First Chamonix Shoot Out

[Asher Kelman]

Hi Gordon,

Interesting points on composition upside down! I visited your website and wondered about which pictures were taken with LF? The B&W of the dirl coming from the water is especially well done.

Asher

[Gordon Moat]

Hello Asher,

Thanks for the compliments. That B/W was done with my 4x5, but using a rollfilm back. Ilford HP5+ processed by DR5 to create a transparency. I never did a count to check, though roughly about 40% of the shots are from my 4x5, either rollfilm back or Quickload/Readyload film. There are also 35mm shots there, though a few are hard to tell from my 6x9 images, which I use to shoot quite a bit.

Ciao!

Gordon Moat Photography

[Asher Kelman]

Thanks for the compliments. That B/W was done with my 4x5, but using a rollfilm back. Ilford HP5+ processed by DR5 to create a transparency. I never did a count to check, though roughly about 40% of the shots are from my 4x5, either rollfilm back or Quickload/Readyload film. There are also 35mm shots there, though a few are hard to tell from my 6x9 images, which I use to shoot quite a bit.
Gordon Moat Photography

Gordon, were these hand held and what lens with what shutter speed and aperture.

Have you ever taken a shot with the roll film, then raised the back to take and overlapping shot for stitching? Hmm is that O.K. by you? I realize some purists might have knipshons just contemplating that suggestion.

Asher

[Gordon Moat]

That shoot involved 4x5 film at ISO 100 and the HP5+ rollfilm shot at the recommended ISO 400 (according to DR5). I seem to want to state between f11 and f16 for the rollfilm shots on B/W, while the colour shot on 4x5 was done at f8.0 (including a two strobe set-up for fill lighting). All done using a 135mm f5.6 Schneider Symmar-S.

A B+W 041 filter was used for the HP5+ rollfilm shots. Best I recall that was 1/500, though we were dealing with variable clouds moving fast, so I was probably moving the aperture or shutter depending upon changes. One assistant had my Sekonic L-358 and was giving me readings as they changed. Another assistant was positioning a very large oval reflector to balance the light on the right side of the talent (left side of image). I know I did a few shots with an ND filter, but liked the contrast from the 041 better, even after processing through DR5.

The colour shot is Fuji Astia 100F Quickload. Both battery powered strobes were set to manual settings, adjusted from readings off the Sekonic (sorry, I never write those things down). Shutter speed was 1/8 second to allow the background to burn in better. the strobes handled freezing any motion from the talent, so lens shutter speed didn't need to be anything special (really like leaf shutter ability to sync so easily).

These were tripod only shots. The plane of focus was set-up ahead of time, then the talent (actress) moved only along the plane of focus. When you work with someone that takes instruction very well, I find that selective focus is quite easy to accomplish. On the colour shot, the talent stayed between the structure posts, which was easy.

Anyway, I don't really write down much of anything. I do tend to do many of the same settings over and over, which is why I recall some of these things. These set-ups are repeatable for me because I do them often, and I have been able to explicitly trust my Sekonic readings. Of course I still shoot the occasional Polaroid (405 or 550) to check lighting, though when lighting changes fast Polaroids are not very practical (too slow changing backs).

Okay ... stitching? Honestly I never really thought about it. I have enough shift and rise on the back of my 4x5 that I could do this. Unfortunately since I shoot mostly transparency film it would mean stitching in software later. I do everything in camera, so it would be a departure from my usual methods. However, I think I will try a few shots like this on rollfilm, and see what comes out. Thanks for the suggestion.

Ciao!

Gordon Moat Photography

[Asher Kelman]

Thanks so much for sharing your technic. You make it sound pretty straightforward. The pictures, however, do not betray the LF formal approach!

These were tripod only shots. The plane of focus was set-up ahead of time, then the talent (actress) moved only along the plane of focus. When you work with someone that takes instruction very well, I find that selective focus is quite easy to accomplish. On the colour shot, the talent stayed between the structure posts, which was easy.

Great idea!

Okay ... stitching? Honestly I never really thought about it. I have enough shift and rise on the back of my 4x5 that I could do this. Unfortunately since I shoot mostly transparency film it would mean stitching in software later. I do everything in camera, so it would be a departure from my usual methods. However, I think I will try a few shots like this on rollfilm, and see what comes out. Thanks for the suggestion.

I like the extra flexability of rollfilm and the idea that one can work fast for example at sunset where the light can change fast in 10 minutes. The extra speed of available film can be really an advantage.

If you're not familiar with the process I'd be happy to stich some for you! chances are you are already a whiz in processing by any way you choose!

Asher