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Thread: Architecture: Recommend Three Focal Lengths

  1. #21

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    Architecture: Recommend Three Focal Lengths

    While I don't have anywhere near the experience that a guy like Kirk has, I have done a fair amount of architectural work for ads and brochures. I don't like working for most architects though, which is another topic. By art directing the shoots myself, I avoid getting pushed by an inexperienced client to "get it all in one shot" and can avoid using the goofy superwide angles that most mid-level commercial architectural shooters have to use to satisfy the client requests. Note that the esteemed ESTO - HB shooters hardly ever use the superwides, at least for their portfolio shots.

    That said, just get a late model Rodenstock Grandagon 90/4.5 and use the heck out of it -- along with that nice 150 Sironar you already have. Keep it simple and save your money until you need some other lens (or a Noblex or DLSR or some other item).

    The faster, more expensive lens is easier to focus, has more coverage, and is more even without a center filter. It is large, but so is everything else...

    As for using roll film, if you are not shooting at Kirk's quantity and it ends up forcing you to buy a couple of $1000 lenses, then is it really a savings afterall? Readyloads are expensive per unit substitute for a roll back, but you can buy a lot of them for the cost of a $500 6x12 back and a couple of extra superwide XLs or Grandagons.

  2. #22
    Kirk Gittings's Avatar
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    Architecture: Recommend Three Focal Lengths

    There is something to what Frank says. For years I got away shooting only a 90 and a 210! That sounds absurd probably, but it is true, I only owned two lenses and shot regularly for Architecture Magazine, then I bought a 120, then a 65 etc. The point is that if you are shooting 4x5, 90% of your images will be shot with a 90mm lens (it is an old saying in arch photography).
    Thanks,
    Kirk

    at age 73:
    "The woods are lovely, dark and deep,
    But I have promises to keep,
    And miles to go before I sleep,
    And miles to go before I sleep"

  3. #23

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    Architecture: Recommend Three Focal Lengths

    Last year I used a compact outfit consisting of a Technika IV with Readyloads and a 90/6.8 Angulon and a 210/6.3 Geronar - either lens would fold up into the camera, and the whole outfit fit into the small Lowe CompuTrekker with 40 sheets of film, a laptop, and DSLR! It was great for travel.

    Don't tell anyone, but I have several 30x40 prints, a 30 x 72 stitched panorama, and a double-page full bleed magazine ad done with that outfit. Of architectural subjects no less. I doubt you could tell which shots were done with the 90/4.5 or the Angulon...

  4. #24
    Beverly Hills, California
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    Architecture: Recommend Three Focal Lengths

    Frank and Kirk, I think there is a lot to be said for just getting a Rodenstock 90 right now to add to my 150. That will do. I hope to continue to have good 'Rodenstock karma'. My Apo Sironar-S 150 is extremely sharp. But 90mm is my favorite focal length in 4x5. 150 is a good compliment to the 90.

    Thanks all so much for taking time to post your suggestions.

  5. #25

    Architecture: Recommend Three Focal Lengths

    Thanks for the thoughts, Kirk. Great to know, that stuff. I'd also love to hear some more on your billing strategies one day! Since I'm in the same condundrum and have been trying to find a solution - which I usually deal with by trying to inform my clients as best I can that digital capture on the same order of magnitude of quality as 4x5 is something they just couldn't afford (nor could I, of course!) - and it would probably involve a scanning back - which is (logistically) a huge problem, as you could imagine.

    I'll admit to being a 90 junkie as well, though. I suppose my attitudes come from being kind of 90'ed out. 75s are super useful in certain spaces. If I'm doing interiors - and they're not huge spaces - I'll split time with my 90 and 75 pretty much equally. I've been using a 58XL for really tight spaces - but they're just so WEIRD looking (the photos I mean!). A bit extreme.

    I like what you're doing with the 6x9 though. Very interesting strategy. Roll film could be pretty handy. Too bad there's not a bigger market for 70mm though (lack of good emulsions).

    I dunno. HB and ESTO do absolutely NOTHING for me. Just not my thing. I've seen Aaron do some decent work - but it leaves me kind of cold. Choi and Warchol are the only ones I'd seen that really impress me. To each their own though, I suppose. I think I like them because they're trying to get away from a more traditional architectural photography. Something I strive to do myself. But I design buildings myself too - so I guess that gives me a certain perversion others don't have.

    Macht's gut!
    Jonathan

  6. #26
    Kirk Gittings's Avatar
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    Architecture: Recommend Three Focal Lengths

    To be honest with you Jonathan. I have not seen anything really new in commercial architectural photography in a very long time. Which is not to say I have not see some great photographs, but new and good are different no?

    For a fresh look I think you have to look at the more "art" architectural photographers like Mark Citret or Gabriele Basilico, or whoever, but outside the commercial arena to see anything fresh. In a sense the conventions of arch photography are stricter than the conventions in architecture so that arch evolves faster than commercial arch photography does. What you see sometimes in the work of some arch photographers is fresh architecture seen in a photographically conventional way, but that reads as fresh photography when it is actually the same old way of looking at a box. When I look at Choi's work I see well executed images with some moving bodies thrown in but that is not a fresh way of seeing but just a fresh way of proping traditional arch photography.

    I am not holding myself up as anything different. I do commercial arch photography to pay the bills. If I could make a living off my personal work I would drop it in a minute. I work so much for magazines and architects, and they are not interested in new and inventive ways of seeing but competent images so I gave up fighting them on that and save whatever creativity I have for my personal work. It is the very rare magazine designer that can appreciate an arch photo that is truely outside of the box.
    Thanks,
    Kirk

    at age 73:
    "The woods are lovely, dark and deep,
    But I have promises to keep,
    And miles to go before I sleep,
    And miles to go before I sleep"

  7. #27
    Beverly Hills, California
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    Re: Architecture: Recommend Three Focal Lengths

    Well, because I am a sucker for bang-for-the-buck Japanese products, and particularly well built, sharp lenses, I went against my own anti-Nikkor advice, I must 'fess up, and snagged the Nikkor SW 90 4.5 and SW 120 f8 'imported' lens from B&H.

    They were both $900 brand new and the glass looks pristine.

  8. #28

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    Re: Architecture: Recommend Three Focal Lengths

    Hi Andre 941
    I have 2 LF Nikkors the f4.5s 75 and 90mm and 8 35 mm Nikkors and never had fungus on them! Nock on wood!
    You will be happy with the wide Nikkors I love mine!
    Cheers Armin

  9. #29
    Beverly Hills, California
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    Re: Architecture: Recommend Three Focal Lengths

    Thanks Armin, yes these two Nikkor SW wide angle lenses look fabulous. Knock on wood.

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