The Big Camera Set Up Contest

[Michael Nagl]

Good Evening, Ladies & Gents,

as we all know there are a lot of possible reasons that make one want to have a fast working style: be it the junkyard dog`s approaching, or the fading of a rainbow - astonishingly, things tend to not stop in awe before a big camera.
As I am presently in the need for a new camera (no more 5x7" colour film) and have to decide between a monorail or a folding camera, I want to start The Big Camera Set Up Contest. So, please: Get your stuff on your backs or whereever you carry it, pretend you are in the situation of just having found the intended picture; then measure the exact time from when you start unpacking until you are under the darkcloth and behind a leveled camera.
Go!
I will tell you about my own embarassing results tomorrow - it`s late.
Good night,
Michael

[Walter Calahan]

This is why I also carry my Minolta CLE with a 28mm, 40mm & 90mm when I'm out and about with my 8x10 camera. There are times when time won't wait.

I'll have to take this test soon.

[Eric Woodbury]

I don't level unless there is a building involved and then it is by eye.

[Glenn Thoreson]

Another eye leveler, here. After many years in the construction trades, I'm pretty good at it.

[Kirk Gittings]

Before you attempt this read......
http://www.largeformatphotography.in...e+savers+field

[Bill_1856]

The viewfinder and rangefinder on a Technika (or Graphics or Busch) make possible very "quick and dirty" setups, hand-holding for real emergencies, and a Grafmatic speeds it up a lot, too. (Of course, you must also calculate the exposure, and you may not always have a full Moon whose luminance you happen to remember is exactly 125 Lumens per foot candle per kilogram, etc -- forgive me, Ansel.)
I think that the biggest speeder-upper would be flip-locks on the tripod legs, and a QR head.

[Eric Woodbury]

Bill, that negative is very thin. Old Ansel buddy should have realized that that scene was very high contrast and that the moon was the brightest thing there. I wonder if the print would be as good if he hadn't flubbed the exposure.

[Gene McCluney]

Well, in a 10 hour day, I have shot 70 sheets, 16 bridges, 1 to 3 views per bridge,
with my 4x5 Super Graphic and a selection of lenses. this also involves traveling to each bridge. Approx. 300 miles total mileage.

[Sheldon N]

I've practiced setting up in my living room before, just to make sure I am familiar with the gear. It's a fun excersise to do while watching TV.

From backpack on my back with everything packed away and a collapsed tripod in hand to having the image composed and focused on the ground glass (no movements) takes me about 1 minute 45 seconds on my first try tonight. That was including hanging the Gnass film holder and fully extending the tripod. I'm using a Wista DX 4x5 wood field camera.

If I skip the Gnass film holder and only extend one section of tripod legs, I can get the setup time down to about 1 minute 10 seconds.

That's just enough time for the light to fade, me to drop a lens in the mud, and forget to close the viewing lever when pulling the darkslide.

[erie patsellis]

If I'm in these types of situations, I often carry my B&J Press mounted on a tiltall prefocused on infinity, and either the lens already tripped on T or the preview lever opened, a pouch over my shoulder with filmholders and a spot meter around my neck on a lanyard. total time to compose, load and shoot is under 45 secs assuming to tilts or shifts needed.

erie