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Thanks for having me
I experimented a bit with LF photography back in the 1980s, graduating from class Nikon to medium format (C330), then trying LF with a venerable Calumet 4x5, and later that year a Toyo 45 field camera. Didn't amount to much, but got a taste for it. Many years later, I returned to photography when digital came out, and I kicked around a few forums. Got back into large format with a vengeance, took a hiatus for 2 years because of a stroke and complications, but am back, healthier, and now I use my DSLRs only as exposure meters or trip stuff, and pretty much spend most of my time in the field with a 4x5 Linhof, a Linhof Color, and a 5x7 Gowland Pocket view. These are shown below. I shoot other formats as well, but less rather than more at this point.
I do some studio work with a Toyo G57 and a Toyo GX in 4x5, and have just gotten into trouble with a move up to 8x10. I recently also bought a 4x5 and 8x10 Intrepid field cameras, and will use them to further confuse my life! :rolleyes:
I have too many cameras (I collect), too many lenses (collect these, too), and and a haphazard sloppy kind of photographer because I never know what I'm doing, but I have fun! And once in a while I produce a worthwhile shot. But I'm basically here to learn.
I'm a professional symphony musician by trade, and have been concertmaster of 3 orchestras. I'm now retired from playing, teach and conduct a large regional amateur orchestra in Prince George, BC. I mess around with photography as much as I can. See you all around the forum.
http://www.pbase.com/moltogordo/image/168032677.jpg
http://www.pbase.com/moltogordo/image/168032678.jpg
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Re: Thanks for having me
You're very welcome! You're not the only one who shoots pure for the fun of it!
Paul
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Re: Thanks for having me
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Re: Thanks for having me
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Re: Thanks for having me
Welcome. We’ll share the fun of LF.
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Re: Thanks for having me
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Re: Thanks for having me
Gordon, to me, leading the first violins section it's the most challenging position in a symphonic orchestra. That's a position that cannot be improvised, I guess. I think that technically it's the most critical position, an the basement that allows the art to flow.
A Symphonic it's something incredible, I simply don't understand how such an amount of talent can be gathered and, amazingly, how those 150 incredible musicians are coordinated in their expression.
Always I try to learn a bit about classic music, now I'm trying to understand a bit better the voices of different kinds of soprano... so still I've a lot to learn.
but I guess I know enough to realize how challenging it has to be mastering the concert.
Let me make a forecast, beyond having fun with the view camera, you are to craft great images.