I haven't scanned my N.W. Scotland shots from this summer, but allowing the ever-present wind to shake the camera a bit - as described in this older thread - is a standard part of my abstraction repertoire.
I haven't scanned my N.W. Scotland shots from this summer, but allowing the ever-present wind to shake the camera a bit - as described in this older thread - is a standard part of my abstraction repertoire.
LOL!Originally Posted by j.e.simmons
I keep a cheap folding umbrella in my camera bag. It makes a good windbreak, may be able to stand more wind than a lightdisc, and in the event can also be used to keep the camera dry.
Hanging something from the center column works as long the something doesn't start swaying in the wind. Using an appropriately-sized bungee cord to connect the camera bag to the column, so the bag is firmly on the ground, seems to help.
I've even been known to use two fingers to press down on the top of the tripod (where the legs meet, below the head) when hanging the bag isn't advised. Yes, it helps.
I shoot mostly 8x10 these days, so these thoughts are primarily oriented around that format:
1) Shoot from the wind shadow of the car when possible.
2) Use two tripods. Set the tripods as low to the ground as possible, and spread the legs of the primary tripod at a wider angle so that it is better braced. Also, exploit any nearby natural or man-made features to better brace or shelter the camera; I recently placed my second tripod (which holds up the front standard) on top of a low rock wall, which allowed me to get several shots in a heavy headwind which would otherwise have been impossible with an 8x10.
3) Use a focusing cloth which affixes to the rear standard using a strong elastic band. My Blackjacket (with the arm holes) works very well in high winds.
4) After focusing, set long postal rubber bands between the front and rear standards (so there is tension between the two); set another rubber band between the front standard and the hook under the tripod center column; and set another rubber band between the rear standard and the hook under the tripod center column. These all help to more quickly dampen vibration so that, when a wind lull does occur, you can release the shutter almost immediately.
5) Use a golf umbrella as a windbreak when the wind is coming from the side or back.
6) Keep fast films around for windy conditions (I use HP5+ for B&W, 400NC or pushed Fuji chrome film for color).
7) For color shooting in particular, rely on your lens coatings and lens hood to eliminate glare rather than using a polarizer (and losing 1 2/3 stops of shutter speed). The new color saturated emulsions actually help here; in high glare, windy conditions I was recently able to use pushed Velvia 100 (without polarizer) to achieve comparable color separation versus my usual pushed Provia with polarizer.
On a recent trip to eastern washington I found the wind to be a horrible distraction, particularly when facing directly into it and trying to keep my darkcloth closed in enough to allow me to focus.
However I was facing a constant 10-15mph wind and found that my cambo monorail, and berlbach tripod gave plenty of stability with a 90mm SA. The negatives and prints show no evidence of vibration. My Linhof TechIII with 150mm xenar wasn't as stable though.
I found seeking the shelter of a grain silo and using a 330mm lens to compose a number of images in a 6x12 format to work very well. It also proved to be artistically stimulating.
This won't answer your question but here in New England, I've noticed the most beautiful clouds come out on the windiest days (sigh!). I will definitely be reading everyone's suggestions.
High wind is where a Graflex excells. Grafmatics make it easier too. A Super D gives you auto diaphram; a older model, an Auto Graflex, gives you a rising lens board.
I'll have to try your #7, the lightmeter case under the bellows. I hadn't heard that one before, thanks.
- I use a cheapo folding umbrella, the kind that collapses down to about 8" long so it fits right into the camera bag. And it really is a cheap one; I don't remember if I bought it at Harbor Freight or the Dollar Store but I know I won't feel any great loss when the wind eventually destroys it.
- I have also, in lieu of the cord-and-foot thing, simply put two fingers on the top of the tripod legs (just below the head) and pressed down enough to provide some extra stability.
About the only thing not mentioned was running a longer exposure. I seem to have better results avoiding vibration wind effects when doing that, though it would obviously not work with shots of trees. One little helper I use is a two way level placed on top of the rear standard; if I see the level bubbles shaking or moving, then I know I have a problem.
Ciao!
Gordon Moat
A G Studio
one of my favs it to drive a tent stake into the ground and set the tripod up on top of the stake. Then I hook a bungy cord to the bottom of the tripod and run it to the stake then back to the tripod. That will really drive the legs of the tripod into the ground. If the wind is above about 25mph I stop at Starbucks on the way back to the house.
lee\c
Excellent tip with the levels Gordon. Also carry an empty bag that can be slung under your tripod and you can fill it with "local" rocks just for the time you are in the location. Sling it low so that it is out of most of the wind.
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