear vs. new gear, classic vs. modern lenses etc. I don't know how feasable it is to talk about buying used when you depend on new equipment advertisers for revenue, but in my case, being able to buy used to begin with allowed me to master some of the technical aspects and be able to make a more informed decison before I purchased a new camera.

Also occaisonal articles dealing with xtra-large formats. I know you have included such articles in the past and they are a real treat. Thanks for all your efforts.

[paul owen]

First off, a BIG thank you for producing this publication!! Personally, give us anything and everything concerning TRADITIONAL LF photography. I'll read interviews, field tests, equipment reviews, printing and processing, ANYTHING!! Just don't give me DIGITAL!! I appreciate that digital is a tool for the busy commercial photographer who may also combine it with LF. But I guess the majority of your readers, even those who practice in this commercial field, want to see TRADITIONAL!! There are plenty of digital "rags" around!! We are in a priveliged position in as much as you are open to suggestions from your readers and the overwhelming fear at the moment seems to be that traditional techniques are becoming obsolete. Recent postings concern themselves with films that are no longer being made and the apparent "writing on the wall" that this is the death nell for traditional LF. Please prove the pessimists wrong!! Lets have a journal dedicated to REAL LF. I'm no technophobe, but there is a time and a place for digital, and it aint here!! Regards Paul

[tim atherton]

Steve,

Mainly echoing much of what has been said - articles on/interviews with contemporary LF photographers, their philosophies as well as techniques - not necessarily just "portrait" types - Sally Mann is an example, though you have had some good stuff on her - so: Meyerowitz (his World Trade Centre work among others); Sternfeld (what a great new book); Sturges; Chris Killip; Nicholas Nixon; Misrach; Gursky...?; and suchlike. Maybe some European (ok UK) photographers - Don McCullin's use of LF? Graham Smith; Paul Davies?

That said I also enjoy the reviews of modern LF cameras, as well as things like older but useable lenses - Ektars, Goertz etc.

Tim A

[Steve Clark]

Not bad so far! More on alternative processes would be appreciated. Thanks, Steve

[Raymond Bleesz]

An area which perhaps has not been mentioned which would be of value in my opinion would be a "roving critique" of the various LF workshops given throughout the country--an evaluation of personnel, value for the money,the pros & cons--perhaps a touchy subject but if your looking for "truth" then......... And, I would like to see more articles on what is happening in "academia"--what's is being taught, by whom of significance, what trends are being taught, who is making "waves", what is coming out of Rochester,ASU, etc.

[Brian Ellis]

You presumably have some idea of the breakdown of your readership between professional and amateur photographers but unless professionals comprise a pretty large proportion of your readership, I'd can the articles involving digital stuff that costs $30,000 and upwards. The two major articles in the last issue involving the Sinar back that cost $30,000, and the guy with the all digital system the price of which was never mentioned but that surely was in the $50,000- $100,000 range, weren't real relevant to someone who is never going to spend that kind of money on photography equipment (i.e. to most amateurs). If you want to include some digital equipment articles from time to time, which I think you should, I'd confine them to digital equipment that isn't so expensive that it can be afforded only by people who can pass the cost on to someone else (i.e. professionals), unless of course you have a lot of professional readers, in which case I recognize that you have to strike a balance between the interests of the two types of readers.

[Jorge Gasteazoro]

As I said my last issue was the Sep/Oct issue, and I loved the Gum bichromate over platimum article. Althoug I personally did not like the end result, and all the time I was reading it I was thinking: Why ruin a perfectly lovely platinum print? I thought the article was very instructive, it had a little for everybody, negative, print registration etc. If anything I would love to see more articles of this type, a novell approach to the old techniques, for example there is a photographer in Canada who has been able to coat a fixed out baryta paper with pt/pd solution and make a print, he states in his booklet he has been able to get D max of 1.5 with pt/pd and fixed out paper, plus a "glossy" look, I think this would be of interest to some of your readers, another one I came across and thought it was interesting is of a phtotgrapher doing pt/pd on plexyglass using albumen, PVA and siloxane fixative (fixative as holder, not developer fix).

As far as digital, from the previous responses I guess it is a touchy subject, but if anything I would like to see a "competition" between a expertly printed silver or pt/pd print against a piezography print. I am sure you have many beautifull negatives, make one print the traditonal way and the other with piezography, and show it to people (your choice, either layman or expert photographers) and ask them which one thy like best, and why?

I don't want to bore you any more I have hundreds of ideas, but I guess you have enough of those already.

[Kevin J. Kolosky]

Anybody (doesn't have to be a "big name") doing good large format (preferably 8 x 10) work. Their philosophy, their method of preparation for the shoot (more about them as people), their method of seeing, their method of exposing and processing film, and their mehtods of showing their work. Kevin

[steve simmons]

Thanks for the comments. There have been many good ideas and we will work on them.

Just to clarify a few things.

We've done an article on Paul Caponigro.

51% of our readers claim they are professionals

Ansel is dead. I can't imagine doing anything new about him. No disrespect intended.

An article comparing Azo and regular printing paper is in the works.

PT/PD, silver and digital prints are different media. It would be like arguing which is better an apple or an orange. They all have their beauty, advantages and disadvantages.

We have done articles on used equipment since the beginning. In the Nov/Dec 01 issue we had a detailed article on Fuji lenses. We've done articles on lens design as well and older lenses.

The gum over platinum article was in the July/Aug 01 issue.

An article on reviewing workshops would be a challenge. Why, it is so subjective. In my own workshops I have had people thrilled at what we did and disappointed - all in the same group. I try and be as clear as I can about the topics and class plans and my low tech approach. In one of my groups I had some people going with me from 6am to midnight and up again the next morning at 5 and others mentally check out midweek because I was not techncal enough - they wanted to study the camera not how to use it to make photographs. The reviews of that workshop would have been all over the place depending on who did tyhe writing. A couple of years ago we did a piece where 5-6 people who teach large format did write an essay on what they try and do in their workshops.

We get criticized about John Paul's articles but he is trying to get into the hearts and minds of his subjects and help us get to know them as people and artists.

We are always looking for new artists to feature - looking at photographs is one of the best parts of my job. We will try and feature a few more table top people. Is there an interest in more architecture?

steve simmons

[Matt_1193]

Got enough suggestions yet? I have read many issues donated by friends, etc. but have not subscribed as yet because I (and I know I am not alone) care very little about what some "cutting edge" commercial photog is doing in New York or L.A. or who is showing where. Nor do I care to read long- winded, technical articles about film curves. The beauty (and interest)in LF is in the image - not the photographer who snaps the shutter, or the company who made the camera. I am interested in the images and the techniques applied to produce them.

A picture is worth a 1,000 words!

[Jorge Gasteazoro]

I would love to see some Architecture, specially in B&W (is there such beast?), on the other hand I am always amazed at the pictures some potographers turn out in the achetiectural field. Ok, Ok, so I missed the month about the Gum bichromate, still I think it was a good article would love to see more like this.

Please don't take this as critizism, but with respect to John Paul Caponigro, I don't know what it is about his style that turns me off, maybe it is the artistic pseudo-speak, or should I call it methaphysical comparisons, I really cannot pinpoint what it is, but I do know that I let my susbcription lapse since I started seeing his articles, and every time I saw there was an article by him, I did not purchase the magazine, specially since I was so disappointed about his interview with his father, such a great opportunity lost in the artsy pseudo-speak! ah well!.....ok I think this is enough from me. I wish you continued success.

[Todd Frederick]

I like photographer's portfolios, much like what is found in B&W magazine. I also like to read articles about how different LF photographers use their equipment in the field. I like bios on LF photographers. I am not really interested much in the latest and greatest of equipment or technical aspects. Art and personality profiles are what I enjoy.

[jnorman]

i do HABS/HAER work, and have a deep interest in historical photographers who did architectural and topographic work in the 19th century, such as carleton watkins, edouard baldus, le gray, marville, sebah, bonfils, zangaki, antonio beato, a j russell, fenton, and auguste hippolyte collard. i would love to see some in-depth articles about any of those folks, and any contemporary pros in the field of architectural and engineering recordation, such as jack boucher and jet lowe.

[Jim Galli]

Unsung heroes. I'm a lot more interested in folks with names I don't immediately recognize that are doing novel things in large format. Do a piece on the under $1000 complete outfits possible. Do a piece on old pro's that bought a Deardorff in 1955 and are still using it. Investigate some of the regular contributors to this forum and I'll bet you'd find some interesting approaches and visions. Reprint some of the stuff most asked about all together in a special that could be bought seperately like the history of lens design pieces. And by all means ditch the digital crap. Start a 3rd mag for that. Best wishes!

[Kaatharine Thayer]

Thanks, Steve, for giving us the opportunity to say what we'd like to see in View Camera. I doubt it will be very helpful to you, since we'll have different and even contradictory opinions, but I really apreciate your asking.

I hadn't meant to add anything to this thread, but after reading the exchange about John Paul Caponigro, I want to tell you that the one article from View Camera that I treasure, and have read and re-read until the magazine is falling apart, is John Paul Caponigra's interview with Christopher Burkett. I had dismissed CB as just another photographer of forgettable color scenery, and had never really looked carefully at his work until I read this article. Now I think I have a much better appreciation of Burkett both as a photographer and as a human being, and it's all due to that article.

I agree with Sandy that it would be nice to see more female photographers featured in the magazine, and I always want to see more on alternative processes. I would also like to see more about vintage lenses, particularly pictorial and portrait lenses; Jay Allen's short article left me wanting something more in the way of specific information about the various lenses.

Thanks again,

[Paul Doty]

Steve,

I think it would be useful for readers to have a profile each issue of a photographer covering topics like their photographic ideas, inspirations, techniques, perspectives and part of it could also be a small biography to show what's possible and what others are acheiving. I know there's only so much available space each issue so it would have to be brief but it would help intoduce different applications of imaging....small format...large format....digital etc. to others who may only be familiar with one format. It would be like how some of the interviews that have been down in your magazine but a monthly feature.

Thanks

Paul Doty

[rick zollo]

the 10 year old back issues i have i treasure because of the amount of solid info from real artists working in lf-commercial, fine art or what have you.

i don't subscribe because when i pick up an issue and see yet another exercise in velvia carnival color by yet another pretentious yuppie art pimp, or another pretentious article by the same pretentious yuppie art pimp who has been taking up entirely to much space in your otherwise wonderful magazine, i don't buy that issue.

the article on fuji lenses was a great service to all of us who in fact create art with lf cameras. your articles, steve are wonderfully informative and good reading. wisner's articles are also always great reading and instructive. ditto norman mcgraff. ditto cole weston, wimberly and so many others.

i think i would subscribe if you dump caponegro

i have to echo the comment about camera arts v view camera-but you could still dump caponegro

i think you should dump caponegro

hey steve-dump caponegro

[Kevin Kemner]

Steve,

I'm a subscriber and I'm not so put off by the digital media. Here are my thoughts for articles.

1) I think someone mentioned above getting started for under $1000.

2) Building a mammoth camera. (a kind of how to article) My friend and I are in the process of doing just that and maybe there are others who have taken on such endeavours.

3) Making old view cameras better. I'm sure there are quite a few people out there who have an old Gundlach or Korona or 2D that have devised all sorts of ways to refine them.

4) How about an interview with the airlines about travelling with big camera gear and what we can do to make travel easy and painless.

5) How about the digital darkroom for under $1500. I love my Omega E4 but maybe I don't have the space.

6) Maybe a travelogue in the US for unusual or less travelled places. (I would expect readers may want to contribute here).

7) Speaking of, an article defining national and state park priveleges (sp) for photographers would be good.

8) OK, last one, How about a discussion with Kodak or Agfa about the future of LF products.

Thank you for the opportunity to contribute some ideas.

Sincerely,

[Dave_958]

The vast majority of View Camera issues are superbly laid out. I hope that you continue with this high level of performance. Am I in error to say that yours is the only magazine that includes portfolios and interviews of large format women photographers? Certainly your magazine deserves commendation for the even-handedness with which it features women photographers. I notice that several women responded to your question on this webpage, which is almost unheard of at this website. I like the fact that you do discuss the photographers attitudes and the problem solving required to take the images displayed in the magazine, and I hope this practice continues. You invariably do this when you write articles for the pubication. It is the interplay between image and text that made Ansel's books on photography so helpful. I am of the impression that your magazine is largely devoted to American photographers. It would be satisfying to me if more were disclosed about the portfolios and commentary of the European or Asia large format landscape photographers. If there was any area in which your magazine has a shortcoming, it would be the unimaginative, strike that, awful advertisements by a few of the equipment manufacturers, in obvious need of input from a graphic artist. Overall I am content with your magazine as is but see no copellig reason why should not experiment

[d.s.]

i've been getting your mag for about 8 months or so. i'm not new to photography, but i am new to lf. there are so many things i want to know. equipment, lenses, (fuji item was great.) i really need some basic "how to" lf stuff as well as lf darkroom. and keep the inspiring bits, (personal work.. maxwell mackenzie ect.) as for digital... well its here to stay. its just not for me, and not what i expected when i subscribed. i didn't even read the articals. my interest is in the more conventional realm of lf.( 1/2 sec. @ f:16 w/ 3 degrees of tilt.) meat and potato stuff. my 2 cents. and thanks for asking. dee

[Hans Berkhout]

Mr Simmons, I'm glad you finally ask.

Open it up to readers (show that you approachable), with a letters/questions to the editor section.

Improve the type and lay-out, it has always been a bit of a mish/mash.

Devote one issue per year to young LF photographers, the ones finishing their education: let them decide on the contents, have them edit the entire issue- with your gentle advice available to them if needed.

Make it easier for Canadians to subscribe, you sent me a faxno. that was of no use-I informed you but never received a reply.

Respectfully,

[miles]

Howdy Mr. Simmons, I'm brand new in the large format arena with a omega view 45F and a toyo field AII, a few 'nice' lenses and lots of desire to learn. I bought my first issue at a local Barnes & Nobel bookstore in Dallas this past month and also really devoured the article on the fuji lenses. I would like to see some article helping/teaching all of us 'newbies' a new important aspect each issue. The pros can skip over that article if they are so smart that they can't learn something from it. I did also buy your book and will shortly start trying to absorb the information. I have just bought a book about 'Hollywood Glamor and portrait shots and how these were supposedly done including the retouching of the 8 by 10 negs. The book is very general and would like to see more specifics. The name of the book is: HOLLYWOOD PORTRAITS-CLASSIC SHOTS AND HOW TO TAKE THEM by roger hicks and christopher nisperos , photographs from kobal collection. lib of congress #00-103119; isbn #0-9174-4020-8. It covers the 'stars' and celebrities of the 1930's, the 40's and the 50's. Some of the photogs were Laszlo Willinger, Frank Powolny, Robert Coburn, Ashley-Shaw, John Engstead, C.S. Bull, George Hurrell to mention a few. I was telling a friend who shoots for universal studios about the shots that i admired from Hurrell and he suggested i look into getting a book on some work by Horst, which i don't know of yet. Just trying to emulate this type of work is a REAL joy in todays busy and crazy world. We should all feel blessed to have this passion and to be able to pursue these dreams, i mean just look around us right now. I'll be looking forward to the next articles concerning portraits and will purchase a subscription just because you evidently had the huevos to stick your neck out here in the 'flames' and are commited to your cause for a top notch issue each and every time. Portraits are not the only thing that interests me, a little landscape possibly floating down a river in my 17 foot canoe, tabletop product photography like cosmetics, food, jewelry, archetecture to name a few more interests. The platinum process as i know nothing of this (neewbie) but have stood at a display downtown for hours with my mouth hanging open. The TONALITY of the black and whites were undiscribeable. I'd like some real specifics as far as how to retouch the negs as some of the above mentioned photos used to do in the 30's , 40's... I'd like to see some specifics to setting up an affordable LF darkroom. I don't care what the photogs had for dinner but I'd like to know the mindset of them as they prepared to photograph some of the celebs of yesteryear, their preshoot planning, their lighting techniques and the reasons behind these. The films of choice and methods of processing are another interest. A final note, I WOULD BE WILLING TO ORDER A CD SET WITH ALL THE PAST ISSUES COMPLETE WITH SCANS for my personal library and enjoyment/learning. i'm going to pick up the copy that i bought last month and turn in my subscription now. Gracias! miles

[David R Munson]

Ooh....I like Hans' idea. I'm 19 and I know maybe one other college-level photographer who voluntarily shoots large format, so it would be really nice to see what other student and emerging photographers are doing in large format. Perhaps something of a similar idea to what PDN doesto showcase emerging photographers, but with people shooting with view cameras.

[John Hennessy]

Steve,

How about an article about Jon Cone and a rundown on all the different papers, inks, software, and printer combinations he sells?

[neil poulsen]

View Camera has had some excellent articles throughout the years. I could see it as value added to occassionally re-publish some of the gems of the past. In fact, having a whole issue on gems would be neat. That's an issue I would purchase.

I realize that some people may have saved older issues, and may already have some or these articles. At the same time, I'm sure that View Camera has many new subscribers in recent years, for whom these articles would also be new.

[Ellis Vener]

How about a two year running series profiling those who are dedicated to teaching large format or serious "vision" oriented photography , not just the technical and copy cat stuff, around the world. break the US up in to sections: East, South, Soththwest, West Coast, Midwest. then Europe and then Asia.

How about a piece on Robert Adams?

What is Nicholas Nixon up to?

How about a piece on Joel Meyerwitz's World Trade Center project?



Is there any humor in large format photography?

[Ellis Vener]

I forgot: A piece on Texas LF photographers.

[Micah Marty]

Very interesting to compare the above comments with this same discussion from last March:

http://hv.greenspun.com/bboard/q-and-a-fetch-msg.tcl?msg_id=004uNO

[Bob Eskridge]

Excellent suggestions so far. How about one devoted to hand held LF?

[Daniel Taylor]

John Paul Caponigro and Abigail Foerstner are two of the best photography writers and interviewers. please retain their services and contributions. why we do what we do is as important as how we do it. I would like to see a departure from the landscape crowds and more focus on using large-format in unconventional ways by unconventional artists.

[M.]

Having thought about it overnight, I finally realized that the most important thing about photography -- good pictures -- are often missing from the magazine. Often it's possible to go from cover to cover without seeing anything original or profound, or even beautiful, including in the many advertisements. That should be the primary purpose of the magazine, namely showing us great images unique to LF. Everything else is secondary.

[William Blunt]

I have been a subscriber to vc since the third issue and immediatly bought the first two issues but in the last couple of years there have been less issues with articles I enjoy. I keep my subscribtion up so I don't miss something. I guess there is only so much you can say about traditional large format photography. William Blunt

[Merg Ross]

Steve- First, let me applaud you for asking. You have received many good suggestions in response. From them I assume your readership is relatively young or at least in terms of experience with large format. I, on the other hand, have been involved for many years so my comments come from that background. I would like to see the work of young photographers, or at least lesser known photographers, not the same old dinosaurs.

The product reviews and technical articles relating to large format are good. But please, could you scrap the digital stuff? A magazine already exists devoted exclusively to that subject. Thanks again for asking.

Regards, Merg Ross

[Harry L. Martin]

Steve Dan Smith's comments has my vote. I couldn't say it any better.

[james mickelson]

Hello Steve, I emailed you a month ago about a photography site that was in need of your help. And you didn't even respond with a curt stick it. I know you are busy but this brings me to my point of what is and has always been missing in View Camera. That feeling of being connected. Being connected to something bigger. Large format shooters are different. And we are snobs. We feel we are in a separate class and we are purists. That feeling of being connected to a group and knowing who's who. That personal touch. John Paul Caponigro? A little too far into metaphysical art talk. Hard to feel connected to him. Jay Dusard? Now that is one plain talkin guy. Easy to become involved with. Ruth Bernhard? What a great story and wonderful photographer. And with a great approach to photography. Nothing hard about her approach. Ron Van Dongen? Flowers that are beautiful. You the architectural shooter. Landscapers, still life shooters. Guys like me that shoot hand held. With modernized old equipment. We LF photographers are all of these and more. I asked you to have a look at a site on the web and see what community means. The site is full of LF photographers, from those just learning to those of us who are already teaching it. Like this site. Large format photographers come here to learn and be a part of something unique. And you are listening to them. But what of the new arrival to large format? Your magazine should link that person to other places and other photographers with whom he can become aquainted and become a member of a larger community. Have you put the address of usefilm.com into your magazine? Just a one line recommendation to go have a look? How about Ed Buffaloes site? What a resource. How about the address of this site? I haven't seen them. But you come here and ask us to purchase your magazine. It deserves something from you in return. Link everyone together. Like a bookmark section. Doesn't cost you much space. Where is the sense of community? That's how you get it. Usefilm.com is such a place. Not a clique like so many yahoo sites. But a really good teaching site. A site that gives lessons and homework to do. Full of nice people willing to help a new arrival get their feet wet. And lots of images to look at. Like your magazine should have in it. So please give usefilm.com a look and find a small place in the magazine for an ad and include this site as well. Create a space for suggested e-sites. Links to large format photographers sites. Help make large format into a family. Link all the resources up. Be a leader in the field. You will find readership will increase dramatically because this will become "the" place to look for all things large format. And I'd like to see a lot more emphasis on images and how they come about. Why did Cy De Cosse start shooting still life and how does he achieve such beautiful results? How did Hurrell light those magnificent portraits? How does Karsch do it? How did Wynn Bullock get such high contrast into his images without blowing out the highlights. How does Tom Barril solarize his polaroid film before he shoots his Botanicals. How about books that are out there that will peak our interest in shooting? There are hundreds of them. Where in Joe Shooters area are galleries where a large format photographer can go see examples of work by other large format shooters. Places to stop when traveling like Dan Smith's gallery in Provo or the venerable The F Stop in Santa Barbara. Or where do you hang out in New Mexico. Make this magazine "The" resource and you won't begin to be able to fill the new subscriptions. And go to usefilm.com and take a look and see what community is like. I plug your magazine there all the time. And some of the other wonderful magazines out there like your companion Camera Arts and B&W and Lenswork. They aren't competitors. They are resources. Just like auto malls. Hint Hint. James Mickelson

[luis a de santos]

I would like to see more articles about the specific aspects of the technique used by well experienced LF photographers,a "how I do it" type of article. I would like to see more european photographers featured,there are some wonderful people outside the US and their experience and take on LF photography would be of interest to me.

[Don Wong]

Steve:

Thanks for asking.

Please continue to do articles about digital. It?s the future of photography, without a doubt. There may be other sources for information about digital, but the revolution that we?re witnessing deserves to be reported from many different viewpoints, especially the ones that VC can provide.

For instance, an article could profile a great digital practitioner, his or her techniques, how those techniques affect the final images, and of course, a portfolio of images.

Don?t exclude the perspectives of the working professionals (for digital or film.) For that matter, why make a distinction? All practitioners, commercial, amateur, fine arts, young and old, are gaining experiences that are worth sharing.

DW

[James Phillips]

As others have said before, I would like to see articles that are directed at the relative newcomer to LF. Realizing that you have probably done these types of articles in earlier years does nothing to help us new subscribers to your magazine. We are seeking out new ideas (to us the beginner), new or used equipment, and more importantly to learn from those that have gone before us.

I sometimes feel that as a "newbie" I first have to resolve what your articles are about from other means such as the web before actually digesting the content. As James Mickelson has pointed out there are excellent resources on the web and you might choose to be a focal point for many of these. At the present time I see your magazine in danger of becoming less appealing to new LF photographers like others and myself.

Earlier you stated that the readers have claimed that 51% of them are professionals. This is probably true and if you wish to reduce your present readership downwards towards the 51% marker then you will continue to cater to their needs. As for me, my first year subscription has just become due and I have just finished asking myself what value your magazine has provided me for my hard earned dollars? What else might I have done with that money towards increasing my enjoyment in LF?

I carefully reviewed the issues I received and compared their useful content to the web, other magazines I subscribe to, and books I have bought. The conclusion I came to is not in your favor. I am now on the fence in regards to renewal and truly am hoping that your magazine may become one of my premier choices in my selected area of interest, which is LF photography. Believe it or not I have just as much "disposable subscription money" as any professional but I am doing it for "the pure joy of it" which would seem to be a very strong driving force.

Crossing my fingers and hoping that your magazine changes to include us newcomers.

Regards,

[steve simmons]

I am pleased at so many responses. I will spend the next week or two going through them to see what common threads there are and how to achieve a balance in the case of competing interests (less digital vs digital is ok for example).

We are publishing an Article Index in the Jan/Feb 2002 issue covering all articles we've done between our first issue in 1988 through the Nov/Dec 2001 issue.

We plan to continue our coverage of the alternative processes, working in the darkroom, we will add more how-to info in each portfolio and do more how-to pieces, etc. We will also do more on table top photography including how-to kinds of articles.

steve simmons

steve simmons

[abiggs]

Steve, thank you for asking this great community we have here. From the responses so far, you can see that View Camera has many supporters here. Here is my $.02

Here is what I would like to see in future VC issues: Printing articles from 'master' printers, ie John Sexton. Getting started in LF architecture: an insight to equipment needs and techniques. How about an article from an emerging amateur?

Since I am new to LF (May of this year), I am unaware of articles pre-2001. Can you publish a list of past issues that you might have sitting around gathering dust? I also like the idea of putting together a digital darkroom for under $1500. I know I might get flamed for that request, but I am at a crossroads for printing, since I don't own my own printing equipment yet.

Your workshop this past May was my first exposure to LF, and you were very approachable regarding beginner's questions. I have learned quite a bit from VC Magazine and this forum ever since. Please keep up the good work, and visit here often.

Andy Biggs

[Stephen Vaughan]

Dear Steve, hope you don't regret asking now!

My personal angle on this is from the point-of-view of a professional photographer (only occasionally get to use LF for professional work), most interested in the craft of large-format, 'fine-art' photography, for personal work. I have little interest in digital for LF.

The main reason I buy View Camera is for the articles on both big-name and lesser known photographers. Interviews, features etc. which get into the minds of the picture-makers, which talk not only about the technical and practical side of their work, but also about what compels them to make the work, the thought process, the philosophies behind the pictures. I can't believe people are so dismissive of John Paul Caponigro. Do they really want to read a magazine which talks only of technique or equipment, and not about the philosophical or spiritual process of making Art? I read and enjoy many of the articles on technique, but you could swap twenty of those articles for the feature on Sally Mann, or the interview with Richard Misrach, for example.

My only criticism, as an Englishman, is that the magzine has a very 'American' flavour. I'm interested, of course, in American photography. However, it would be great to see some work from the UK/Europe. There are some really great people working in large-format over here: Jem Southam, Thomas Joshua Cooper (American I know, but resident in Scotland), Thomas Struth, etc. etc.

Finally, I would very much like to see my own work in your magazi

[Stephen Vaughan]

Sorry.....in your magazine :-) !!

howcome the end of my sentences always cut short?

[Said Nuseibeh]

Who is Captain Ferricyanide? Perhaps he or another maven of Ferricyanide bleaching can offer some hands-on instruction in this process. I've been getting dark yellow stains on Ilford Multigrade paper when doing selective bleaching of dark black lines. Is this staining avoidable? Remediable? Thanks for asking.

[Mark Lipton]

You should continue your coverage of both traditional and digital processes. However, most import, you should rededicate yourselves to showing fine quality images, and not those of here today-gone tomorrow gallery promoted trendies who lack technique and vision or those of moderately accomplished amateurs who get published primarily because they are famous for other things. There are many lifelong, highly accomplished, professionals who need and deserve greater exposure. At the end of the day we all learn the most from seeing great photographs.

[steve simmons]

Here is what we are planning for the next few issues

an issue on portraiture in Jan/Feb 2002

an article comparing Azo with vc paper in Jan/Feb 02

an article index from 1989 through 2001 in the Jan/Feb issue

an article on color transparency films for outdoor work in jan/feb 2002

John Paul will continue to write as he has time. The reviews on him seem to be mixed but he does bring a context to his articles that no one else does

an article on using filters sometime in 2002 (for b&w)

an article on Thomas Joshua Cooper is in progress

an article on setting up the digital darkroom for less than $1500 sometime in 2002 (black and white and color)

an article on making the contact print and an issue showing photographers who only make contact prints - smetime in 2002

we are working on other ideas and reviewing all of your comments. Thanks

steve simmons

[Ed O'Grady]

Steve, thanks for asking. How about more coverage on photographic permanance, archival processing of B&W materials. What does Wilhelm say about this subject? How do the accepted masters in the fine art field process for permanence. What products improve archival permanence most effectively? I have been a subscriber for several years and look forward seeing this subject and the others suggested in upcoming issues. Ed O'Grady

[Barry Trabitz]

Steve, I would enjoy a retrospective of Paul Caponegro's work.

[james mickelson]

I would like this opportunity to restate my opinion of John Paul Caponigro and his articles and interviews in View Camera. I reread my response about John Paul's interviews and it wasn't what I meant. I enjoy his interviews very much and his articles on digital printing. I was just using him as an example but failed to do a very good job. Please keep him on the payroll Steve. But also add other voices to your Magazine. Thanks. James

[Wayne Crider]

Gee, they came out of the woodwork on this one.

My rec's are; Portraiture(covered), competitions, in-depth camera reviews (especially older models for the new enthusiast), old/new lens reviews and test, centerfold (camera optional), handheld 4x5 article, 2x3 cameras article, Dunkin Donuts coupon, View Camera hats and t-shirts.

Get up a small budget and I'll produce a TV show for ya.

[Marcus Leonard]

Gursky, interview him and get him to talk technical. In view of the noise lately on this forum about the going-digital-trend and View Camera's role in this, this may be a useful illustration of combining the best of the two worlds. Also, does Meyerovich still use the same techniques as during his Cape Light project, or did he come up with novel insights?

[David A. Goldfarb]

Lots of good suggestions above.

Coming from the U.S., I'd also like to see more work on photographers in other parts of the world, where the aesthetic and historical influences are much different from those in the American tradition, Gursky just being one of the biggest names.

Hard to get enough info about classic lenses, but of course, I know you've already published articles on them and they aren't making any more of them. How about publishing a _View Camera Magazine Guide to Classic Large-Format Lenses_, compiling articles from past issues maybe with some solid comparison data, tables of resolution and coverage and--most importantly--photographs made with these lenses that show their special qualities?

Have you ever done something on repairing and maintaining classic shutters? That's something I would like to see.

[kthompson]

Well, I'll toss out an idea, in regards to some of the posts about preservation work. I know you all did an issue interviewing the 2 primary HABS/HAER guys, and some other preservation architectural articles in year's past, but I also enjoyed the article you did on the Chicago Albumen Works and the introduction of Centennial POP. Along the lines of archival storage, although there's a heck of alot of this info out there already ....anyways, maybe do an article about the Image Permanence Institute, the PAT and the updates to the ANSI specs....alot of people talk about archival storage, but really don't have an understanding of the "marketing" that goes on in some of the products out there....I'd also be interested in some more on the Chicago Albumen Works and the work they're doing in regards to preservation masters and conservation work on safety-based films....I know this isn't exactly "large format" shooting, but it still might be interesting to see an article about floating emulsions off decayed negs etc. Besides fine-art, the majority of the larger institutions around use sheet film, and I imagine will continue to do so as long as possible....my opinions here, not my employers.

[Julio Fernandez]

With so much said, a few short comments: 1) Steve, don't be intimidated by the ludites that do not want to see more Digital stuff. They are probably the same ones that saw the portent of doom in such modern amenities as "artificial ice". For them you could have a few articles written by .....psychiatrists. 2) Don't limit articles to subject matter on the basis of equipment cost. The misguided pragmatism of those who propose such is the road to ignorance. A good magazine should open minds and be more than a Sears catalogue. 3) The LF community has a large population of the color blind or the pretentiously so. Humour them by all means, besides, it's cheaper. But do publish more articles dealing with color. We humans were given the great gift of a colourful world and the eyes to glory in it. Yes, colour photography is artistically more difficult as the good Ansel found out but that is no aliby for all the snobbery of the colour blind.

[Dean Lastoria]

What I would like is a reason to pick up your magazine when I don't even have time to read it. The first two years I read your magazine I didn't even begin to undertand thoes articles on doing some complicated procedure or other -- now I go back and read them and I now they are there. If I am too tired or busy to read, I must pick it up for my archive and I will read it in six months. For the last near on year, there has been none of this in your magazine. I don't want to keep an archive of digital gizmoes that will be obsolete. Your magazine was a reference book bought monthly, now it is a "Dr. Tomorow" flyer. Dean Lastoria

[steve simmons]

I wish to again express my appreciation for all of the input I've received in the last week or so. Please be assured we are carefully reviewing all of the comments. Some articles are already developing out of the comments and I am sure that more ideas will develop as we review the suggestions.

In the next few weeks we will be updating our web site and one of the possibilities is that we will try an area where people can upload images and receive comments. However, before we try this I have two questions

is there any interest in us providing this type of service? should it be open to everyone or just subscribers? It is going to cost to create this service and subscribers are helping support our efforts.

Another question. Should we post articles on the web site? If so how current should they be?

steve simmons

[David A. Goldfarb]

If there were a searchable archive online of back issues, that would take care of the problem of requests for older articles, and if it were available only to subscribers, that would certainly convert me from a frequent newstand purchaser to a subscriber. If it were a subscribers-only service, of course, it would really have to be well done with a good search engine, up to date, and a reasonably fast server.

[Sal Santamaura]

Steve, I've got every issue from the first, and still subscribe. To answer your questions: I have no interest in your providing the image upload service. It is available elsewhere, seems to bring out the worst in people and has the potential to tie you up resolving problems as an administrator. If you implement that capability anyway, do limit it to subscribers. Second, I suggest you don't publish articles on the Web site. There's no point in buying your publication if you give it away.

You are planning an article index in the Jan/Feb issue. If it's like those previously published, improving it is where I'd like to see you expend the effort you'd otherwise allocate to image upload/on-line publishing activities. All your previous indexes have been less than easy to use. They frequently don't place things in categories one would expect, and leave out many items, resulting (for me anyway) in time consuming manual searches. All this may be too late for the next issue, but please work on it before you publish another index after that.

Thanks again for listening.

[Jennifer Waak]

As a relative newcomer to large-format photography and hence the magazine I'm looking forward to the article index; however, you already provide that on your web site so it would be nice to have a brief summary (in the magazine or web site) so I could decide if I would like to order it.

I would also like to see information about some of the older cameras, as someone suggested. I read about a lot of cameras that I don't know much about and it can be almost impossible to find any information about them.

Lastly, I'd love some "beginner's" articles. I read about all sorts of techniques that are easier to accomplish in LF than roll film, but find it hard to learn how or why to use a technique (such as flashing paper or film).

As for the online archive, I agree that you should not give something away for nothing, but having an archive online for subscribers would be great. I don't know how many people order old articles, so you may have to consider the # of subscribers you'd convert by adding the searching vs. the $$$ you get from people purchasing old articles.

Thanks for asking! and as for the digital issue, while it's not something I can seriously consider I did find the issue interesting to see where digital is taking the industry and how far it has come. Personally, I'm not interested enough in digital to buy digital mags, so having that show up in my mailbox was perfect.

[Saulius]

Steve, As a long time subscriber whose indulgence in LF photography is strictly on a personal level, not commercial, what I like most about your magazine is when you share information on a broad range of topics. When your primary focus for an issue is on one subject, like digital in the last publication, you risk having many disgruntled readers who feel they get nothing out of it because it's not necessarily something they are intersted in. I am interested in digital output possibilities as long as they are within the financial grasp of a financially challenged photographer. Please do keep a focus also in B&W traditional processes, glad to hear you may be doing something with contact printing soon, love seeing portfolios with interviews whith the photographer which not only discuss the technical aspects of the images but what motivated the individual as well. Although John Paul Caponigra's articles may not be everyones' cup of tea, I do enjoy his interviews and hope to see more. And lastly, please continue to broach the topic of landscape photography. Although it is a well trodden subject I still find it most stimulating and facinating when done well. For the landscape is where we play out the drama of our daily lives, and it has shaped us in countless ways over the centuries. Today we are changing and influencing it more then ever and who knows where that shall lead. Thanks for the hearing me out.

[Jorge Gasteazoro]

I think your magazine would do better if you provide the articles to subscribers, as a LF phtographer I want you to do well and I would certainly subscribe (now that I know you do take subcriptions from Mexico) if you would provide an expanded web site with past articles and photo uploading capabilities for subscribers. Since an expanded web site will cost you more, I think it is only fair you get somehting out of it.

I beleive your photo uploading is a good idea, this way you are more aware of what NEW or UNKnown people are doing plus it will allow other LF photographers to see what other people are doing specifcally in our area. I think in a sense you would be uniting LF photographers more thus making your magazine more valuable to us.

[Sal Santamaura]

Hey, here's an idea. See the thread:

http://hv.greenspun.com/bboard/q-and-a-fetch-msg.tcl?msg_id=007HYj

currently active. How about hosting this forum (software and data) on your View Camera Web site? Pefect synergy!

[james mickelson]

One question Steve. Do you ever look at and track how many subscribers are longtime subscribers vs newer subscribers, vs subscribers who take your magazine for a year or two, stop for a year or two and resume for a year or two? Statistical marketing analysis? That would tell you a lot about what your audience wants to see. James

[rick zollo]

steve i would love to see an aricle by you about the process of large format portrature-the 2 examples of your 5x7 work that i've seen in the mag are slammin-would love to see more

[Ellis Vener]

her isa better idea: tying this Q&A forum and View Camera's site to photo.net. Instantly a huge amount of exposure (check the photo.net stats) for "View Camera' and "Photo Arts".

[sean]

I am pleased what you have done...I am reading front to the back...
thanks a lot and keep it up

[roteague]

Another 5 year old thread revived. :eek:

[Matus Kalisky]

Well, if you made it upt ot this page, here is my opinion.

1) concerning the Beginner articles:
I joined the LF less than a year ago and I did went through different webpages, some books (yours too) until I managed to get what it is about. You can add from time to time an article devoted to newcommers, but it would take at least one full year issue to cover the subject. It would be more helpfull to add a few more articles online concerning this topic (I know there are some) - they do not necesarily have to join the printed magazine. I found those artilces nice and helpfull - but there are too few. Or offer these articles as a special edition. This might include some articles on classical Darkroom techniques. If exaple fotos would be included than printed version would be more desirable.

On the other hand just more information what kind of technique was used to get the fotos displayed would be wellcome and should not "tire" the more experienced guys.

2) Digital
Well - to mention how the techique if going on is fine - but as it was mentioned - in depth artilces on $30.000 gear is of little importance to many of us.
More on the side of scanning - how to improve results with pedestrian scanners would be wellcome as well as some photoshop tricks - there have been such an articles.

3) Adds - well, the fewer the better, but probably not much to change here.

Overall - thanks for you effort - it is appreciated.

M..

[Mark Sawyer]

I read through several pages of this thread today before realizing its age; it all seemed like fairly fresh commentary about recent articles. I guess they seemed recent because I'd seen most of them recently. I often go back through old issues, taking a second or third look, or if I need something from, say, a Kerry Thalmann article about Caltar lenses, I can't help but review the whole issue.

That seems like a pretty good recommendation.

Steve, if you read this, one suggestion; don't tell us the content of future issues long before they arrive. I'd rather be surprised.

Oh, and give Kerry a raise...

[steve simmons]

In our next issue we have articles on


oops, never mind!


steve

[Donald Brewster]

One thing I would be interested in is what are the youngsters learning in the various art schools and universities? Who is still teaching traditional large format photography and how are the students taking to it in the new digital age? I'm sure some of those professors do pretty interesting work LF themselves. Names like Sandy Sorlien and Kirk Gittings (to pimp the Forum participants), and Joel Leivick come to mind. I'm sure there are many others working to keep the faith alive.

[PViapiano]

I'm a big fan of VC magazine and have been reading since 2002. However, the latest issue had nothing of interest to me. That hasn't happened in a long time...

I'd love to see more portfolios with accompanying notes, like the recent Bill Zorn feature...

[roteague]

I normally buy VC myself, but I haven't seen any issues since late September. I think the new one will probably be here in January or so. Believe it or not, it takes even longer to get magazines in the mail here than it does at the bookstore. I haven't even seen the latest issue of New Zealand magazine yet. :(

[tim atherton]

I'm a big fan of VC magazine and have been reading since 2002. However, the latest issue had nothing of interest to me. That hasn't happened in a long time...


hahaa steve will never win - I thought the latest issue Nov/Dec was the best one in aeons and was heading in the right direction - first one I've decided to buy for ages

[Charles Hohenstein]

I would love to see someone do an article on the other two Kleeblatt guys besides Heinrich Kühn, or an article on all three. I haven't been able to find much of their work, and I'm trying to imagine what those big gum prints looked like.

[steve simmons]

Who?

steve simmons

[scott_6029]

Monthly Sections for sure: Like 1) Alternative processing 2) Photography Books - mini review, recommendations, etc...3) Workshops and reviews 4) B & W Chemicals 5) B & W films 6) B & W Papers (perhaps combine, 4,5,&6 into one section).

7) Used Gear

8) New Gear Reviews and let MFR's respond!

9) Current photographers

10) Past photographers

11) Something old vs. something new

12) Manufacturer highlight section: Preview a manufacturer who is responsive to our needs.

13) Letters to the Editor / Readers Respond!

Something to look forward to each month, rather than gee, what will I get this month?

Also, I thought the soft focus lens article and the new rollei film article were not informative enough for me to form an opinion. So, don't be afraid to share opinion more boldly.....

Thanks for the opportunity to provide input.

[Charles Hohenstein]

Who?

steve simmons

The three members of the Kleeblatt (Trifolium) group were Heinrich Kühn, Hugo Henneberg and Hans Watzek. I am aware of a couple of books showing Kühn's work, but haven't found anything on the other two. You might throw in Theodor and Oskar Hofmeister too. See Frizot's _A New History of Photography_, pp. 298-299. Usually we hear more about the British and American Pictorialists, and it seems that the Pictorialists of continental Europe have been neglected. The Kleeblatt group were developing and practicing multiple gum printing at the same time that Demachy and Puyo were doing gum printing with a single layer in France (or at least that is what I have read).

A new book has come out on the European Pictorialists by Phillip Prodger, entitled _Impressionist Camera: Pictorial Photography in Europe, 1888-1918_. He might be the right guy to approach about an article. Or Christian Peterson. Incidentally, has anybody bought that book, and if so, what is the quality of the reproductions?

[butterfly]

Hello,

Personally, I would like to see articles and pics of camera makers, e.e. Ebony, Wista, Arca..

I would also like to see directories or reports on companies or individuals who can process and print 4x5 for someone like me who loves using and taking but haven't (at the moment) set up a darkroom.

How about articles on scanning - the hardware and settings to use?

Sorry to add also that in past issues I haven't found the photographs in the magazine to be that inspiring, can we have some more colour landscapes?

Regards

Steve

[David Luttmann]

It would have been nice to have the Pyro article also mention the differences in scanning pyro vs non-staining developers. Considering that so many people scan their negs for output, that was a pretty serious omission.....unless of course I missed it somewhere in the article.

[PViapiano]

Tim...

That is hilarious...the first one you bought in ages, and the first one I didn't buy in ages!

Just goes to show you...

[steve simmons]

There was a question put to the panelists on scanning stained negs in the article.

steve

[Charles Hohenstein]

Hello,

Sorry to add also that in past issues I haven't found the photographs in the magazine to be that inspiring, can we have some more colour landscapes?


Interesting--I'm always thinking "let's have more monochrome portraiture and figure studies." :)

[steve simmons]

I am never going to win the what to put in contest :)

I just have to work for the best overall balance.

steve

[George Stewart]

I liked that article about LF archeological photography from way back when.

Perhaps you can find some old articles about photography from the 1800s and reprint them. In addition, there has to be some great expedition writing and photography hiding somewhere. Perhaps some stuff on Civil War photography, etc.

[David Luttmann]

There was a question put to the panelists on scanning stained negs in the article.

steve

Don't know how I missed it....but there it is.

[neil poulsen]

Didn't read all the above, so maybe this has already been suggested.

I saw Ellis' suggestion on black and white architecture photos. I like that idea.

In conjunction, how about a survey of black and white papers currently available. Might run a couple of issues. These manufacturers need all the help they can get.

Also, a survey of availble black and white films?

A survey of black and white paper and film developers?

[Doug Dolde]

Bareass naked women.

[sanking]

It would have been nice to have the Pyro article also mention the differences in scanning pyro vs non-staining developers. Considering that so many people scan their negs for output, that was a pretty serious omission.....unless of course I missed it somewhere in the article.

I don't have the article on hand at the moment but I am fairly certain there was a question in the View Camera article about scanning with pyro stained negatives, and I believe I addressed the issue, briefly as it were since we were told to be concise in our answers and that particular issue was only one of many discussed in the article.

The question of scaning pyro stained negatives deserves a good study in my estimation, and if someone else does not address it in the near future I plan to do so.

Sandy King

[David Luttmann]

I don't have the article on hand at the moment but I am fairly certain there was a question in the View Camera article about scanning with pyro stained negatives, and I believe I addressed the issue, briefly as it were since we were told to be concise in our answers and that particular issue was only one of many discussed in the article.

The question of scaning pyro stained negatives deserves a good study in my estimation, and if someone else does not address it in the near future I plan to do so.

Sandy King

I would look forward to your views on scanning pyro negs. If anyone knows pyro......

[Greg Miller]

This is slightly off topic but I would like to see publication timing co-ordination between View Camera and Camera Arts. This past month I recevied both magazines within days of each other. Now there will be 2 months with nothing. So its feats or famine. WHen you had both magazines, they would be spread out better with about 1 issue per month.

[Bob Wagner]

Absolutely love the magazine. Lots of great suggestions here, I would like to see:

Go monthly - how else are you going to cover all these ideas?

An article demonstrating the difference various films/developers/papers/toners have on one particular image. IE: What difference does Rodinal really make compared to Xtol or whatever?

How about some one time special issues covering things like this published in addition to the regular issues? Seems like one or two per year would add to the content and allow you to cover things that are more of a once every 3 or 4 years kind of thing.

More traditional darkroom help for the less experienced with less time to experiment like me.

Chronicle the progression of someone new to the format, how they struggled through the learning curve, examples of early work and how they improved over time, geared toward those new or considering LF for the first time.

If you do a comments from readers section, please don't allow the whining about typos, I'm so tired of reading that crap on these forums

[Bob Wagner]

Oh, and one more vote for more architectural

[Louie Powell]

I read (and enjoy immensely) VC mainly for the inspiration that it provides me. Keep up the great work.

Bottom line - the magazine needs to reflect a broad spectrum of interests in order to maintain the reader/advertiser base to keep it viable. Getting hung up on niches would not be good. I am not especially into digital and articles on digital would not be appealing.

Things that I have especially enjoyed:

Architectural photography - portfolios, articles about successful photographers and their working styles, articles on the challenge of 'getting access', perhaps a few "how to"

Figurative photography - portfolios, articles about successful photographers (George Losse, Eric Boutilier-Brown, etc)

An occasional LF-oriented DIY article - film holders, cameras (the one several years ago was incomprehensible), darkroom stuff. I am intrigued with some of the panoramic formats but don't see myself putting out the cash for equipment, but if I had some decent construction plans I might take on a DIY project.

Platinum/Palladium printing - portfolios, an occasional "how to"

[Ted Harris]

Bob a quick note that there was a two part article on film developer combinations done by Bruce Barlow nearly three years ago. This was part of a massive project he was doing. You might be able to get a copyof the article diect from the magazine and perhaps Bruce will weigh in here with some more comments. Remember that it is much easier to see the differences in the actual prints .... so ..... come on up to a Fine Focus Workshop in Northern New England.

[Sal Santamaura]

...there was a two part article on film developer combinations done by Bruce Barlow nearly three years ago...Didn't Bruce test paper/developer combinations?

[Kirk Gittings]

Greg, Camera Arts is no longer owned by Steve Simmons. He sold it to Tim Anderson, one of his former employees a year ago (? more or less). So the scheduling is completely independent of each other.

[Mark Sampson]

How about a feature on Evelyn Hofer? A very underrated photgrapher in my book. I think she's still alive, don't know if she's still active. She illustrated a number of books about European cities (London Dublin, Florence) in the 1960's that are simply outstanding.

[Ted Harris]

Sal, you are correct .... a brain you know what :(. Of course I could ask him to do film/developer next. He'll be here tomorrow afternoon. I will start to run first and then ask!

[Bruce Barlow]

Didn't Bruce test paper/developer combinations?


Yeah, he did papers. 12 papers in 12 developers, two development times, toned and untoned. Controlled tests. Real pictures rather than step wedges because he has no step wedge prints hanging on his walls. Over 400 prints. It's fun to pick your own combinations, as many have done at two View Camera conferences and many other events.

Someone else can do films and developers. Bruce is tested out.

He thinks ten of the papers are still available - all except Agfa and Kodak.

And it was three parts, not two. Part three was on drydown.

All four parts (Four? Part four tested Azo and never got published - worth a read if you have any inkling of supporting the effort to bring its replacement to market) can be downloaded as pdfs for free from www.circleofthesunproductions.com.

Bruce believes parts I and II are still in the View Camera Subscriber Section, too. They're prettier there.

[steve simmons]

I apreciate all of the comments and suggestions.

Here is the lneup for Jan/Feb 07


8 The Roy Stryker Collection at the Univ. of Louisville
by James C. Anderson

18 Field Camera Movements and the Landscape: A Practical Primer
by Doremus Scudder

32 Fernando Gonzales Casanueva: Four Photographs
by Maria Carolina Baulo

36 Large Format and the Figure
Text and Photographs by Ralph Lambrecht

42 Michael Gordon: Four Photographs
Text and Photographs by Michael Gordon

50 The Bright Future of Ultra-Large Format
by Ted Harris

52 Lightzone: An Intuitive Photo Manipulation Program
Text and Photographs by Fabio Riccardi and Uwe Steinmueller

58 Beyond the Zone System; Part 2
Text by Phil Davis and Photos by Bill Waldron

63 The Future of Large Format: Currently Available Sheet Films
by Ted Harris

We are working on your suggestions and ideas for future issues.

Happy Holidays.

steve simmons

[fred arnold]

Having always been a Moosehead photographer (go out in the woods, shoot a moose, hang it on the wall), I would personally appreciate articles showing layout of camera, lights, movements, etc, for various types of controlled photography. Obvious are architectural and still-life, but environmental portriature, food, etc, are certainly candidates.

Basically, more How rather than What articles. And, even at $4/sheet before processing, more color portfolios.

[Charles Hohenstein]

I apreciate all of the comments and suggestions.

Here is the lneup for Jan/Feb 07


So the article on Austrian and German Pictorialists won't be out until the issue after that? :)

[Jim Ewins]

Steve, my favority photo mag is Photo Technigues. It has a good mix of Tech, traditional & digital. For your publication, the same as it applies to LF would be fine. Please, if you feature a Photographers work - no lionizing BS & psychobabble about him, his mentors or heroes. I'll judge the importance of the images to me.

[Bob Chambers]

Hello Steve,

Thanks for your dedication to large format photography your magazine often inspires me to get out with my cameras and shoot big negatives. How about a story on Howard Bond. He is one of the great photographers, printers and teachers of traditional large format BW photography and also a fasinating storyteller.

[Mark Sawyer]

Steve, my favority photo mag is Photo Technigues. It has a good mix of Tech, traditional & digital. For your publication, the same as it applies to LF would be fine. Please, if you feature a Photographers work - no lionizing BS & psychobabble about him, his mentors or heroes. I'll judge the importance of the images to me.

I would respectfully disagree, and suggest leaving such decisions about what is "important" to know about a photographer's work to the photographer. Some may feel their own histories, mentors, concerns, and inspirations are unimportant to understanding their work, but I think many would think such information could give a deeper insight towards their imagery and how it came to be.

[Turner Reich]

How about an article showing how photographer like Adams, Weston, Weston, Strand, etc. used Pyro and what they thought of it in their work?

[Turner Reich]

"photographers" (sp)

[otzi]

Hi Steve'

I like to think you are making a really good effort with your mag. And will continue to subscribe (AU locally) rather an use the new web idea. We / I do have password / access difficulty never the less. There are many dissenting voices but that is part of the human condition. One can never please all and if you did you would be publishing a tome. Even the encyclopedia Brit. has its detractors!

Maybe dividing the publication into sections is the only way to endeavor to please all, sorry most. i.e. beginners, advanced, history, portfolios, D-room, etc. etc. Just a few pages of each, building up as the issues progress. But every issue containing the same sections offering something progressively for every one, sorry most. Then some time in the future, say annual index time, one could combine all articles in each subject section as a separate web download . Even published.

May I suggest that with the (sister) magazine Camera Arts for arty, appreciation stuff even history, one could keep View Camera in the quasi technical (learning/informative) arena.

My two bits, you asked for.

[Ted Harris]

Bob,

I'm smiling at your comment about Howard Bond. Howard is a great guy. A little tantalizing tidbit ..... look for a quote from Howard in the article on BTZS in the January issue. Yes, he is full of great stories and the quote is one of them :).

[Bill_1856]

I'd like an article about how to deal with shooting B&W in shitty weather. Also, like to thank you for the article on George Tice.

[Kirk Gittings]

May I suggest that with the (sister) magazine Camera Arts for arty, appreciation stuff even history, one could keep View Camera in the quasi technical (learning/informative) arena.

Camera Arts was sold to a former employee quite some time ago.

[otzi]

Camera Arts was sold to a former employee quite some time ago.

Yes, but being as there are few publications dedicated to this specific discipline I wondered if we could avoid duplication to some extent. Arts doesn't seem to get too technical leaving that to others, us? Or rather Steve. I wondered, no doubt naively if we couldn't reverse the sentiment. There is lots to be going on with as this thread clearly exhibits.

The simple view no doubt. Otzi

[Kirk Gittings]

Otzi,

I have the unique opportunity to be friends with and do some casual advising with the owners of both publications. They are two entirely different entities these days. Camera Arts by contractual agreement does not cover largeformat or view cameras aesthetically or technically. There is no overlap or duplication.

[Andrew O'Neill]

Steve, you forgot one article!

8 The Roy Stryker Collection at the Univ. of Louisville
by James C. Anderson

18 Field Camera Movements and the Landscape: A Practical Primer
by Doremus Scudder

32 Fernando Gonzales Casanueva: Four Photographs
by Maria Carolina Baulo

36 Large Format and the Figure
Text and Photographs by Ralph Lambrecht

42 Michael Gordon: Four Photographs
Text and Photographs by Michael Gordon

50 The Bright Future of Ultra-Large Format
by Ted Harris

52 Lightzone: An Intuitive Photo Manipulation Program
Text and Photographs by Fabio Riccardi and Uwe Steinmueller

58 Beyond the Zone System; Part 2
Text by Phil Davis and Photos by Bill Waldron

63 The Future of Large Format: Currently Available Sheet Films
by Ted Harris

65 Andrew O'Neill eats His Canham 8x10 Light Weight, Whole!
by Capocheny

[Jim Noel]

Steve,
I believe artices on portrait lighting would be interesting.

ALthough he uses mostly medum format, Ken Cook in Salinas, CA utilizes the lighting techniques of the Hollywood masters and applies them to modern equipment. He maintains a studio which was opend by his grandfather in the 1800's and was passed downthrough his father. Actually an article on him as a photogrpaher would probably interest many readers.

I believe an article or series by him would be welcomed.

My major problem with the magazine has been with subscription. On two occcasions I have subscribed and not received any magazines. I now purchase it at the news stand when the articles interest me.

[steve simmons]

Sorry about the subscription problem. When we are told about these problems we always fix them immediately.

steve simmons

I will check into your suggestion. Thanks

[Wayne Crider]

I'd like to see DIY articles on construction, repairs, recovering, making lens boards etc. Also a list of suppliers for specific parts. Many new entrants into LF photography usually buy older cameras which could use a bit of repair in some way or another and are looking to go the cheap DIY way. Example: Adjusting a Kalart. I'd also like to see a camera project(s) over a course of issues. Another thing I'd be interested in would be head to head comparisons of developers with specific films. Say D76 vs Xtol with a specific film. Also any articles on digital neg making is always interesting.

[Claude Sapp]

I admit to not having read every response posted here, so forgive me if someone else said it, but how about a "Classic Column" feature? Run one or two features from the past. I have picked up some old issues and found some gems of articles, and I am sure there are many that do not need to be rewritten, but rather just republished and reread. I think View Camera has probably amassed a great repository of knowledge, much from persons that may never contribute again. Unfortunately, many in LF have passed, and their legacy is what they left us, images and words (and wisdom).

Maybe even start publishing the classics on the web to draw persons there too?

BTW, I like View Camera. There is probably one issue a year that in my opinion is a dud, but that's pretty good batting if you ask me. Thanks for publishing, Steve.

[steve simmons]

we did a digital neg making article in the Nov/Dec 06 issue

thanks for the suggestions

steve

[roteague]

we did a digital neg making article in the Nov/Dec 06 issue

thanks for the suggestions

steve

How about no digital, none of the time? :eek: Well, you asked. :D

[Ed Richards]

How about an article on the pros and cons of ULF, with some views of folks who have decided not to use the larger formats and why. It could include some work by successful ULF photographers. For me, with modern film and lenses, ULF seems an affectation, like wearing a hair shirt. I would love to see a better explaination of why it is worth the trouble, something that goes beyond the usual "nothing compares with a contact print" mythology.

[Drew Bedo]

Steve; I think the content is great. Howeverr, I have poor eyesight (20/200) and find it difficult to read the font that is used in the text. It is thin and wispy (are those commonly used terms in publishing?) The captions seem blockier, but are in a low contrast grey. If these two itemscould be tweeked a little without changing the look of the magazine too much it would be a help.Otherwise...good job!

Regards,

[william linne]

I think it would be great if I could get the, let's say Jan/Feb issue before the middle of Feb. I live in a major urban area and I sometimes don't see the magazine before the end of the second month.

W

[Peter Lewin]

Steve: (1) How about a balanced review of pros/cons of analog vs hybrid workflow. Cover issues including: required volume (e.g. how often must one print to avoid printer clogs); what does the "multi-format" photographer do when "prosumer" scanners like the new Epson 750 are deemed good for 4x5 & up, only fair for MF, and poor for 35mm (do we have to sell our Leicas and Nikons?); how do you deal with the initial cost if one decides to go back to the darkroom? So a "panel debate" (similar to your staining developer discussion) would be useful.
(2) There have been several long threads on the best backpacks/systems for LF, and I don't think you've covered that in a long time.
(3) A last thought, you could almost use the LF Forum for "data mining" - any subject covered in more than "n" threads with more than "m" responses would be a promising subject for VC!

[Clueless Winddancing]

De-Mystify some of the mystical lenses with real sample images. The Imagon done correctly re format size and done in-correctly. Degrees of "softness" with the different discs. B/W vs Color. Lighting contrast correct and conventional. Why does the ApoLanther rate so? Which lenses will just plop into a modern shutter.