My second semi-nudes..........

[atlcruiser]

Frank that makes more sense than you might know

I have been bothered by some of the crap in the sidelines of the photos, some more than others.

In the above photo there are 4 strong verticals on the train car. it now occours to me that by moving in just a bit I could lose the outermost 2 verticals and then have her legs working with the 2 remaining verticals.

Now, between what you and Asher both said I can see how a slight move or even a shift to the right (crap, the deardorff does not shift!) would eliminate or lessen the pipe digging into her back.

Thanks guys

[Wayne R. Scott]

Hey David,

You are shooting an 8x10 and have plenty of detail if you just crop your existing photo #3. Draw a verticle line from just to the right of the guard rail and you will see that you have two photos. The one on the left is of some junk and the one on the right is a personal portrait. I don't know, is there is an unwritten rule somewhere that says you have to keep everything that shows up in a negative? If you cover up the left half of the photo I think that you have a very strong image.

But, then what do I know?

Wayne

[atlcruiser]

Hi Wayne,
i see your point. I am not into cropping at all but I do like the idea of filling the negative a bit better.

thanks

[Roger Cole]

Frank that makes more sense than you might know

I have been bothered by some of the crap in the sidelines of the photos, some more than others.

In the above photo there are 4 strong verticals on the train car. it now occours to me that by moving in just a bit I could lose the outermost 2 verticals and then have her legs working with the 2 remaining verticals.

Now, between what you and Asher both said I can see how a slight move or even a shift to the right (crap, the deardorff does not shift!) would eliminate or lessen the pipe digging into her back.

Thanks guys

I've never shot 8x10 and not familiar with the Deardorf, but does it have both front and rear swings? If so, you can get the effect of shift. Turn the whole camera right or left as appropriate then swing the front and back to make them parallel again.

I've only played with this "non-live" when not shooting because my Tech III does have front shift, rarely used but handy when it is. It's a bit fiddly, but certainly possible.

[Frank Petronio]

Shift is great and all but you still gotta start by finding the right place to set the legs. All that shift gets you is maybe a slightly better composition if you can't set the tripod in the best spot because of physical constraints.

So I'd quit your bellyaching about some perceived lack of movements and blaming the equipment, lol, man up!!!

[atlcruiser]

Shift is great and all but you still gotta start by finding the right place to set the legs. All that shift gets you is maybe a slightly better composition if you can't set the tripod in the best spot because of physical constraints.

So I'd quit your bellyaching about some perceived lack of movements and blaming the equipment, lol, man up!!!

Bite me, boy wonder! Did I not say a move as in "move the entire monster" to a better location OR a slight shift? I am not blaming my equipment at all. This is not RFF and I dont care what bag you use

No amount of shift would have fixed the pipe issue

Seriously, I do like shift but I have never really used it much and now none of my cameras really has any........it is a non issue. I know very well the issue lies with me :0

Thanks Roger...I had forgotten about doing that fake shift. Now if I do it Frank wil be mad at me and call me a wimp

[Frank Petronio]

Then put a hacksaw and machete in your kit!

[MMELVIS]

0811 BW 810 003.jpg by urbanlandcruiser, on Flickr

This picture should not be touched, clipped, adapted or changed. The objects around the model enhance the overall image. The rail on the left leads the eye to the model’s back and gets the viewer focus. Step back and look at the full image, the mix of textures is exciting.

[Alan Gales]

I learned a long time ago while shooting 35mm to move around while looking through the camera to line up a shot. Then I put the camera on the tripod to take the shot from the same viewpoint.

Today do the same thing with a digital camera just like Frank says. When you find what you want, then set up your large format camera on a tripod to take the shot.

[Joe Smigiel]

I learned a long time ago while shooting 35mm to move around while looking through the camera to line up a shot. Then I put the camera on the tripod to take the shot from the same viewpoint.

Today do the same thing with a digital camera just like Frank says. When you find what you want, then set up your large format camera on a tripod to take the shot.

Take an 8x10 picture mat out with you and look through that as a viewfinder. That will show you where to set the camera and can also give you the same perspective as the lens you are using if you hold it at the focal length from your eye at the same point in space that the lens will occupy. It can also indicate the best focal length to use when held at varying distances. Before I'd ever set up the bulky view camera I'd be looking through such a card viewfinder. There's something about looking through a hole in a card that facilitates framing better than looking through a camera.