For processing, I would give another vote for Praus Productions.
But there are many others, some of which can be found in this thread http://www.largeformatphotography.in...-E-6-Developed. There is a place in Silver Spring MD called Dodge Chrome
http://www.dodgechrome.com that processes large format film, perhaps that is close enough to you.
Bob
Hi Kristen, and welcome aboard! Nice to have somebody to keep these old codgers straightOriginally Posted by ScenicTraverse
For film processing I highly recommend Dodge Chrome in Silver Spring www.dodgechrome.com
They process sheet film up to 8x10, in black&white, E-6, and C-41. Excellent quality.
I believe they have a drop-off/pick-up location in DC, although I've never used it.
This is a serious lab, with the ability to do prints large enough to cover the side of a building.
There are few brick&mortar photo stores left where you can actually buy film and related stuff.
The big player in the area was Penn Camera, but they went Chapter 7 a year ago.
The sold three stores (Tyson's, DC, and Rockville) to Calumet, and closed their other eight locations.
There's a store near Dulles Airport that I dislike. I can't remember the name.
It's a huge place; 90% of the floor space is dedicated to backpacks.
If you range far and wide, Service Photo in north-central Baltimore has a good stock of stuff.
I bought my D800E there, and they had several in stock.
BTW, are you new to the area or a long-time resident?
Good shooting
- Leigh
If you believe you can, or you believe you can't... you're right.
Hi All,
Thanks again for the great responses. I have been bookmarking the film links you guys sent and am very appreciative. The place in Silver Spring should do the ticket nicely and great to hear a local with experience using it.
Leigh - that place is called Ace Photo. I actually love them.... and it might be worth revisiting them. They did a major overhaul of the shop about 6 months ago to make it less of a junk room. They still have the back room which is a bit of a mess, but they literally stock just about everything. I also am most fond of their sales staff, particularly Frank, who is extremely knowledgable. There have been some big steps taken there to clean it up, so don't write them off completely! (But not sure how much LF they do, I use them for all my digital woes).
I am familiar with Penn Camera - I used to live next to the Springfield location and remember being somewhat bummed when it closed overnight. I also have visited with Service Photo in Baltimore, I purchased my D800 from them.
To answer the question about lenses, I am looking at something probably in the 90mm range as my first lens. With my D800 I primarily use my Nikon 14-24mm and a 90mm is closer to the 24mm side of things, so it should be a good starting point. Not sure how much telephoto work I'll do; I suspect any type of work for macro, etc would still default to the D800. The LF will be a compliment to my current system, not replacing it. I unfortunately do too much macro and wildlife to get rid of it completely.
Someone had asked for some images.... oy! All of my work is on www.scenictraverse.com, but here are a few teasers from a variety of my albums
From Left to Right: 1) Harpers Ferry West Virginia as seen from Maryland Heights Overlook. Notice the train coming out of the tunnel immediately below where I'd be standing... 2) Lincoln at night. I love this image because it was so hard to get; the Lincoln Memorial ALWAYS has people at it, but I waited at 2am for a break when I was able to snap this exposure (along with others). It took almost 2 hours to get just 6 exposures with no one in them. 3) An example of my macro work. I just like this one for it's warmth, but there are a zillion others on my website 4) Jefferson at Night. Same idea as Mr. Lincoln, except this monument isn't travelled nearly as often! (I tried uploading more, but the uploader was giving me fits. Ho hum)
I actually have another photo shoot for tonight if the wind doesn't get frisky to work on the Vietnam wall at night. I'd eventually like to have a series covering all of the monuments at night.
We are planning a trip to Alaska this year, so the LF might get to come with the digital if I've figured out what I'm doing by then!
I also will be at Photoshop world in Orlando in April if any other LF photographers are going to be there - I know photoshop and LF don't exactly go together, but you never know right?!
Good on ya mate! (I'm was born in Ft. Belvoir and grew up in Woodbridge, a most unlikely place for an LF photographer...)
Your work is nice, but will definitely benefit from the use of a view camera. Good luck!
There are so many cameras to choose from, do take time to do some research. For instance, Zone VI marketed four different 4x5" cameras before they sold their operations to Calumet, who added a lightweight model to the lineup.
There's the original Zone VI, which was a re-branded Wista or Tachihara, cherrywood body with chrome trim. The strut supporting the back standard was a straight piece of metal. This was succeeded by another model, also a Wista or Tachihara, cherry or, if I remember correctly, rosewood, with a curved strut supporting the back standard. The base on the second model may have been all metal or more metal than the first model. All of these weighed about 3.5 pounds and had a 12-13" bellows extension.
Then Zone VI collaborated with Ron Wisner to create an all-new camera. Mahogany and brass, 18" of bellows extension. It weighs about 5.5 pounds. This first model had a swinging latch to attach the back of the camera to the rear standard. This camera was modified over time and the swinging latch was replaced by a sliding latch system. The pinnacle of their production featured gold-plated brass hardware. After several years Zone VI was sold to Calumet. They added a lighter-weight model that featured anodized aluminum hardware.
I owned the original Japanese Zone VI camera for several years. It is a good starter model, light, compact. My complaint was that the front standard was a little wobbly, which created problems when I focused using a front tilt. I upgraded to a later mahogany/brass Zone VI model with the sliding latches when it was introduced in early 1990. I still own it and it is a fine camera.
Meet some LF photographers, talk with them (most of us are gearheads at heart and love to talk cameras) and get plenty of advice. Read a lot and shop wisely. Besides all the excellent recommendations given above, I see LF gear showing up on Craigslist from time-to-time.
Peter Gomena
Hi Kristen,
You've done some excellent work and would certainly enjoy and do well with LF as well - considering your work so far. Very well done website !
If you're leaning mostly toward wide angle photography with LF, you would do well to consider cameras which have (or will accommodate) a bag type bellows or otherwise provide adequate bellows flexibility. I believe that for WA lenses less than 90mm, a bag type bellows is almost a necessity unless your bellows compresses well and you do not require any lens movement. Generally speaking, wide angle work requiring camera movements often asks for a little more give than a normal bellows might allow. It's a much better feeling when you have flexibility and ease of movements rather than having to struggle with a rigid bellows.
Many monorails allow for interchangeable bellows, but for field use, such cameras may be a bit more cumbersome to carry or pack. However, there are also field cameras which may offer a bag bellows or a very flexible bellows for WA use.
I personally use a Linhof M Technika, often with a 90mm lens. The camera is considered a "technical" camera as opposed to a "field" camera, but they are very similar. While the camera does not have a bag bellows, it has enough bellows flexibility when the lens is mounted in a recessed lens board (important for such lens use). There is a flip section of the camera body which provides for additional front rise and a drop bed as well. Many field type cameras will also offer similar features or equal functionality. All that being said about my own setup.... There are still a few occasions when I've felt a bit constricted, but it's very workable and I'm happy with it ! However, much wider angle lenses would not work as easily with the same camera model.
Good wishes to you in your exploration of LF and in choosing the camera that's right for you.
Dennis
P.S. LF and Photoshop do fit well together -- if you're so inclined ! (Beware, there are some here who may not agree. However, we manage to coexist !
Many LF photographers are scanning their work for digital adjustment in PS and printing on inkjet printers with wonderful results.
Last edited by DennisD; 2-Mar-2013 at 09:47. Reason: Added p.s.
I know just enough to be dangerous !
You might also consider a lighter (though not light) weight monorail, especially the Sinar F2. I used to shoot 8x10 with a great modern field camera, and while I miss the extra resolution and smoother tonality of 8x10, the F2 is much more of a dream to use, especially when using movements.
While in 35mm photography and digital wide angle lenses are in some ways the most forgiving, in large format practice the wide angles present certain challenges that normal or slightly wide lenses don't. I would recommend that you start with a lens that has both more coverage and wider aperture than a 90mm, say a 135 or 150, to master focussing and depth of field. Then, later, move to the 90 after you have mastered the large format process. Normal lenses are plentiful, inexpensive and very useful in their own right.
Ineresting you jumped into the longer lenses first for landscapes! 75 / 90 for me!
So after plenty more reading on the variety of cameras, I am leaning towards a Chamonix. It seems that is the camera most often recommended to newbies like myself and they look to be a fantastic design. Now I just need to decide which one to buy (and if its worth waiting for the new one or buying a used one).
Thank you again to everyone who has offered some more advice, I really appreciate it all.
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