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
Printable View
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
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?
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.
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
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
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.
Better editing of articles, especially those submissions by readers.
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
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.
Thanks for your comments. Portraiture will be the theme of our Jan/Feb 02 issue.
I will work on your other suggestions.
steve simmons
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.
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.
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 .....
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.
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
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.
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
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
Not bad so far! More on alternative processes would be appreciated. Thanks, Steve
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.
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.
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.
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
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
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!
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.
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.
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.
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!
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,
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
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
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,
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
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
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,
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
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.
Steve,
How about an article about Jon Cone and a rundown on all the different papers, inks, software, and printer combinations he sells?
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.
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?
I forgot: A piece on Texas LF photographers.
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
Excellent suggestions so far. How about one devoted to hand held LF?
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.
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.
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
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
Steve Dan Smith's comments has my vote. I couldn't say it any better.
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