Composing Accessories.

[postman]

I am interested in whether anybody here is using a point and shoot as scouting, composing and lens selection tool. I have read most of the threads on viewfinders, Directors Viewfinders, and cardboard composing frames. But I want to use a point and shoot, preferably sensor matched to a 6x9 format. Variable Zoom to enable lens selection.

Anybody doing this?

Thanks.

[Leonard Evens]

I am interested in whether anybody here is using a point and shoot as scouting, composing and lens selection tool. I have read most of the threads on viewfinders, Directors Viewfinders, and cardboard composing frames. But I want to use a point and shoot, preferably sensor matched to a 6x9 format. Variable Zoom to enable lens selection.

Anybody doing this?

Thanks.

Many DSLRs, such as my Nikon D80, use the traditional 35 mm aspect ratio of 3:2. I use my Nikon on occasion to try out different framings for a scene I later take a picture of using my 4 x 5. Since 4 x 5 lenses usually have a 5:4 aspect ratio, I have to do some computations and cropping, but if you are using a 6 x 9 camera, it is easier. The short dimension of the 6 x 9 format is 56 mm. My Nikon D80 has a short dimension of 16 mm, so to get an equivalent lens you must divide or multiply by 56/16 = 3.5. So if you intend to use a 90 mm lens with your 6 x 9, use 90/3.5 ~ 26 mm with the DSLR.

Of course, you can't deal with shifts this way. To do that you have to choose a larger conversion factor, so you end up with a wider angle on your DSLR and then do an off center crop to simulate a rise/fall or shift.

Finally, the DSLR with a normal lens doesn't allow for tilts or swings, but typically, you have so much depth of field with the DSLR, you don't need to worry about what is in focus. With your 6 x 9, you need to do the usualy work required to get everything you want in focus.

[Heroique]

A tweak on the “scouting tool” portion of your post – not for everyone, perhaps for a tiny minority:

It’s impossible for me to over-estimate the usefulness of scouting as an early step toward “getting” the film or print image I want (of forested landscapes). To be sure, I’m always scouting, whether I’m on the way to a known destination w/ gear in tow, or investigating the woods – w/o gear – inviting inspiration to strike for a future picture taking session.

But either way, the more “scouting” I’ve done, the less I rely on “scouting tools,” all in an effort to better rely on my unmediated experience alone. Why? Well, it’s a very personal reason, but it might have just enough significance share:

To me, the scouting tools one might use – a digital P&S matched to 6x9, a digital SLR, a cell phone, etc. – have too often distracted me from (not quickened my perception of) my best potential compositions. Worse, they’ve concealed these compositions from me, and – depending on how heavy the tools are, what concentration they need, or how much time they take to operate – they’ve literally reduced my scouting range where my best compositions might be found. In a phrase, these tools are occasionally helpful, but over time, it has become supremely important for me to remember just how often they blind me to the best shot I could have seen and planned.

It may simply be a matter of pre-maturely eliminating the possibilities, a necessary task whose moment will, eventually, arrive…

(BTW, my single best “scouting tool” is walking around the composition I think I’ve just discovered – the “better” future shot will frequently be “from over there,” or better, an entirely different subject I find while being over there. ;) )

It’s counter-intuitive, but all one’s non-visual senses – in combination with the all-important eyes – are the “neglected” tools, I think, when it comes to an initial search for future shots. I try to de-monopolize my literal eyes to open-up greater possibilities for the photographic one. Only later – and especially as the hours count-down to setting-up the tripod, applying movements, and clicking the shutter – do I count more and more on the eye-oriented machinery that helps me narrow down the more technical choices…

[postman]

I admit to being afraid (concerned) of over complicating things and getting wrapped up in a piece of technology. But I am moving from DSLR for a lot of my stuff and to a 6x9 view camera. I am not yet familiar with the format and for outdoor stuff I don't want to lug a bag with everything in it. So I was headed toward a Directors Viewfinder, but figured for the price of a decent one I could grab a point and shoot, or something like the Panasonic GF-1 or an Olympus EP2 - I think the later two have an 18-200mm available - and simply scout and frame using the camera. I thought maybe somebody else had traveled this path and searching for point and shoot is not very easy.

Sony's DSC-HX5V and DSC-TX7 are interesting too because of their GPS and compass capability.

But in the end I am looking for something that can be carried at all times, be simple and effective in helping me find a spot and pick a focal length, until I have enough experience and confidence to do it completely by eye.

I think my point being I agree with Heroique but I am not there yet.

[Heroique]

I think my point being I agree with Heroique but I am not there yet.

Well, I do admire your willingness to get out and shoot w/ something to help ease the transition from DSLRs to 6x9 film. :) When I started with LF, my transition may have been easier than yours – I was coming from 35mm film. But I do remember similar thoughts & impressions: “I don’t want to lug around this heavy equipment until my eye is more familiar w/ the format & my confidence is higher about using it.”

But in the end, I just accepted the old saw, “there’s no experience like experience.” So into the field I went – unsure of my self, carrying a much larger tripod & heavier pack than ever, and not really knowing what I was doing … beyond the LF books I had read. Many mistakes greeted me, but they trailed off, and I grew to realize that practicing w/ the equipment I wanted to learn about, and trusting my eye, were the two best things I could have done. And every time I head out, I keep learning.

Be this as it may, others here may have eased into MF or LF w/ digital cameras matched to the new format’s aspect ratio, and I’d be curious to hear their lessons. But “getting out there” is the all-important thing. And it sounds like you have that part covered!

[Michael Wainfeld]

I became interested in LF photography by seeing great prints and reading about the photographers (EW), but what really got me hooked was the first time I saw that big, bright image on the groundglass, under the focusing cloth. It was magical, and I bet many other LF photographers have had the same experience.
I have been using a viewfinder to compose shots, without much success. But I was recently shown, (by Paula Chamlee), that just looking at the image on the groundglass can be a lot more fun and creative. And, again, looking at the groundglass is one of the highpoints for me, the other being seeing a successful print for the first time in the darkroom.
So when I see something I want to photograph, I just plop my tripod down, get under the cloth and start to look. I turn the camera from side to side, up and down, front rise and fall, move the tripod forward or back, but always composing on the groundglass.
Another thing about this method is that you will see compositions, and relationships that you did not initially notice.
So far I'm having fun, makes the aching shoulder, mosquito bites, etc. worth it!

[jan labij]

I only carry a B&J speed press and 3 film holders with me now. I used to carry a piece of ruby red plastic in a piece of cardboard to check contrast, now I use brown sunglasses for that. Oh yeah I also bring a tiltall tripod. You won't look through that ground glass much more than 2 dozen times before you will be able to visualize composition without any "helpers"

[postman]

I did find an interesting iPhone application called ViewFinder Pro that allows you to simulate up to four cameras, specifying specific focal lengths for each camera. Select a camera and frame lines are displayed for the focal lengths you have specified. If you then take a photograph with the iPhone those frame lines are saved to the photograph for review later.