Convenience in the Field

[Kerry L. Thalmann]

This post was inspired by John Hollenberg's comments about the Gitzo leveling base in the Ebony Counterpoint thread. Rather than post my comments there, I thought I'd start a separate thread on techniques and equipment that make shooting in the field faster and more convenient. I know large format is supposed to be a contemplative medium, but when the lighting conditions are changing fast, speed of operation often takes priority over deep thoughts.

While I've listed my post in the "Technique" category, it could have just as easily been listed under "Accessories", "Cameras - Brand-independent" or even "Carrying Equipment". I would like to see this thread evolve into a compilation of techniques and equipment that people use to speed up the process of photographing in the field. For example, some people have stated in the past that they leave a dedicated cable release attached to every lens to save time installing and removing cable releases every time they change lenses. I'll start by sharing a few tidbits of my own.

First a little background... Most long time readers of this forum probably know I shoot color landscapes, often in remote loactions, including on multiday backpacking trips. In the past, I've been a bit obsessed about keeping the weight of my kit down. This is still true when I am backpacking. However, as I've gotten older, I've come to favor convenience and ease of operation over weight when it comes to moderate dayhikes (up to 10 miles round trip on maintained trails), and especially when shooting close to my vehicle. For backpacking and longer dayhikes or when traversing more challenging terrain, I still prefer my Toho FC-45X and a set of three or four lightweight lenses.

Too keep this initial post from getting too long, I will make several separate posts over the next few days that describe the gear and methods I'm using these days to make my life easier in the field. Of course, other folks will have other preferences and working styles. So, don't take my particular equipment suggestions and working methods as the gospel truth. Please join in and tell us what works for you.

Kerry

[Kerry L. Thalmann]

Tripod - I've always found a good tripod and head more important than camera brand or model. Let's face it, the most expensive camera and latest state-of-the-art lenses won't produce sharp images without adaquate support. I've been using the Gitzo 1325 carbon fiber legs for over six years and still love them. This is obviously a matter of personal preference, as some folks hate the Gitzo twist lock collars. Personally, I find as long as I don't overtighten them, they are just as fast to operate as lever style leg locks.

What I like about this tripod... The combination of height, light weight and rigidity can't be beat. I've used this leg set with 8x10 cameras weighing up to 12 1/2 pounds without problem, yet the legs only weigh 4.4 lbs. This tripod is tall enough, without being too tall (for me). I vastly prefer the Gitzo models with three section legs over those with four section legs. The three section models are lighter, faster to set-up/collapse (only six collars to loosen/tighten compared to nine on the four section models), less expensive (relative term when talking about Gitzo CF tripods). And although I have not done any scientific testing, it just seems logical that a model with fewer leg joints and a larger diameter bottom leg section would be more rigid. I also like the fact that this tripod comes standard without a center column. For large format work, I greatly prefer models without center columns. Again, just my opinion, no sceintific data, but they seem to offer greater stability for less weight.

For me, this has proven to be the perfect tripod. While I've changed cameras a couple times over the last six years, and even upgraded a couple of my lenses, I have not even thought about getting a new tripod. I really do think this is the best tripod for me - now and for the rest of my life. So far, it has held up well under heavy use. And it is covered by Gitzo's lifetime warranty.

One thing that does save me time in the field is that I generally hike with the tripod in my hand. The 1325 is light enough to make this a piece of cake (and I've done the same thing with heavier metal tripods in the past). This means the tripod is always ready to set-up without removing a pack and detaching the tripod. In fact, as I approach a subject/location I wish to photograph, I begin extending the legs and unfolding the tripod. By the time I select the spot where I want to photograph, the tripod is fully extended and to mount the camera. I do the same thing after I'm done shooting. After my other gear is stowed away in the pack on my back, I pick up the extended tripod and start walking away. I collapse the tripod while I'm walking. This only saves a minute or so, but I'm often photographing at last light miles from my vehicle. So, I like to get headed back to the trail head as soon as possible. Of course if I'm navigating terrain that requires both hands for climbing or balance, the tripod gets strapped to the pack.

[Kerry L. Thalmann]

Tripod Head and Quick Release - Although I've used the ARCA-SWISS B1 for years as my tripod head of choice, these days I'm using a Manfrotto 410 mini geared head most of the time. The B1 still offers about the best combination of weight vs. rigidity around. However, using a ballhead with a large format camera can be a bit tedious at times. Especially when trying to level the camera, or adjust one axis without disturbing the others. With it's built in tension control and assymetric ball, the B1 is better than most ballheads in this regard, but still a self-locking three-axis gear driven head is a pleasure that must be experienced to be appreciated.

Like the Gitzo leveling base that John Hollenberg mentioned, the 410 has a built in bubble level that allows me to level the tripod before mounting the camera. This is also a nice feature if your camera doesn't have built-in levels. Back in my early days of large format photography, I used nothing but three-axis heads. With those heads, adjusting each axis required loosening and then tightening a handle (not to mention three long handles that constantly caught on the bruch when hiking in areas with heavy vegetation). Since the 410's gear driven movements are self-locking, it is much faster to fine tune a composition by just tweaking the proper knob. While it weighs about 14 oz. more than the B1, this is one of those cases where I've come to accept the convenience of a grear driven three-axis head over a lighter weight ballhead. I still have my B1 and still use it on longer hikes.

Here's another tip... If you have a 1325 and more than one head, the easiest way to swap heads is to get a spare replacement top plate for the 1325 and attach one plate to each head. Swapping heads is then a piece of cake and only takes a minute or two.

Years ago when I bought my B1, I became instantly addicted to the ARCA style quick release clamps and plates. These clamps offer a very quick and very sturdy method for attaching the camera to the tripod head. Of course, the B1 came with this clamp built into the head (as do several other brands), but I have also adapted other heads, including my Manfrotto 410 mini geared head, to accept an ARCA style QR clamp. Of course all of my cameras have ARCA style mounting plates to match. There is an entire industry, supporting four or five companies that I cn think of, that manufacture custom mounting plates compatible with the ARCA style clamp.

In addition to quickly mounting the camera on the tripod, the ARCA style clamp has an added benefit. If you have a long enough mounting plate (or an ARCA-SWISS camera with an extension bracket), it allows you to slide the camera back and forth in the mounting clamp. This is especially handy for macro work as it lets you easily alter camera to subject distance without having to move the tripod. These days I use an ARCA-SWISS F-Line Classic with a 30cm extension bracket. The base of the extension bracket is directly compatible with the ARCA QR clamp. So, I don't even need the added weight or expense of a mounting plate. In addition to macro work, the open-ended ARCA style clamp means it's always a piece of cake to keep the weight of the camera well balanced over the apex of the tripod.

Kerry

[Jorge Gasteazoro]

Two tricks which I find pretty useful are instead of using a quick release (which I dont trust) I tilt the pan head completly vertical and attach the camera. It is very quick and you get the benefit of using the entire surface area of the tripod head, not just those tiny QR surfaces.

The other one, is to turn the aperture scale sidewise instead of having it on top. Saves a lot of time you other wise spend on your toes trying to see the scale.

[Francis Abad]

When shooting 8x10 or larger it is hard to find tips that make things much faster than just simply practice, practice, practice! If I have not taken the beast out in over a week I practice setting up the camera at home.

Other ways to speed the process for me include: tripod carried by hand (legs already extended for my preferred height), light meter inside jacket pocket, film holders, lenses and cameras in separate compartments.

[Emmanuel BIGLER]

Tripods, Tripod Heads and Quick release

Thanks Kerry to share this experience with us.

My (small) personal experience is similar to yours when comes the time of comparing a 3-way head with a ball-head. So being unable to solve the dilemna, I now have both ;-);-) a 1370 low-profile Gitzo Rationnelle (3-way) and (recently) the Arca Swiss Monoball® B1. As far as tripods are concerned, I have a classical aluminum Gitzo # 1312 with geared column. I do not use the geared column with my 6X9 Arca Swiss F-compact, but I find it convenient for other photographic tasks in other formats. The smoothness of this geared column is such that I could use it as a macro focusing rail for quick-and-dirty vertical close-up shots in the corner of a desk !!

I like the classical aluminum Gitzo series 3 very much, but it is --to say the least!-- a bit of overweight for a small camera. I appreciate the Rationnelle, I did not consider the standard but preferred the low profile. I like the smoothness, independance of movements and precision of tilt angles you have with a Rationnelle. For a LF beginner like me a Rationnelle is very intuitive and probably easier to set-up than a ball-head. However from a mechanical point of view, you cannot beat the Monoball® with any Rationnelle in terms of admissible on-axis and even off-centre weights. Also the various controls of the 1370 are not very compact for backpacking when compared to the Monoball®.

In order to save weight for backpacking with the 6x9 monorail, I resisted the Carbon Fibre Technology and bought a second-hand wooden Berlebach #8013, 3 sections, no head, folded size = 65 cm (2 feet 2 inches) weight 2.2 kg without head (4.8 lbs) which I'll equip with the Monoball®. Winter-time users of view cameras seem to be pleased with wooden tripods ; the 8013 is rated for an incredible 10 kg(22 lbs) of on-axis load, which is hard to believe taking into account the weight of the tripod and price I paid for it. Sure, the simple clamping screws used on the Berlebach are not in the same world as the clamping rings on the Gitzo or the incredibly smooth clamping knob of the Arca ;-);-)

I had the privilege of a private demonstration of the Monoball® by Philippe Vogt himself, including, very frankly, all argumentations and critics that you could imagine, directly addressed to the designer and company owner. Should I mention that the device was really hard to resist (no, I was convinced before ;-)

I do not mention that I use the Arca Swiss quick-release clamp because with an Arca Monorail, it goes without saying, even on a 1312+1370 Gitzo combo ; the Arca clamp (or should-I say "vise" ?) seems to be designed on-purpose for the 1370 plate ;-);-) moreover, Gitzo is one of those now supporting the de-facto Arca Swiss standard for clamps and quick-release plates ;-)

[Steve Sherman]

For years I have photographed during the time before the sun is up or after it is down. At those times one is very likely to encounter reciprocity. My reciprocity conversion chart has been shrunk down so it fits on the side handle of my one degree spot meter. Many times I have watched other photograhers get the whole shot set up and then begin searching for their reciprocity table in their backpack all the while the sun is moving and changing it's intensity. Really, the only time you need a reciprocity conversion table is when your meter is in your hand. Thanks to Kerry for starting an interesting post.

[David A. Goldfarb]

Along the same lines as Steve Sherman, I have a small table of magnification ratio/exposure factor taped to the back of each of my LF cameras for quick calculation of bellows factor. I often estimate the magnification ratio by comparing the width of the scene at the subject plane to the width of the film format, but if it's a very close macro, then I'll measure it with a ruler or tape measure.

[jantman]

Tripod head? I use a monorail, I don't need a tripod head.

:)

[Jerry Greer]

Kerry,

I've considered purchasing the 410 for the same reasons as you but my hang-up was the quick release; I use a Kirk BH-1 for all work. I would love to know how you converted the 410 to accept the ARCA style clamp. As for tripods, I use a Ries J600 (backpacker) for short hiking trips and for backpacking I use a Manfrotto CarbonOne 441, I switch the BH-1 between each. After reading your post, my new idea is to modify a 410 to accept the ARCA style clamp for the Ries and purchase the lighter Kirk BH-2 for the Manfrotto 441 for backpacking, any thoughts or ideas? I’m also considering a Toho FC-45X/Badger M2 or a Gowland Pocket View for backpacking. I’m aware that you are using the Toho, have you compared it to the Gowland?

Jerry

www.jerrygreerphotography.com

[Jerry Greer]

In my post above, I incorrectly listed the Kirk BH-3 as the Kirk BH-2. Sorry for my confusion ; )

[QT Luong]

Tripod Maintainance



While the Gitzo CF are great tripods, I have found them to be sensitive to environmental conditions.
My first 1227 was getting sticky to the point where it was really annoying. It required a considerable
amount of force to lock and unlock the legs. I brought it in person to the Gitzo factory in SE suburbs of Paris. There, no less than three technicians came and had a look. Their conclusion: the tripod
was thoroughly corroded, presumably by saltwater exposure, beyond repair besides exchanging 80% of the parts, and not covered by the warranty. Gitzo tripod depend on extremely precise fitting of the
parts, and in this case, corrosion had caused some parts to swell.

They explaned to me that one has to be sure to rinse completely the tripod (means disassembly required) after each time it is used in a
marine environement. Also, make sure there is still grease on the joints. While putting it back
together after disassembly, make sure than the twin black plastic rings are oriented properly.
Those are not symmetrical ! There is one edge which is sharper than the other, and it should point
downwards.

[wfwhitaker]

Gallic galling galls me!

Seriously, it's too bad that field-stripping a Gitzo requires so much tedium. There must be a way to design a field-friendly CF tripod.

[Hans Berkhout]

I use the G1228 Gitzo, with the old Gitzo off-set ballhead no. 3 combined with Linhof Quickfix quick release system. All very compact and it holds my Deardorff 4x5 Special OK.

The tripod is awful in handling (too many leg sections and quite delicate, needs TLC ++) but low weight and small size as well as amazing rigidity make up for this. Life is a compromise. I carry it by hand, legs (the tripod's) partially extended -or I strap it on my pack. It fits in a small suitcase if I travel by air.

I also use a Ries J100 with the 2 way tilthead: for mud/ice/snow etc conditions- I attach ski pole baskets to the spiked legs during winter. This tripod is for use close to the car, although sometimes I drag it along on a tobogan on which I also strap my pack etc.

For the Ries I'll eventually get one (not three) longer leg so as to maintain desirabe height when shooting on a slope; the long leg would be planted on the downward side.

I have been contemplating to contact Gitzo and ask them to make a custom tripod for me: carbon fiber with only two leg sections, same lenthg/height as the Ries. With spikes, no plastic tips. Would be more rigid, fewer moving delicate parts, quicker to set up.

Thanks for the post Kerry.

[Chad Jarvis]

As usual Kerry's tips are priceless. I have a couple things to add.

I have two tripods/heads. The first, a combination of Bogen/Manfrotto 3021 legs and 3047 head, has served me well for close to ten years with everything from my various 35mm systems to my Deardorff 8x10. Many of you probably know that the original 3021 legs had slip-on rubber cup feet. I quickly wore through one of the feet, exposing one of the aluminum legs. The best thing I've ever done tripod-wise was to replace the original feet with Bogen's replacement retractable spike feet...a $30 investment that made a 10 year old tripod feel like new again.

For use with my 8x10 (when more stability is needed) and my 11x14, I definitely needed legs that would support more weight, so I wound up getting a Bogen/Manfrotto 475 with a 3039 head. The big advantage of the 3039 is that it uses the same quick release plate as the 3047. No brainer...which for me is a good thing.

Lessons:

1. The replacement retractable spiked/rubber feet (Bogen P/N 055SPK2) are invaluable if you're using an old set of 3021 legs.

2. Usuang two heads (3047 and 3039) with the same QR plate make life easy.

3. The Bogen/Manfrotto 475 legs, while robust in support, are damned heavy. Walking more than a couple miles at a time with them can be tough...even with a strong back.

Thanks Kerry.

[John D Gerndt]

Here is a super simple way to move from spot to spot with you big rig assembled and on its tripod: put a bag over it. I use my dark-cloth as a bag, I throw it over the whole rig, grip the bottom of the “bag” where it meets the tripod legs and even IF the camera comes off its mount (it never has) it would be in the bag, not the dirt. Also, the scratching and loosing parts stuff is moot.

Cheers,

[Brian Ellis]

The single biggest help to me in working quickly hasn't been so much in the equipment as it has been coming up with a fixed, standardized, unvarying routine, doing everything the same way, in the same order, at the same time every time, from putting the camera on the tripod to removing the film holder after making the photograph. That way I don't have to think too much about the mechanical/physical stuff and can concentrate instead on making the photograph. It also cuts down on stupid mistakes. I still make the occasional stupid mistake but almost invariably it happens when I get out of my routine because I tried to work too fast.

[Tom Hieb]

Nothing further to add about tripods but I will offer a few ideas that may or may not be useful to others.

1. A photographers vest, the ones with numerous pockets, can help save time if you develop a system for the pockets (i.e. every item has a place and you can get to it quickly). You don't necessarily have to wear the vest all the time, which can be uncomfortable in hot weather, but if you keep it at the top of your pack you can pull it out quickly and have most everything you need ready to go. This is a lot better than trying to pull things out of different pockets of a backpack or daypack. 2. If you sew Velcro onto your pack at several locations (like the top flap) and then glue it onto items that you are using a lot (like your light meter) you have a convenient and secure place to set the items down. This is a lot better than setting things on a nearby rock and then bumping them, or having the wind come up, and watching them tumble down the cliff or slip into the lake (both of which have happened to me). 3. Those belt pouches that hold multiple film holders are convenient and can speed things up. 4. Lenses that you can fold into your field camera certainly speed things up. But everybody knows this!

[Brian Ellis]

The single biggest help to me in working quickly hasn't been so much in the equipment as it has been coming up with a fixed, standardized, unvarying routine, doing everything the same way, in the same order, at the same time every time, from putting the camera on the tripod to removing the film holder after making the photograph. That way I don't have to think too much about the mechanical/physical stuff and can concentrate instead on making the photograph. It also cuts down on stupid mistakes. I still make the occasional stupid mistake but almost invariably it happens when I get out of my routine because I tried to work too fast.

Jerry, since Kerry hasn't yet answered your question I'll tell you how I did it. Kirk sells an Arca clamp that fits into the 410 head (i.e. it replaces the quick release plate that comes with the 410). Costs about $100. Kirk also sells an Arca-style plate that's about four or five inches long. It does add some weight but it looks more stable than a smaller plate would be. Also, because it's about four or five inches long you can slide the camera forward and backward to get it centered over the tripod head a little better depending on the length of the lens on the camera.

A few other quickies: (1) labels on all glass filter holders showing which lens or lenses each filter goes on and which step up rings, if any, are needed with each filter for which lenses; (2) a card about the size of a playing card that I keep in my back pocket showing optimum aperture for various focus spreads, reciprocity numbers for T Max and non-T Max films, and exposure adjustments for plus and minus development; (3) a piece of tape on the darkcloth showing where the center is; (4) painted circles on the lower section of each tripod leg showing the point to which each leg needs to be extended in order for the camera to be at eye level; (5) having a shoe repair shop add a leather loop to the back of my Pentax digital spot meter carrying case so that it can be carried on my belt; (6) the "4x5 Visualizer" sold by Adorama for about $10 that I use to assist in rough composition and determination of lens focal length for the desired composition; and best of all (7) got rid of my Lowepro backpack that had about six zippered pockets that needed to be opened and closed every time I made a photograph and replaced it with an F64 backpack that requires opening only two zippered pockets most of the time.

[Brian Ellis]

Sorry for the partial double answers, one of these days I'll figure the system out.

[Henry Ambrose]

Process- I level the tripod first thing every time. After leveling the tripod working with a tilt pan 3 axis head is great. You could not chase me down to make me use a ballhead. The next is to level the camera. The last thing I do is to zero the camera and tripod before I tear down. By following this procedure I always start from the same zero position. Purely personal preferences and ones that are probably not shared by many. Perhaps a holdover from studio work but I keep doing it the same wherever I am.

Gear- Grafmatics! - If you are not altering processing of individual sheets they are the fastest to shoot and are very compact. I also think (but cannot prove) that they hold the film flatter. Same shutters on all lenses and all lenses on their boards in the same orientation. My least used lens is in a Compur all others are Copal, I wish they were all the same.

[David A. Goldfarb]

I'm also a fan of Grafmatics for 4x5".

The fastest, smallest tripod for an ultralight 4x5" like a Gowland or Toho or I'd guess an Ikeda Anba: The Linhof Report from the 1950s. It folds FLAT to under 18 inches minus the head (I use a Linhof Ballhead no. 1 on that one for its compact design, though I generally prefer pan-tilt heads), and the legs pull out and snap into place when fully extended. There are twist locks for the top leg sections so the tripod can be leveled. There is no elevator column, so despite light weight and compact design, it's quite sturdy.

[Gem Singer]

Hi Kerry,

This looks like the beginning of a "how to" book. A nicely illustrated, full-color soft bound, published by Amphoto. Perhaps titled: "Hiking and Camping With Large Format Equipment". Sounds like a great idea to me.

From my own personal experience, hiking, photographing, and camping in the Cascade Mountains (your backyard), the Deschutes National Forest and the Mt.Hood area, 1981-1984. I can offer three tips:

1. Use the lightest weight, most compact gear you can gather together.

2. Hire a sherpa, or rent (buy) a llama, horse, or mule to carry you and/or your gear.

3. Don't wait until you are over fifty, and horribly out of shape, to do it.

I hope these tips make it into your book.

[Jim Galli]

You guys'll think I'm a hack but I don't care. I have a heavy navy sweatshirt that does faithful service as my dark cloth. Yep, I put my head thru the neck hole backwards and wrap the waist band around the camera. Besides being a near perfect dark cloth, the sweat shirt then does double duty. When I'm on the trail and I've finished another masterpiece, I throw the flattened sweatshirt over the camera and lens (lens cap replaced of course) so that the neck and sleeves go down past the lens shutter and the waist area is just at below the ground glass. Then I grab the "arms" and pull them back and tie the hole thing in a knot. It protects the whole outfit from trail dust etc. as I swing the entire thing up on my shoulder and proceed. This works all the way up to 8X10 but then I usually remove the lens and fold the camera before I tie it up and walk on.

[Kerry L. Thalmann]

Wow, lots of great responses so far. Keep 'em coming!

I figured I'd start from the ground up - that's why I started with tripods and heads. Eventually, I'll move on to other subjects, but I do have a couple more tripod/head releated comments.

Jerry Greer wrote: "I would love to know how you converted the 410 to accept the ARCA style clamp."

Jerry, Brian already provided one possible answer - the made-for-this-purpose adapter from Kirk Enterprises. I looked at that solution, but chose something else for two reasons. First, was the cost. The adapter from Kirk is $130 - that's only $10 less than I paid for the 410 head and seems excessive to me. Second, I already had a 60mm long RRS ARCA style clamp that I originally purchased to use on a different head.

Initially, I just mounted this clamp on top of the Bogen supplied QR plate. If you lock everything down tight, this is a resonably rigid solution. It was certianly easy and did not require any permanent modification to the head, the Bogen plate or the RRS clamp.

Once I was convinced I liked this head enough to keep it for the long term, I decided to make a more permanent modification. Time to get out the hacksaw, Dremel tool and file. The 3/8" hole in the RRS clamp lines up well with the same 3/8" size hole in the top of the head. However, the raised lip on the right side of the head interferes with the clamp. So, the first modification was to grind/file down this ridge flush with the rest of the top platform of the head.

Next to keep the clamp from turning on the platform, I wanted a second mounting hole. Fortunately, the top of the 410 head already has a 1/4" hole in front of the 3/8" mounting hole. So, I drilled and tapped a mating 1/4-20 hole in my RRS clamp. Now I had a metal-to-metal mating surface with two mounting bolts (one 3/8" and one 1/4"). BTW, I highly recommend using some good stainless steel mounting bolts in pace of the cheap aluminum ones (designed to be tightend with a coin) that come with the Bogen/Manfrotto head. That gave me a solid (and with a little LocTite) fairly permanent solution.

The next part is optional. I then proceded to cut/file/grind away a little of the excess metal from the top of the 410 head (to the left of the clamp - when viewed from the rear). Basically just the curved part up to the support rib on the bottom of the platform. I probably could have gone further, but it didn't want to risk weakening the platform to save what probably would amount to at most an ounce of weight. A little black paint to touch up the edges and that's it. I'm not sure what the RRS clamp costs these days, but I think it was about $70 when I bought mine. The 60mm length is a good match for the top platform of the 410 head. You could use a longer one if desired, but that would require filing down the small lips on the front and rear of the platform. I didn't see much benefit to that as the 60mm length is the same as the stock clamp on the ARCA-SWISS B1 head - which has always worked well for me.

Kerry

[Kerry L. Thalmann]

"Their conclusion: the tripod was thoroughly corroded, presumably by saltwater exposure, beyond repair besides exchanging 80% of the parts, and not covered by the warranty. "

Tuan,

I'm surprised (and disappointed) on two counts to hear of your experience with your 1227.

First, with the fact the the metal had corroded to the point that it affected the performance of thr tripod. I thought hard anodized aluminum was pretty corrosion resistant. Perhaps they need to make a titanium version (titanium is very resistant to salt water corrosion) for people who work a lot near the ocean. Gee, I wonder how much that would cost... Never mind, I don't think I want to know.

Seriously, I haven't had any problems with either of my carbon fiber Gitzos. Granted, I spend more time photographing in the mountains, deserts and rain forests than at the beach, but I have done a fair bit of shooting at the Oregon Coast. On a couple of occasions, I have disassambled, rinsed/cleaned, re-lubed and reassembled my 1325 after a few days at the coast, but it was mostly to remove sand from the collars. I figured it was just a little preventative maintance to keep my very expensive tripod working like new. I never expected that their would be a corrosion problem (I was more concerned about the grit causing premature wear).

Was you tripod ever immersed in salt water, or was this corrision simply a result of exposure to air-born salt spray?

Finally, I am extremely disappointed to hear that Gitzo did not cover this under warranty. Boy, back in the 1970s and 1980s, Gitzo's reputation for standing behind their unconditional lifetime warranty was legendary. Apparently, times have changed. When I bought my 1325 (and 1227), I paid extra (and a fair amount, at that) to buy from an authorized US dealer to make sure I got the lifetime warranty. I figured these expensive tripods were a lifetime investment, and it was worth it, therefore, to pay extra for a lifetime warranty to match. So, did I spend a couple hundred more for a worthless piece of paper, or does Gitzo still honor their warranty as they did in the past? Did you purchase your 1227 new from an authorized US dealer, or was it a direct import (so-called gray market)? If it was purchased new from an authorized dealer, with a lifetime warranty, what reason did Gitzo provide for not honoring the warranty? Enquiring minds want to know.

Kerry

[wfwhitaker]

Convenience? I've said it before and I'll say it again.
One word: ReadyLoad. Available in any format as long as it's 4x5.

(11x14 ReadyLoads would be so nice....)

[Kerry L. Thalmann]

Convenience? I've said it before and I'll say it again.
One word: ReadyLoad. Available in any format as long as it's 4x5.

Will,

You beat me to it. That was one I was defnitely going to mention. So, just leat me add another word: Quickload.

They call them quick and ready for a reason. In addition to virtually eliminating dust problems, they are fast and easy to use. And, this is one case where a more convenient solution actually saves weight as well. I know they certainly make my life easier.

Kerry

[Kerry L. Thalmann]

This looks like the beginning of a "how to" book. A nicely illustrated, full-color soft bound, published by Amphoto. Perhaps titled: "Hiking and Camping With Large Format Equipment". Sounds like a great idea to me.

Eugene,

If I ever write a book, I'll be sure to include a chapter on "tips for making life easier in the field".

Your post actually isn't too far off. I originally dreamed up this idea as a possible magazine article. However, rather than just a list of my own personal equipment and methods for field photography, I thought it would better serve the LF community at large to hear from a number of folks. After all, I know what works for me, but that doesn't mean it will work for everybody. I also know there are a lot of clever people out there who have thought of unique solutions that have thus far eluded me. Finally, we all have different equipment, and even different formats. So, rather than a single author article, I thought a compliation from the forum members would provide greater benefit to us all. Plus, this way I get to learn what other people are doing, too.

Kerry

[QT Luong]

Kerry, the tripod was partly immersed in water in a number of occasions. I was also disappointed that the warranty did not apply, especially since I had good service twice in the past at the Gitzo factory. They considered that it was abuse they couldn't be responsible for. I don't remember reading anywhere that the warranty was unconditional, so I didn't insist further. Paperwork was never a problem at the Gitzo factory. You would just show up with your tripod, and they would never ask you where your purchased it or if you had any receipts. I don't know if I would have had better luck going through the US importer or not (I bought from Robert White). Based on my own experience with the CF gitzos (I've owned 6 of them in different sizes so far), they wouldn't last a lifetime because after a certain period of intensive use they become so sticky that for me it's preferable to sell and buy a new one (kind of replacing your computer because it became too slow). It could be that it was just the lack of preventive maintenance.

[Mark Muse]

I use a Gitzo 1325 too. The one problem I grappled with it is the lack of spikes (I understand there is now a video version of it that has them). The 1325 has shallow cone shaped plastic caps as leg terminators. If you happen to be on matted vegetation it can be hard to get the cones to penetrate well enough to really ground the tripod. So I carry a black rubber bungi cord that I have modified by removing the metal hook from one end and adding a loop of nylon cord large enough for my foot.

In use I put the remaining hook through the top of one of the leg hinges. Before I pull the darkslide I put my foot in the loop and push my foot to the ground. Beats the heck out of looking around for rocks to put in a mesh bag all the time. It helps in the wind too. I understand why some folks insist on those massive wooden legs but this adds as much of MY mass (which I have to carry around anyway) to the pod as the bungi cord will transfer.

And no, I have never forgotten that my foot was in the stirrup!

[Leonard Metcalf]

Interesting post, thanks Kerry.

I have had made a bag that carries my tripod attached to my backpack, it has quick release straps to hold it in tight, and a zipper for easy access. In it is my carbon fibre gitzo, linhof ball head with quick release plate. I treat my gitzo very poorly, but after eight years it still is working fine. Never totally emersed it, but after reading the post will take it apart for a good clean even though the sand has long stopped making any noise. I find a ball head quicker than a pan tilt head - but reading other peoples posts I realsie that this is a very personal choice.

I often leave it set up after one photo and look carefully for another.. and will carry my camera set up for short distances over easy ground.

I am in the process of getting a pack made that holds my camera bag (also custom made) right at the back of the pack under zips. I will be able to throw my pack down (carefully of course) and have quick access to all of my camera equipment. I have also found that once I am at my campsite, I often want to just wander with my camera gear and having it in individual packages dosen't faciliate this very well. Getting to my camera gear easily whilst carrying all the extra equipment for camping can turn me off getting it out. I noticed this on my last overnight walk, as it was burried deep inside the pack, and I am sad that I missed a few of those shots that I was too lazy to take. When I have to waterproof my gear to swim in a canyon with I use a pelican case and a zippered backpack, with the tripod in a dry bag. Not the best but workable. (Hint keep a towel in with your tripod so you can dry your hands and face before opening the camera case)

Some other things I have discovered that have sped up my photography. A non folder (I leave my favorite lens in it) which I can use every movement confidently without coming out of the dark cloth (an ebony), quickloads (though not to rapped about the choice of b&w films avaliable), knowing my lenes well enough so that I don't have to change them after a quick look (a viewing card helped at first), and lastly being confident with my exposures. I have discovered myself spending more time on this step of the process than any other.

Large lenes choice also seems to slow up the decsion making process. When weight is an issue I leave behind a few of my lenes, and take my favorites. In extreme environments I have been known to only take one lenes.

And finally, composing fully before setting up the camera - then I don't have to move it...

[Henry Ambrose]

With saltwater fishing gear it is well known that you must rinse your equipment everyday in fresh water and disassemble, clean and grease it throughly fairly often to prevent damage. The -only- alternative is equipment malfunction. Anodized finishes on aluminum parts help but are not enough, you must clean regularly. This applies to tripods as well. The lifetime of composite assemblies can be quite long in theory but not always in real use. In particular the joints where the composite is bonded or attached to metal components are prone to entry of corrosion causing elements. When these joints are left unattended they may fail. Even though these new materials are marketed as corrosion proof, lighter and stronger than older materials they are not maintenance free.

[tim atherton]

"Gitzo's reputation for standing behind their unconditional lifetime warranty was legendary." I remeber it was a big selling point pushed intheir ads, but wasn't this only something offered by the US importer - and, of course, only turned out to be applicable to the "lifetime" of that particular importer...

[Hans Berkhout]

Problems I have had with my Gitzo 1228 (a love/hate relationship):

one collar came loose from legsection- I epoxy glued it back on. Spoiled a day's shooting. I ran over it with my car; a hinge prong was bent so I replaced the section. The leg section itself was not broken (!) but split/cracked longitudinally in quite a few places and if it was not for the hinge malfunction I could still have used it. Very sharp fibers protruding from it. Intense use of the tripod over a few weeks resulted in a tendinits in my wrist.Too many collars to (un)twist.

[Gem Singer]

Kerry,

Creating this could book could become a huge project. You probably should include a chapter, or two, on chooosing a camping location and shelter, as well as clothing and gear, such as boots, gloves, hats, etc. The choice of which type of backpack to use will take up a chapter of it's own.

I'm looking forward to adding your book to my collection, even though I no longer do any hiking and camping.

[David Mark]

Kerry,

Thank you for your post, which touches on what are for me some of the most important questions I have about working in the field.

I have a some thoughts, suggestions, and questions to share. First, though, let me confess that I may be the world's slowest large format landscape photographer. I typically take thirty minutes or more from the time I put down my pack to the time I have exposed a sheet of film, even when the composition is pretty obvious from the beginning. This is far too long, since, as you point out, the good light is often fleeting; and time spent on one picture takes away time that might have gone to make a second -- or a third -- image. Further, my slowness has made me risk averse. I am reluctant to take a picture that might not work, and I pass up something that might be worth an experiment, looking for the sure thing. Ironically, that means that I sometimes spend the whole morning or afternoon walking and looking without actually exposing any film.

With one of my favorite seasons of the year, early spring, coming up fast, I have been thinking hard about what I can do to increase my working speed in the field. Several photographers have written to say that an invariable routine is helpful, once mastered. I believe this, but am going to try -- and want to suggest to others -- a variant of this: Have two setup routines, one for maximum quality and one for maximum speed. My current routine is designed around the idea of the best possible quality. I set up and level my camera (a Canham DLC) with great care, front to back and side to side. I carefully measure the focus spread on the focusing rail, tilt using Howard Bond's focus/check procedure, remeasure the focus spread, take zone readings, take notes on the zone readings, etc., etc. It has gradually dawned on me that I may get perfectly good negatives with a good deal less than this all-out effort. For instance, if I don't tilt, I may have to use a very small aperture. But my experience has been that a 4X5 negative exposed at f64 and enlarged to 16X20 -- which is as big as I can go in my darkroom -- may still look adequately sharp. Now it is true that if I had used tilt and exposed at, say, f32, the picture would look sharper still; but I think it is fair to say that if the composition is good and the printing is good, no viewer is likely to complain about a lack of sharpness. So, if I am trying to work fast, it makes sense for me to skip tilting the lens, a step that often takes me five minutes or so to get exactly right. Another time saver, I am finding, is to use Phil Davis's incident metering system in place of zone metering. Yes, it is not as precise as careful zone metering, but for me it is much faster; and I have now used the incident system enough to be confident that it will always give me a negative I can work with in the darkroom. Still another time saver, for me, is to set up the camera low enough so that I can use the bubble levels on the tops of the standards, rather than using my Horseman block level to level the camera. I prefer having the ground glass at eye level, but if I do that, I must use the block level, as I have no way to see the top-mounted bubble levels. The bubble levels are not as accurate as the block level, but they are, I think, accurate enough.

I would be very interested to hear from other backpacking landscape photographers how long it takes them to go from unslinging their packs to exposing film.

Gear I have found helpful: 1. Summitek composing frame. knots on the neck cord allow you to guage the effect of different focal lengths. 2. Bogen 410 head. Great for all reasons Kerry mentioned. Mine did develop some play, and had to be adjusted. The Bogen repair people were great. Reis tripod. The Reis is wonderful on uneven ground; very quick to set up. It and the Bogen are heavy, though. The combination weighs in at over 10 pounds. As I hope to continue to hike and climb, and as my knees seem to be aging faster than the rest of me, I am looking for a good lightweight alternative. So far a Kirk BH-3 on a Gitzo CF tripod seems the best bet. I am concerned, though, that working with a ballhead will slow me down. If ball head enthusiasts have tips or tricks for working fast with ballheads I would love to know what they are.

Kerry, thanks, again, for starting this discussion.

[David Mark]

P.S. Kerry, I would also love to see you write a book on working techniques for landscape photographers. My suggestion for a title: "A Field Guide to the Field Camera."

[Leonard Metcalf]

Use a ball head with a tensioning adjustment, then it is easy to hold it in the right position with one hand while you tighten. I only level the tripod by sight.

Thinking through my last large shoot over the last break I also am noticing that leveling the camera is only important in about 15% of my shots. Which leads me to ask how much of peoples advice is specific to thier subjects and methodology?

Can I also suggest a carbon fibre Miller tripod made in Australia - which has an amazing similarity to a Rites could be worth looking into. Have seen one, the owner was very happy with it, but can't really comment myself. Appeared to be the type of tripod that you could abuse, submerse and yet be still light weight. Miller fluid heads are recognised widely in the film industry as one of the best, they have been making wooden tripods for years. When my gitzo dies I will probably try one - drawback not as compact.

I used to think I was a slow photographer untill I worked with a photographer over x-mas. He was using the latest Canon 16 megapixel digital, a manfroto tripod, pan tilt head, and zoom lens. At one stage I was taking three photographs to his one. Well, if you count his bracketing, exposures, focal length, and camera position. He probably took ten images to my one of the same subject. He would latter edit on the back or on his computer.

The difference in speed was that he was using the camera to find his best photograph, while I was finding it in my head first, then taking the photo.

I also notice that each photograph I take inspires me differently, some I play with for ages, and others I can work quickly with.

[tim atherton]

"Can I also suggest a carbon fibre Miller tripod made in Australia - which has an amazing similarity to a Rites could be worth looking into."

Those puppies start at what $1,200 - $1,500 and go up to $10,000 and more...?

[Jim Bancroft]

Hi Kerry-

I use a variety of cameras in the field but always prefer to have my Arca Swiss F metric on my tripod when it's time to take a picture. I like to carry my camera with a lens mounted and ready to use quickly and have come up with a simple way to keep the Arca from flopping around on the rail:

I bought an extra compendium hood clamp which I mount on the rear frame.

When in transport I run the rod that holds the hood through the standard clamp and into the rear clamp and tighten both down. This ensures the camera is always in the zero state since the clamps will only line up when both standards are aligned.

This configuration is very rigid and I can pull the camera out of bag by the rod as if it was a handle. The hood also adds protection for the lens. I just loosen the rear clamp and free the rear standard and it's ready

Of coarse this will not work with any version of the camera not using identical front and rear frames.

jim

[Kirk Keyes]

I have to say the greatest single time saver for me is a Linhof Multifocus Finder - I got one with my Tech IV about 15 years ago. I find I can walk around and preview my composition many times faster than looking through the ground glass. And it's certainly better than looking directly with my eyes - I can see where the edges of the frame will fall without guessing. A cardboard viewer was mentioned above, but I find the ability to set the focus with the Linhof finder to be much quicker and more precise. No fussing with a string to guesstimate your focal length and you can use it with only one hand.

Also, Readyload/Quickload solution - saves time preparing for the shoot, prevents dust, helps back, and cuts down on time wasted spotting prints, which I find really hard to do in color.

Kirk

www.keyesphoto.com

[Steve Baggett]

Compensation for bellows extension. Stanley makes a small 3-ft (1-m) tape measure slightly smaller than a matchbox. Work out the exposure compensation for each lens (focal length) you have. (I wrote a small Perl program for this.) You then mark the back side (non-ruled side) of the tape measure using different colored permanent "sharpies". You can easily put the markings for 2 lenses on each tape measure (I keep 3 chained to each other in my back). They take up almost no room and are labeled, e.g. one for my 75 and 90, one for my 135 and 180, etc. Use one edge of the back side for one lens and the other edge for the other lens. Use blue for one focal length and red for the other, etc. and mark this at the start of the tape. Use a simple marking scheme in 1/3 stops like this: a vertical line is 1/3 stop and a circle is a whole stop. Your markings along the edge will run like | || o o| o|| oo, etc, for 1/3, 2/3, 1, 1 1/3, 1 2/3, 2, etc. Then when you are setting the aperture/shutter speed, pull out the appropriate tape measure and "measure" the lensboard to film distance using the back side of the tape and note the nearest 1/3 stop compensation to add to your measured value. Takes 3 seconds establish accurate bellows compensation.

[Jim Rice]

That is a really cool idea, Steve.

[Kerry L. Thalmann]

A lot more excellent tips. Keep 'em coming.

Jim,

As a fellow ARCA user, I appreciate your tip on the second compendium clamp on the rear frame. I may give that one a try.

Heres' another tripod related tip. I know several folks use the Gnass Gear Filmholder and Rapid Load File pouches to keep their film holders and Ready/Quickloads close at hand and up off the ground. For the past several years, I've been using a very simple tripod apron (for lack of a better term) for the same purpose. I bought this apron off eBay from a guy who was making and selling them there. Turned out he was local. So, I went over to his house and picked one up. I can't remember his name off the top of my head, and I don't know if he's still making and selling the tripod aprons. I'll see if I can look him up and find out if he's still in business.

In any case, the tripod apron I bought from him is still working great and I've come to rely on it as convenient place to temporarily store my Quick/Readyload holders and packets, as well as lenses, filters, etc. to keep them close at hand and up off the wet/dusty/muddy/sandy/snowy ground. The apron is simple, but well designed and well made. It is made from a black synthetic fabric that has stood up well to the elements. It has wide velcro straps attached securely at the corners and elastic around the top. I leave it attached when I fold up the tripod. So, it's always there when I need it. I don't remember the exact price I paid, but it was somewhere around $20. I've seen a similar apron made by Bogen, but it seemd to sag and hang down a lot more than the one I have.

It seems like no matter where I'm shooting, rain forest, desert, beach, mountains, the ground is always either wet and muddy, covered with snow, or loose sand and dust. Not exactly the ideal place to sit things down. I also often find myself in precarious location where I barely have enough room to set up a tripod. This often means I need to leave my pack somewhere out of arm's reach. The tipod apron let's me keep all my must have bits and pieces close at hand and alleviates the need to shuttle back and forth between the tripod and pack - something that wastes time and can get down right dangerous if I'm not careful. This simple apron is a great accesory. It was inexpensive and weighs almost nothing. I never leave home without it.

Kerry

[Steve Baggett]

Another helpful piece of field equipment is the tiny "key-back" thingy I've attached my loupe to. Rather than have the loupe dangle down to my belly on a string around my neck, constantly swinging around when I bend over or stoop, I removed the string and attached it to one of those little things that people attach their ID cards or prox cards etc. to and attach it to my shirt near my pocket, colar, or a top button. These things have a little clip for purses, shirts etc. and will stay clipped to almost anything. It has a string on a spring that withdraws automatcially into the device. It keeps the loupe drawn up tight to my body but is plenty loose enough to just grab the loupe and extend easily it to the GG for focusing. When done, just let it drop and the loupe will be drawn right back to your chest out of the way. I do a lot of "focus checks" between shots after I've removed the dark cloth and begun making exposures. This little gizmo makes these frequent focus-checks a non-problem. It has a weak spring but is still strong enough to hold my Silvestri 6x. However, this "invention" doesn't scale up very well. I was so pleased with this thing for my loupe that I decided to do something similar with my light meter. However, my L608 is heavy and so I had to search around before I found a key-back holder with a strong enough spring to hold the meter on my belt. The one I found had a small chain about 3-ft long and a very strong spring. I thought I had found Nirvana and attached the thing to my belt about halfway between my side and my crotch and went out a shootin'. Can you guess what happened? After taking a spot measurement I just "let go" of the meter and the strong key-back spring sprang into action. I took a hard blow in a delicate area, with people watching, no less. I dropped this invention. Some things just don't scale up.

[Kerry L. Thalmann]

Steve,

Good tip on the retractable cord "key-backs". I've been using one of these with my badge at work for a couple years, but hadn't thought about using one with my loupe. I'll have to give it a try.

Kerry

[Kerry L. Thalmann]

Step-up Rings, Filters and Lens Caps - Years ago, I standardized around 67mm filters for my 4x5 lenses. At the time, it made sense as four of the five lenses I owned had 67mm front filter threads. The fifth took 52mm filters, so all I needed was a 52mm - 67mm step-up ring and I could use one set of 67mm glass filters with all my lenses.

Well, since that time, my lens collection has gotten a little more diverse - as has my collection of step-up rings (and even a step-down ring). I still use my original collection of 67mm filters for my "big" lenses, but also have a matching set of 52mm filters I carry with me when backpacking. Ratther than constantly fumble around with a bunch of loose step-up rings while working in the field, here's what I do...

For the set of small lenses I use when backpacking, I semi-permanently attach a ??mm - 52mm step-up ring to each lens with filter threads smaller than 52mm (where ?? is the size of the filter threads on the lens in question, be it 35.5mm, 40.5mm, 43mm or 49mm). I say semi-permanenty because these step-up rings are never removed. They stay on their dedicated lenses at all times, whether I'm using the lens or carrying it in my pack. This is similar, in principal, to leaving a cable release attached to every lens. It saves time, costs little and weighs almost nothing.

For lens caps in this scenario, I have standardized on Nikon 52mm snap-on lens caps. These are the caps that are used on Nikon's 35mm standard lenses. They are inexpensive and available at most decent camera stores. Obviously, other brands will work as well (I seem to recall similar caps from Pentax and Tamron). I ended up with the Nikon caps because I got a good deal at a local swap meet a few years back. A guy was selling them in the sealed factory packaging for $2.00 each. So, I bought 10 or 12 as a lifetime supply. Now, all my small lenses wear one of these caps, and I carry an unopened spare in case I lose a cap in the field. It's nice to know that the same spare cap will fit on any of my lenses (with the semi-permanent step-up ring in place).

So, between the semi-permanent step-up rings and snap-on caps, using filters in the field is is quick and hassle free. No hurrying around to find the right step-up ring and screw it on without cross-threading it as the light rapidly fades. Leaving the step-up rings in place has the added benefit that it reduces wear on the lens threads. The inexpensive, easily replaced step-up ring gets all the wear - not the lens threads.

For my bigger lenses, I still use 67mm filters. In this case, I actually use a 72mm - 67mm step-down ring on my 210mm APO Symmar. GASP! Won't that cause vignetting???? In theory, yes. However, when shooting 4x5 landscapes, I never come close to using the full 305mm image circle of this lens. So, if the step-down ring costs me a millimeter or two (or ten) of coverage, I'll never know. Like the step-up rings above, this 72mm - 67mm step-down ring is left on this lens at all times.

Rather than put a ??mm - 67mm step-up ring on all my smaller lenses. I either just use them with my 52m filters, or if I wish to use them with a 67mm filter, I just carry a single 52mm - 67mm step-up ring in my bag. Since all my smaller lenses are already standardized to 52mm, this is the ONLY loose step-up ring I carry. No chance of grabbing the wrong size step-up ring when the light is changing.

For many years, I used to carry my filters in a filter wallet, but after several years of use, I noticed it started to leave a residue on the filters that required cleaning at ever-increasing frequency. I think the plastic may have been deteriorating as it aged and was exposed to UV, to the point where it was out-gassing and leaving a film on the filters. I really liked the convenience and organization this filter wallet provided. It held all my filters, and 52mm - 67mm step-up ring. I always knew which filter was in which pocket without looking (as each had its own dedicated spot), and I could hang it on my tripod for easy access to all of my filters at once. Can anyone recommend a brand of filter wallet that doesn't leave a film on their filters? I'd like to get one for my 52mm filters and one for my 67mm filters. They only need to hold four each (although I'd prefer the 67mm size hold at least 5 so I have a place for the 52mm - 67mm set-up ring). Or possibly a single wallet that would hold four 52mm filters, four 67mm filters and one 52mm - 67mm step-up ring. Any suggestions?

Kerry

[Jean-Louis Llech]

Kerry, this topic is a very great idea !

I agree with you, Gitzo is Gitzo...
I use also a carbon fiber tripod, and appreciate the light weight and the rigidity of the Gitzo G1329 MkII, and also the flexibility and adaptability of the G1570M magnesium "rationnelle" low profile head.
I first used a Manfrotto 075B (Bogen code 3236). It is also very solid, but IMO too heavy, and more difficult to adjust. It is now on a dolly in the studio, as the lighter Gitzo 1329 has the same use in the field... with less drawbacks.
The Gitzo Carbon Fiber tripod is very light to carry, but I have no problems using a Master Technika on it. Easy to open and to unfold. The three section legs are great also.
About the head, I like the G1570M because it has a larger platform and two 3/8 fixing screws. I use 2 Linhof Quickfix II release plates, one on the rear of the platform (and on the camera's housing), the other on the front of the platform (and on the camera's dropbed).
With two fixations, I have no vibrations even when a tele. It is very rapid to connect and secure the camera on the head, and then rock-solid.
When using wide angle lenses, if I have to drop the bed, I place the rear release plate on the front Quickfix. Nothing to screw or unscrew.
Another important advantage : the center of gravity of this head is very low.
I've been using a G1575M offset ball head. Here I agree with Kerry Thalmann : "trying to level the camera, or adjust one axis without disturbing the others" is for me a real pain, and a drawback.
With a three way head, I just have to use the three adjustments, one after the other. I also tried an Arca B1, and, it is much more difficult to adjust it finely, due to the imbalance caused by the weight of the camera and lens.

I know Manfrotto sells geared heads for heavy LF cameras :
- the Deluxe Geared Head 400 with a max load of 9.9Kg(Bogen 3263)
- the Pro Geared Head 405 with a max load of 7.4Kg.
- the third one, Junior 410, is probably too light to support a LF camera.
Their geared system seems very useful, (maybe not in the field), but I am afraid about their weight : 2.6 and 2.4kg.
Who has used one and could tell me if their utility is worth such a weight ?

A last question for Kerry :
You wrote "For large format work, I greatly prefer models without center columns."
How do you put the camera's level in height ? By screwing and unscrewing the legs joints ? It seems tedious, no ?

Last, Kerry, don't you think this topic would deserve a synthesis on the LF site ?
Regards.

[David Mark]

Jean-Louis,

I use the Bogen/Manfrotto 410 geared head for my large format camera without any problems. However, my camera, a Canham DLC, weighs less than 5 pounds. The 410 might not work as well with a heavier monorail.

The 410 head itself weighs about 3 pounds.

I second your idea that it would be a good thing if the most useful information from this thread could be pulled together and made available as a short article on the LF site.

[Jan Nieuwenhuysen]

I use a Manfrotto 405 head on a Berlebach Uni tripod with center colum and leveling ball for my Arca-Swiss 4x5. I once had a Gitzo, but I did not like the leg locks, found the leg extension too sticky and the whole thing too cold on my hands in winter. The combination I use now is heavy, but I like performance so much I see no reason to change. Besides, I believe heavy is an advantage as long as you can carry it. The 405 head is great in my opinion. It allows precise and fast leveling and panning and is stable. I first level roughly using the tripod's leveling ball, then fine tune with the head. I tried leveling with the leveling ball only, it takes me forever. I actualy use the center colum regularly to make minor changes in height. If it is not very windy that's ok in my experience. Just make sure you lock it. The tripod was delivered with large white numerals on it's black legs. E.g.: extending to # 30 is eye level for me. I find this very practical.

Darkcloth: BTZS focusing tube; best darkcloth I ever had. It attaches in no time and keeps my hands free. I have the Arca reflex viewer. In the cupboard... I used it maybe 10 times. It's the one thing I deeply regret having spent so much money on. Nothing beats focusing under a cloth with a loupe in my opinion. Faster, lighter, more abstract, all you need fits in a coat pocket.

Routine, fixed drills and practice, practise, practise... You can also practise in your mind btw.

Air release. Vibration free and allows you to expose with your foot.

Plastified reciprocity chart in right trousers pocket.

[Kirk Keyes]

Kerry "I can't remember his name off the top of my head, and I don't know if he's still making and selling the tripod aprons. I'll see if I can look him up and find out if he's still in business."

You're thinking of Steve (Mike?) Garrison of "Garrigear" or something like that. All my lens wraps were made by him. Turns out he went to high school with one of my cousins in Beaverton. He recognized my last name as I handed him a check at one of the photo swap meets. (I'm from the Portland area too.)

Kirk

[Kerry L. Thalmann]

Jean-Louis,

A summary article (perhaps with some photos) for the static pages is a good idea. Perhaps after this thread runs its course (I'm not done yet, I hope you guys aren't), I'll approach Tuan about massaging it into a format that will work well on the static pages. I'd just want to make sure everyone who contributes gets proper credit. I don't want anyone to think I'm taking credit for somebody else's clever ideas. Also, I want to see this thread continue to live. I"m sure there will be more good ideas to come in the future.

Kerry

[Kerry L. Thalmann]

Kirk,

I'm sure it wasn't Sam Garrison of Gara Gear. I do own several of the Gara Gear lens wraps, and ironically, the filter wallet I mentioned above was also a Gara Gear product. I met Sam Garrison at a couple local swap meets back in the 1990s, and bought products directly from him as well as through the local dealers he always kept well-stocked.

Unfortunately, he seems to be out of business - or at least not selling products under the Gara Gear brand name anymore. Extremely similar looking products can be found on the B&H web site carrying the MC Photographic brand name. I have no idea if Sam Garrison makes those products for MC Photographic, or if he sold them them the entire company. In any case, the Gara Gear brand name doesn't seem to exist anymore.

Back to the tripod apron. I seem to recall the gentleman's name who made it was David Payne. Does that ring a bell with anyone else who may have bought one of his tripod aprons? I believe he also made dark cloths and a few other products that he sold on eBay. Again, I'll have to go back and see if I can find it in my records. It's been several years (late 1990s).

Kerry

[Kerry L. Thalmann]

A last question for Kerry :
You wrote "For large format work, I greatly prefer models without center columns."
How do you put the camera's level in height ? By screwing and unscrewing the legs joints ? It seems tedious, no ?

Jean-Louis,

I'm not sure if I understand the question. Other than the Berlebach tripods with the built-in center ball, I don't understand how a center column can help level the camera. I generally try to set the camera fairly close to level by initially adjusting the length of the legs (mainly to keep it from being so off balance that it is prone to tipping), and then use the head and to get it more level if necessary. On terribly uneven ground, the angles of the legs on the Gitzo 1325 can be set independently, but again this does not involve a center column. Please describe how you use a center column to level your camera.

Kerry

[Jean-Louis Llech]

Kerry,
Sorry if the word "level" was improper. I reached the borders of the english language for a frenchie...;>)
What I mean is "I must raise the camera to have the subject completely in the GG". That's what I called "level".
The head allows accurate positioning of the camera in three ways, but not in height.
I unfold the legs approximately so as the image will be in the camera's GG. But, to complete the framing, I raise the camera by 2 or 3 centimeters, with the center column.
That was the meaning of my question : how can you raise the camera without a center column ?
regards,

[Frank Petronio]

- Tech 4, 75-135-270 lenses all fit in small book bag daypack - Kinesis pouch for camera - Gnass gear holder for my Readyload and 40 sheets - Sweatshirt pulled over my head - the neck opening fits my camera back perfectly - Loupe around neck - Short, cheap cable releases permanently on lenses - Fix metal hoods to lenses, find (scrounge) caps to fit the hoods - Leave the favorite 135 lens on the camera when packed, without rear lens cap - Other lenses in Gnass Gear short case - Digital spot meter in Zone VI holster or on wrist strap - Less frequently used items in ditty bag at bottom of pack - Essential items close at hand (belts and pockets) and ready to go - really only the meter, film, holder, loupe - not to much else is needed - Learn to estimate exposure, reciprocity, bellows factor, field of view from experience and get it close before relying on tables and instruments - Mount lenses with aperture/speed scales to the side - Have a small Maglite handy for reading lens settings in dim light or for focusing in the dark - Have large plastic bags in bottom of pack for rain or condensation protection - Shoot off one shot quick - no big movements, f/22, just get it in the bag - and then refine - Lean towards underexposing chromes and pushing rather than overexposure - Shoot EPN without filters and fix it on the computer!

[Chris Hauth]

Great thread Kerry. Here are two things that have been worth their weight in gold to me. http://www.christopherhauth.com/photogearsling/pgs.html The tripod apron you described sounds like something I designed about six years ago. I call mine the Photo Gear Sling ; ) The one pictured is my second prototype. I've given a couple away to friends who now say they will never part with them. I use nylon netting supported by a one inch nylon banding. Any sand or dirt falls right through the netting. It only takes a couple of seconds to attach to the tripod, weighs almost nothing and can support up to twentyfive-thirty pounds. Like the apron you described, it stays attached and easily folds up with the tripod . Toss a couple of grapefruit sized rocks in it and becomes a great stabilizer. Like you said I NEVER leave home without it. Another thing I use are the other things pictured in the link. They're crude but work great. I needed something to keep my tripod legs from sinking in wet sand. They're also great when shooting in the snow. Kind of like snow shoes for your tripod legs. They're easy to make and only cost a couple of bucks for the materials that can be found at any hardware store. This set is going on five years and have been in wet salty sand and water hundreds of times as well as in the snow. Both are pretty easy to make.

[QT Luong]

Filters. One of the ways to make working with filters easier is to have
less of them. In color photography, nowadays, with a few exceptions, the prefered
method of printinng is digital, which make it very easy to apply color corrections.
Therefore, the only filters really needed are those which can not be duplicated
by postprocessing, which are the polarizer and the neutral density graduated filters
(when the highlights are blown out).

[jantman]

GREAT Thread. Among the best that I've seen here. Finally, I found the time to read it all.

QT - not to disagree with you, but the "fix it in Photoshop" theory is way too prevalent. Why not do it the right way, so you have the option of easily making a traditional print of your chromes?

"With saltwater fishing gear it is well known that you must rinse your equipment everyday in fresh water and disassemble, clean and grease it throughly fairly often to prevent damage. The -only- alternative is equipment malfunction."

Gee...no wonder why the drag on my 115L is always funky. I'll have to remember that...

[Francis Abad]

Everything has to be right in the field otherwise I throw away the negative. It is straight or nothing for me. To even entertain the idea of salvaging a negative in photoshop is heresy to me. It makes this craft or art we do pedestrian, just like a Roger Dubuis watch made in Bangkok. Lest we become programmers instead of photographers.

[Kerry L. Thalmann]

The head allows accurate positioning of the camera in three ways, but not in height.
I unfold the legs approximately so as the image will be in the camera's GG. But, to complete the framing, I raise the camera by 2 or 3 centimeters, with the center column.
That was the meaning of my question : how can you raise the camera without a center column ?

Jean-Louis,

Sorry my response is so slow. I've been rather busy with work and haven't had time to keep up with this thread. Perhaps I will post a few more tips over the weekend.

To answer your question. My tripod is quite tall. I'm 6' 4" and by the time I put a head (Manfrotto 410 or ARCA-SWISS B1) on the 1325 legs and then a camera with a fairly high profile (Toho FC-45X or ARCA-SWISS F-Line), I have to raise up on my toes to see the top corners of the ground glass when the tripod is fully extended on level ground. If it was any taller, I'd need a step stool to view the image on the ground glass.

As far as fine tuning the composition. I use front rise and fall. One can also use the head to aim the camera up or down, but that may introduce unwanted distortion (depending on the subject and desired effect).

Previous tripods I've owned had center columns, but I tended to avoid using them. For my needs, the 1325 is perfect. However, if it was shorter, I could see where a center column would be needed to raise the camera to the desired height. I personally prefer to have the tripod legs provide the height. This seems to give a better combination of height/rigidity vs. short legs with a raised center column. The sacrifice is that my tripods don't fold-up as small as one with a center column. If the goal is to achieve the tallest tripod that folds up the smallest, then a model with four leg sections and a center column is the way to go. Folded length is not a high concern of mine. Therefore, I prefer a model with three leg sections of no center column.

Kerry

[Mikael Tran]

First of all, i have several times felt compelled to write you guys my admiration for all your candid critical opinions and informative articles. This site, i must say, has been one of the best learning tools for a young chap like me. Having said this much, with complete sincerity, i feel rather uncomfortable to write especially to a group of highly regarded individuals. However, i don't know if my ideas will have any pertinence in all this, but let me just add. I have contructed a piece of focusing cloth made of high counts white cotton on one side and a black piece of 3-layers Goretex fabric on the other. This is not only to protect the camera from sudden downpour, but also in the event of shooting in nearby misty falls. Also, at each corners and outer edges of the focusing cloth, i have installed pieces of velcro to prevent the cloth from blown in the wind.

On top, i have sewn a portion piece of tailor's measuring tape to the side of my focusing cloth for bellow compensation purposes. This will eliminate the time consuming of taking it in and out, and fear of losing it during the shoot, but also, allow little extra room in my pack's zipper pockets.

Again, with the most cordial thanks for all your profound knowledge and humors.