Washington, DC Workshops

[mobius32]

Hello:

I'm new to LFPF and seriously investigating getting into LF photography. I'm trying to see if anyone knows about any workshops (group or private) in the Washington, DC area. I've seen the web sites of a few other photographers (sites with very nice photos and lots of information), but those will require that I get on a plane (short flights, relatively speaking). If I can find someone more local, say, within 130 miles of DC that would be great.

Thanks in advance for any leads.

[Bob Kerner]

Is New Hampshire/Vermont too far?

http://www.finefocusworkshops.com/

There aren't a lot of urban workshops that I'm aware of. I couldn't find any (except for a semester long college course) in the NYC area. Maine (Tillman Crane) and NH seem to be the hotspots for workshops on the East Coast.

You might try hooking up with someone from this forum and go out shooting with them.

[Leigh]

Check the Penn Camera website www.penncamera.com

They're the main pro shop in the DC area, with about ten stores scattered about.

They have a handout in the stores that list a whole bunch of workshops. I assume it's also available on the website. If not you can find the branch closest to you and pick one up.

nb. The Tyson's Corner store is virtually unreachable due to road construction. Hopefully that won't last too much longer.

Penn also has a good stock of LF film.

Where are you located?

- Leigh

[Scott Davis]

Mobius-

depending on what you're looking for, I teach alternative process workshops here in DC. Thanks to a rent hike I've lost my public space, but I can do 1 on 1 or at most 2 on one out of my home darkroom, until I find a bigger space. I teach platinum/palladium and gum bichromate. My studio mate in our public space teaches wet-plate collodion, but I don't know if he's still offering classes without a public teaching space.

[Walter Calahan]

What would you like to know? I've suggested that the Blue Ridge Workshops have me teach LF for some time, but the owner only wants to teach digital stuff. I don't think you'll find much LF educational offerings at Penn Camera.

Come spring time when our feet no longer freeze to the ground in minutes, contact me, and we could get together with other DC LF shootings for a day outing. Then you'd have a team of LF shootings from whom you can learn.

I teach photography at McDaniel College, Stevenson University, and Carroll Community College.

[Bob Kerner]

I'd suggest that if you take Walter (or anyone else) up on an offer to go out shooting you go out with a plan and list of questions you want answered. There are many folks here who are gracious with their time but you have to know what you want to learn and ask for help; otherwise, you'll just be out in the field mucking around with a bunch of other people or watching other people make nice photos.

[mobius32]

Is New Hampshire/Vermont too far?

http://www.finefocusworkshops.com/

There aren't a lot of urban workshops that I'm aware of. I couldn't find any (except for a semester long college course) in the NYC area. Maine (Tillman Crane) and NH seem to be the hotspots for workshops on the East Coast.

You might try hooking up with someone from this forum and go out shooting with them.

Thanks, Bob. New Hampshire/Vermont is about the same distance as another workshop I'd identified, but perhaps a little more time consuming to arrive (especially with the unpredictability of winter weather). But I will keep note of the fine focus reference b/c that is a beautiful area.

[mobius32]

Check the Penn Camera website www.penncamera.com

They're the main pro shop in the DC area, with about ten stores scattered about.

They have a handout in the stores that list a whole bunch of workshops. I assume it's also available on the website. If not you can find the branch closest to you and pick one up.

nb. The Tyson's Corner store is virtually unreachable due to road construction. Hopefully that won't last too much longer.

Penn also has a good stock of LF film.

Where are you located?

- Leigh

Thanks, Leigh. I bought my first DSLR from Penn and just never felt like it was a "camera" store as much as a place that just sold cameras (this was based on my interaction with several of the sales people at one of its DC locations). But maybe the feeling is different at Tyson's so I will give Penn another look.

[mobius32]

Mobius-

depending on what you're looking for, I teach alternative process workshops here in DC. Thanks to a rent hike I've lost my public space, but I can do 1 on 1 or at most 2 on one out of my home darkroom, until I find a bigger space. I teach platinum/palladium and gum bichromate. My studio mate in our public space teaches wet-plate collodion, but I don't know if he's still offering classes without a public teaching space.

Thanks, Scott. I'll keep this in mind; at the moment, I'm just concentrating on view camera basics rather than alternative processes.

[John Bowen]

I've been making the trek to VT/NH to attend the Fine Focus Workshops for the past 5 years. Bruce and Richard teach a variety of analog workshops. This May they are hosting a Richard Ritter Camera Extravaganza.
http://www.finefocusworkshops.com/view.html?I1.x=190&I1.y=11

[mobius32]

What would you like to know? I've suggested that the Blue Ridge Workshops have me teach LF for some time, but the owner only wants to teach digital stuff. I don't think you'll find much LF educational offerings at Penn Camera.

Come spring time when our feet no longer freeze to the ground in minutes, contact me, and we could get together with other DC LF shootings for a day outing. Then you'd have a team of LF shootings from whom you can learn.

I teach photography at McDaniel College, Stevenson University, and Carroll Community College.

Hello Walter:

Agree with you regarding Penn Camera (Penn could just as well be selling fish as cameras, such is my feeling that it's really a "camera store").

Thanks for you offer to tag along when the weather warms, because I'd very much like to do that. I've been shooting DSLR for about 15 months (Nikon) and shoot on manual settings 90 percent of the time. If I had to explain my learning curve I'd say that I came across the intro written by Q-Tuan Luong shortly after I bought my DSLR and was fairly lost. Now, I read it with substantial comprehension. What has pushed me towards LF is that the Library of Congress has a Flickr site and one of the galleries is titled "America In Color" ... I downloaded a few of the large TIFF files that the LOC made available and printed them at 16x20 ... fantastic ... now, I really like my D700 but I doubt it's going to give the same resolution at the larges sizes as would 4x5 (or larger). I think the phrase "seeing is believing" comes to mind, and I think most people (surprisingly or not) have never seen, in person, a large 4x5 or larger print.

So, at the moment, I'm trying to figure out what type of camera to get. I'm reading the Simmons (?) book on Using the View Camera; have decided that I definitely want to do macro, portrait, and wide angle (28-35mm equivalent field of view, not so much ultra-wide). Portability is very important; a 10-12lb /5-5 kg camera won't work for me. I would like to get a "whole plate" format camera because of the ability to easily print a contact sheet (no chemicals, just light, if I understand correctly), but it's apparently difficult to get that film size. I wouldn't mind buying used, but I'm a little leery of that should I encounter some problem. People have spoken well of the entry-level Chamonix, but there's an Ebony that keeps calling my name, too.

Anyway, I'll stop here. Please send me a private message for any other details regarding meeting up and/or instructional opportunities and costs.

Thanks

[mobius32]

I've been making the trek to VT/NH to attend the Fine Focus Workshops for the past 5 years. Bruce and Richard teach a variety of analog workshops. This May they are hosting a Richard Ritter Camera Extravaganza.
http://www.finefocusworkshops.com/view.html?I1.x=190&I1.y=11

Thanks, John. I just checked the link and that 8x10 workshop seems very, very nice -- and affordable!

[Leigh]

Thanks, Leigh. I bought my first DSLR from Penn and just never felt like it was a "camera" store as much as a place that just sold cameras (this was based on my interaction with several of the sales people at one of its DC locations). But maybe the feeling is different at Tyson's so I will give Penn another look.
You must be thinking of Ritz. They're the local camera-pushers.

I've dealt with Penn since 1967, and they're by far the best camera-savy folks I've ever met. They're certainly not pushers.

- Leigh

[mobius32]

You must be thinking of Ritz. They're the local camera-pushers.

I've dealt with Penn since 1967, and they're by far the best camera-savy folks I've ever met. They're certainly not pushers.

- Leigh

Hi, Leigh.

No, I'm certainly referring to Penn; the sales people I dealt with didn't seem camera savvy. But, again, as with any organization, perhaps that was just my limited and unrepresentative experience. And, also, the Tysons location might be different than one of the smaller, downtown DC locations.

[Scott Davis]

I would like to get a "whole plate" format camera because of the ability to easily print a contact sheet (no chemicals, just light, if I understand correctly), but it's apparently difficult to get that film size. I wouldn't mind buying used, but I'm a little leery of that should I encounter some problem. People have spoken well of the entry-level Chamonix, but there's an Ebony that keeps calling my name, too.

Thanks

The bigger hassle is not finding a whole plate camera, it's film holders. I'm aware that Chamonix is making whole plate holders, but I've not shot with them yet to know how well they fit. There were two major whole plate standards - the Kodak and another one whose name escapes me at the moment, along with a host of less common standards most of which were proprietary to the camera manufacturer in question. I have two Seneca "black beauty" whole plate cameras which take the Kodak holders, and a Century Master studio camera which accepts them as well. If you'd like to shoot a whole plate camera some time, let me know and I can make arrangements to bring one of the field cameras along on a shoot when I'm using something else.

Contact prints still require some chemistry, more or less depending on the type of print you're trying to make. The least chemical intensive contact printing type is cyanotype, which you can make with a little chemistry, sunlight and water. You can make contact prints with silver gelatin paper but that still requires the same circumstances that enlarging does - a darkroom with safelight, a controllable light source, and a place to put your developer, stop bath and fixer. You'll also have to develop your own film if you shoot whole plate- the custom labs around here won't process it, or if they do, they'll charge you enough that it will be worth your while to do it yourself.

I don't mean to discourage you from using it- it's a beautiful format and I like shooting it for the same reasons you're interested in it - big enough to stand out on a wall, not so big the camera will kill you to take around, less square than 8x10, more square than 5x7.

As to Penn Camera - there are two DC stores- 18th Street and E Street. E Street is the "pro" shop, 18th street is a glorified Ritz Camera. At E Street, there are a lot of folks who know what they're doing - Anthony and Ken in the rental department are two who spring to mind, and Chip the manager. There are also some folks at Tysons Corner who have a clue (two in particular worth talking to are Jerry (the REALLY tall guy, can't miss him, he runs the rental department) and Chip ( I think... different Chip than the one at E Street ) - shaved-headed guy, a little paunchy, with a goatee and mustache. Highly unlikely you'll ever see her on the floor, but Melanie is also really great (she handles the trade-in gear for them and mostly works in the back).

[mobius32]

The bigger hassle is not finding a whole plate camera, it's film holders. I'm aware that Chamonix is making whole plate holders, but I've not shot with them yet to know how well they fit. There were two major whole plate standards - the Kodak and another one whose name escapes me at the moment, along with a host of less common standards most of which were proprietary to the camera manufacturer in question. I have two Seneca "black beauty" whole plate cameras which take the Kodak holders, and a Century Master studio camera which accepts them as well. If you'd like to shoot a whole plate camera some time, let me know and I can make arrangements to bring one of the field cameras along on a shoot when I'm using something else.

Contact prints still require some chemistry, more or less depending on the type of print you're trying to make. The least chemical intensive contact printing type is cyanotype, which you can make with a little chemistry, sunlight and water. You can make contact prints with silver gelatin paper but that still requires the same circumstances that enlarging does - a darkroom with safelight, a controllable light source, and a place to put your developer, stop bath and fixer. You'll also have to develop your own film if you shoot whole plate- the custom labs around here won't process it, or if they do, they'll charge you enough that it will be worth your while to do it yourself.

I don't mean to discourage you from using it- it's a beautiful format and I like shooting it for the same reasons you're interested in it - big enough to stand out on a wall, not so big the camera will kill you to take around, less square than 8x10, more square than 5x7.

As to Penn Camera - there are two DC stores- 18th Street and E Street. E Street is the "pro" shop, 18th street is a glorified Ritz Camera. At E Street, there are a lot of folks who know what they're doing - Anthony and Ken in the rental department are two who spring to mind, and Chip the manager. There are also some folks at Tysons Corner who have a clue (two in particular worth talking to are Jerry (the REALLY tall guy, can't miss him, he runs the rental department) and Chip ( I think... different Chip than the one at E Street ) - shaved-headed guy, a little paunchy, with a goatee and mustache. Highly unlikely you'll ever see her on the floor, but Melanie is also really great (she handles the trade-in gear for them and mostly works in the back).

Thanks, Scott for the very generous offer ... if I go the whole plate route, I might have get you to walk me through the processing.

Re: developing whole plate (or any other film) do you use something like what Jobo offers?

Re: Penn, I visited the E Street store and perhaps I got the least "pro" of the "pro" staff :)

Also: I've been told that doing macro via LF photography is difficult due to DOF limitations, that it's better to do some under studio/controlled conditions. What level of "difficulty" are we talking about?

[pdmoylan]

For anyone interested, I am located North of Baltimore and would be happy to consider connecting on a field trip to DC or for that matter closer to home. Been shooting all formats since 1984, 4x5 since 1999. Represented by 2 galleries, widely published in my younger years. Nature is the primary subject including macro. Mostly color, some B&W.

[Tim Meisburger]

Hi Mobius. I'm in Falls Church. If you are nearby and want to try a shot or two give me a shout.

Tim

[mobius32]

Hi Mobius. I'm in Falls Church. If you are nearby and want to try a shot or two give me a shout.

Tim

Okay, thanks, Tim.

[Scott Davis]

Thanks, Scott for the very generous offer ... if I go the whole plate route, I might have get you to walk me through the processing.

Re: developing whole plate (or any other film) do you use something like what Jobo offers?

Re: Penn, I visited the E Street store and perhaps I got the least "pro" of the "pro" staff :)

Also: I've been told that doing macro via LF photography is difficult due to DOF limitations, that it's better to do some under studio/controlled conditions. What level of "difficulty" are we talking about?

I use a Jobo CPP2+ for processing my film in the Jobo Expert drums (the 3005 drum to be specific - it's designed for 8x10 but it of course can handle anything smaller, and it also works for my 5x12 sheets).

LF macro becomes increasingly difficult the bigger you go up in film size because of limited depth of field and bellows extension factor. It certainly can be done with sizes bigger than 4x5, but most folks I know who do LF macro don't go bigger than 5x7, and 4x5 predominates. Because of the light falloff, LF macro is better reserved for the studio unless you have portable strobes with fairly high output. Trying to shoot 1:1 or greater magnification with purely natural light becomes a challenge when not shooting absolutely immobile subjects.

[mobius32]

I use a Jobo CPP2+ for processing my film in the Jobo Expert drums (the 3005 drum to be specific - it's designed for 8x10 but it of course can handle anything smaller, and it also works for my 5x12 sheets).

LF macro becomes increasingly difficult the bigger you go up in film size because of limited depth of field and bellows extension factor. It certainly can be done with sizes bigger than 4x5, but most folks I know who do LF macro don't go bigger than 5x7, and 4x5 predominates. Because of the light falloff, LF macro is better reserved for the studio unless you have portable strobes with fairly high output. Trying to shoot 1:1 or greater magnification with purely natural light becomes a challenge when not shooting absolutely immobile subjects.

Okay, thanks. Also: I did see on the Ebony web site that they have film holders for the whole plate size.

[Joshua Dunn]

For the cost of flying somewhere you could buy an inexpensive camera and start shooting…

Some of us (including myself when I can) meet in Bethesda for a large format gathering. See the link here (http://photogathering.blogspot.com/). Basically it’s a modest number of people with lots of different backgrounds / ideas / equipment / processes etc. I might not be the best place to start learning about large format photography (most people come in with some experience) but there are some great minds to pick there and some real talented photographers that show up. Any experience level is welcome.

Depending on your background you may find it inspiring or run for the hills! Send me a PM if you have any questions.

[mobius32]

For the cost of flying somewhere you could buy an inexpensive camera and start shooting…

Some of us (including myself when I can) meet in Bethesda for a large format gathering. See the link here (http://photogathering.blogspot.com/). Basically it’s a modest number of people with lots of different backgrounds / ideas / equipment / processes etc. I might not be the best place to start learning about large format photography (most people come in with some experience) but there are some great minds to pick there and some real talented photographers that show up. Any experience level is welcome.

Depending on your background you may find it inspiring or run for the hills! Send me a PM if you have any questions.

Thanks, Joshua. Good to know about another local group.

[RichardRitter]

mobius32 Check out Peters Valley it's north of route 80 in New Jersey. There is a Large format work shop there June 24 -28 next summer. It is half way to Vermont and just as good. In one way better there are a lot of old builds to photograph and no one bothers you.

There will be more info on the workshop after the new year.

[mobius32]

mobius32 Check out Peters Valley it's north of route 80 in New Jersey. There is a Large format work shop there June 24 -28 next summer. It is half way to Vermont and just as good. In one way better there are a lot of old builds to photograph and no one bothers you.

There will be more info on the workshop after the new year.

Excellent tip, Richard. Thanks.

[mrladewig]

Also: I've been told that doing macro via LF photography is difficult due to DOF limitations, that it's better to do some under studio/controlled conditions. What level of "difficulty" are we talking about?

On 4X5, the DOF will be limited to maybe an inch at 1:1 before diffraction sets in and causes everything to become a blur. As you move past 1:1, the problem just gets worse. Larger formats = longer lenses for the same angle of view and the DOF and diffraction problems just get worse and worse. My first LF macro was a photo of a phalenopsis orchid bloom at around 2:1. I stopped down to an indicated f32 on the lens, the most this 75mm Tominon could stop down to, and took the ~2 minute exposure. While the exposure was correct, I could not get the entire bloom in focus, and the parts that were in focus were extremely blurred due to diffraction. This is the result. While it looks OK at web size, it is not what I would usually expect from my 4X5. If I were to do this again, I think it would work better with a longer lens and a little more working distance.

http://ladewigs.com/Gallery/d/2754-1/45_RVP1F_20100604_002_sm.jpg

Later I was able to get along with the lens better when I realized that wide open was about the best I could get from this lens, though the DOF is wafer thin. This image is pretty close to 1:1 on 4X5.

http://ladewigs.com/Gallery/d/2767-1/45_E1G_201000723_002.jpg

There is a discussion somewhere around here on using a slit lighting system and a plunger to move an object through a thin beam of light at the plane of focus, giving the appearance of a complete depth of field, but the cost is that the lighting must be very direct and roughly perpendicular to the camera and you've got to be able to have the plunger drop at the precise constant speed. The results are really cool, but it looks very difficult to put together.

[rdenney]

Also: I've been told that doing macro via LF photography is difficult due to DOF limitations, that it's better to do some under studio/controlled conditions. What level of "difficulty" are we talking about?

I have to agree with you about Penn. There are guys at both the E Street store and at the Tyson's store that know their stuff, but there are also plenty of folks who sell digital stuff to hobbyists and have always done so. If you know what you need and why, they can be a good store and I've bought stuff there. If you don't, you might not actually talk the guy who can really help you.

Plus, from where I live, the E Street store requires some significant commitment.

From reading the thread, it sounds like there is interest in an informal workshop brewing. I wouldn't mind taking part if the timing works out, and if bigger group serves the purpose.

Now, to macro: Remember that we use longer lenses with larger formats, so it's easier to get into the macro range than we realize. But most photographers don't use the term "macro" to mean 1:1 or larger as many here might expect. 1:1 means that the subject is 4x5" when using 4x5 film, and the typical plasmat will be halfway between the film and the subject. The exposure will have to be doubled because of the bellows factor.

1:1 with an APS-C digital SLR will end up with a print showing a 15x23mm subject at full print size. That's quite a magnification of nature. A 4x5 subject has to be printed very large to achieve the same effect. Or, you'll be well down into the macro range--say, 4:1 or 5:1--to make those little things look big. That's when you run into those big issues others have mentioned.

Close focus on a lot of small-format lenses is in the magnification range of 1:4, and one often must use a macro lens or extension tubes to get to 1:2. Most small-format photographers probably think they are "doing macro" if they have to use an extension tube or a macro lens to focus the subject. 1:4 would be a full-face portrait on 4x5--not extreme at all. With an 8" lens (210mm--typical for portraits), the subject would be 32" in front of the camera. Nothing really extreme about that. A full-face portrait on 8x10 is about 1:2.

Rick "whose medium and small-format 'macro' lenses only go to 1:2 without extension tubes or dedicated converted" Denney

[mobius32]

On 4X5, the DOF will be limited to maybe an inch at 1:1 before diffraction sets in and causes everything to become a blur. As you move past 1:1, the problem just gets worse. Larger formats = longer lenses for the same angle of view and the DOF and diffraction problems just get worse and worse. My first LF macro was a photo of a phalenopsis orchid bloom at around 2:1. I stopped down to an indicated f32 on the lens, the most this 75mm Tominon could stop down to, and took the ~2 minute exposure. While the exposure was correct, I could not get the entire bloom in focus, and the parts that were in focus were extremely blurred due to diffraction. This is the result. While it looks OK at web size, it is not what I would usually expect from my 4X5. If I were to do this again, I think it would work better with a longer lens and a little more working distance.

http://ladewigs.com/Gallery/d/2754-1/45_RVP1F_20100604_002_sm.jpg

Later I was able to get along with the lens better when I realized that wide open was about the best I could get from this lens, though the DOF is wafer thin. This image is pretty close to 1:1 on 4X5.

http://ladewigs.com/Gallery/d/2767-1/45_E1G_201000723_002.jpg

There is a discussion somewhere around here on using a slit lighting system and a plunger to move an object through a thin beam of light at the plane of focus, giving the appearance of a complete depth of field, but the cost is that the lighting must be very direct and roughly perpendicular to the camera and you've got to be able to have the plunger drop at the precise constant speed. The results are really cool, but it looks very difficult to put together.

Thanks very much. Your example is very helpful (and, yes, it does look fine on the web!). I'll see if I can find the thread re: slit lighting.

[mobius32]

I have to agree with you about Penn. There are guys at both the E Street store and at the Tyson's store that know their stuff, but there are also plenty of folks who sell digital stuff to hobbyists and have always done so. If you know what you need and why, they can be a good store and I've bought stuff there. If you don't, you might not actually talk the guy who can really help you.

Plus, from where I live, the E Street store requires some significant commitment.

From reading the thread, it sounds like there is interest in an informal workshop brewing. I wouldn't mind taking part if the timing works out, and if bigger group serves the purpose.

Now, to macro: Remember that we use longer lenses with larger formats, so it's easier to get into the macro range than we realize. But most photographers don't use the term "macro" to mean 1:1 or larger as many here might expect. 1:1 means that the subject is 4x5" when using 4x5 film, and the typical plasmat will be halfway between the film and the subject. The exposure will have to be doubled because of the bellows factor.

1:1 with an APS-C digital SLR will end up with a print showing a 15x23mm subject at full print size. That's quite a magnification of nature. A 4x5 subject has to be printed very large to achieve the same effect. Or, you'll be well down into the macro range--say, 4:1 or 5:1--to make those little things look big. That's when you run into those big issues others have mentioned.

Close focus on a lot of small-format lenses is in the magnification range of 1:4, and one often must use a macro lens or extension tubes to get to 1:2. Most small-format photographers probably think they are "doing macro" if they have to use an extension tube or a macro lens to focus the subject. 1:4 would be a full-face portrait on 4x5--not extreme at all. With an 8" lens (210mm--typical for portraits), the subject would be 32" in front of the camera. Nothing really extreme about that. A full-face portrait on 8x10 is about 1:2.

Rick "whose medium and small-format 'macro' lenses only go to 1:2 without extension tubes or dedicated converted" Denney

Okay, Rick, thanks for the very helpful clarification / reminder. So, one could use also use a 250-300mm lens to get closer but still avoid the above-mentioned "macro" difficulties, correct?

[rdenney]

Okay, Rick, thanks for the very helpful clarification / reminder. So, one could use also use a 250-300mm lens to get closer but still avoid the above-mentioned "macro" difficulties, correct?

Longer lenses increase working distance. The 1:2 facial portrait done on 8x10 will be done with a 300mm lens, probably. The working distance is a function of magnification and focal length--1:2 will provide a work distance twice the focal length, etc. With a 12" lens, that's a couple of feet, which is close up but not necessarily so close that most would think of it as macro.

The point is that with the larger format, the film is getting closer to the size of objects we photograph when we are not really "doing macro". When "doing macro", we think of insects and postage stamps. With 4x5 and 8x10, we can easily get into the 1:4 and 1:2 near-macro range making pictures of faces. If that's the sort of macro you were talking about, it's commonly done with large-format. I was letting you know that others were expressing issues about true macro--1:1 magnification and greater. And if you really do want to fill the image with an insect, you'll be working at 5:1, not 1:1, because the film is so big. At that point, you'll have all the issues that have been warned about in this thread.

Rick "who could have made his point without referring to focal length at all" Denney

[mobius32]

Longer lenses increase working distance. The 1:2 facial portrait done on 8x10 will be done with a 300mm lens, probably. The working distance is a function of magnification and focal length--1:2 will provide a work distance twice the focal length, etc. With a 12" lens, that's a couple of feet, which is close up but not necessarily so close that most would think of it as macro.

The point is that with the larger format, the film is getting closer to the size of objects we photograph when we are not really "doing macro". When "doing macro", we think of insects and postage stamps. With 4x5 and 8x10, we can easily get into the 1:4 and 1:2 near-macro range making pictures of faces. If that's the sort of macro you were talking about, it's commonly done with large-format. I was letting you know that others were expressing issues about true macro--1:1 magnification and greater. And if you really do want to fill the image with an insect, you'll be working at 5:1, not 1:1, because the film is so big. At that point, you'll have all the issues that have been warned about in this thread.

Rick "who could have made his point without referring to focal length at all" Denney

Perfect. Got it. Yes, I'm more interested in the near-macro range rather than true macro.

[al olson]

Hello:

I'm new to LFPF and seriously investigating getting into LF photography. I'm trying to see if anyone knows about any workshops (group or private) in the Washington, DC area. I've seen the web sites of a few other photographers (sites with very nice photos and lots of information), but those will require that I get on a plane (short flights, relatively speaking). If I can find someone more local, say, within 130 miles of DC that would be great.

Thanks in advance for any leads.

You might consider making contacts in some of the camera clubs in the area. Before I retired in April, 2004, I belonged to four camera clubs in Northern Virginia. The largest, The Northern Virginia Photographic Society with somewhere around 150-200 members is the most active with three scheduled meetings per month during the school year.

If you are on the Maryland side, the Bethesda Camera Club is another outstanding organization.

While I was in the NVPS I was Field Trip Chairman during the 2000-2002 seasons and then Workshop Chairman for the 2002-2004 seasons. When I took over the workshop chairmanship the prior Chairman had scheduled one night a month for workshops at one of the Alexandria elementary school classrooms.

In the fall of 2003 I was told that I would no longer have access to that classroom so I negotiated a free meeting room at the Fairfax County Government Center. Then the school called me back and told me that I could have the classroom, so then I had space for two meetings per month.

I decided that since there were several LF and MF shooters in the NVPS, that I would schedule LF/MF 'workshops' at the Government Center. We had around 8 participants who regularly came to meetings. When I left in April 2004 I am afraid that no one bothered to pick up the reins to keep it going.

I mention the camera clubs because this is a good place to make contact and meet other photographers/LFers, who are inclined to be generous with their time and willing to help you out. You might also consider checking out other camera clubs beside the NVPS. Other clubs that I belonged to were the Manassas-Warrenton Camera Club, the Vienna Photographic Society, and the Reston Photo Club. Since that time there are other photo clubs that have established themselves in the area such as in Leesburg.

The Virginia clubs are loosely organized in what is called the Northern Virginia Photographic Alliance which puts out a newsletter (or now probably a web page) highlighting the activities of all the member clubs. This way if you see a program, a workshop, or field trip sponsored by another club that you would like to attend, you are usually welcome. I believe that Maryland has something also like it as a clearing house for club activities.

The NVSP still meets, I believe, at the Dunn Loring Fire Hall on the 2nd Tuesday (program), 3rd Tuesday (competition), 4th Tuesday (portfolio), if you are interested.

[mobius32]

You might consider making contacts in some of the camera clubs in the area. Before I retired in April, 2004, I belonged to four camera clubs in Northern Virginia. The largest, The Northern Virginia Photographic Society with somewhere around 150-200 members is the most active with three scheduled meetings per month during the school year.

If you are on the Maryland side, the Bethesda Camera Club is another outstanding organization.

While I was in the NVPS I was Field Trip Chairman during the 2000-2002 seasons and then Workshop Chairman for the 2002-2004 seasons. When I took over the workshop chairmanship the prior Chairman had scheduled one night a month for workshops at one of the Alexandria elementary school classrooms.

In the fall of 2003 I was told that I would no longer have access to that classroom so I negotiated a free meeting room at the Fairfax County Government Center. Then the school called me back and told me that I could have the classroom, so then I had space for two meetings per month.

I decided that since there were several LF and MF shooters in the NVPS, that I would schedule LF/MF 'workshops' at the Government Center. We had around 8 participants who regularly came to meetings. When I left in April 2004 I am afraid that no one bothered to pick up the reins to keep it going.

I mention the camera clubs because this is a good place to make contact and meet other photographers/LFers, who are inclined to be generous with their time and willing to help you out. You might also consider checking out other camera clubs beside the NVPS. Other clubs that I belonged to were the Manassas-Warrenton Camera Club, the Vienna Photographic Society, and the Reston Photo Club. Since that time there are other photo clubs that have established themselves in the area such as in Leesburg.

The Virginia clubs are loosely organized in what is called the Northern Virginia Photographic Alliance which puts out a newsletter (or now probably a web page) highlighting the activities of all the member clubs. This way if you see a program, a workshop, or field trip sponsored by another club that you would like to attend, you are usually welcome. I believe that Maryland has something also like it as a clearing house for club activities.

The NVSP still meets, I believe, at the Dunn Loring Fire Hall on the 2nd Tuesday (program), 3rd Tuesday (competition), 4th Tuesday (portfolio), if you are interested.

Thank you very much, Al. I hadn't given any thought to local photographic clubs; but I'll look into it. Thanks.

[Sirius Glass]

I have found Tyson Corner Penn Camera's Chip to be quite helpful.

I am using a Jobo CPP 2 with a 3010 Expert Drum.

I am in the outer reaches of Herndon and I am interested in getting together for classes or outings.

By the way, the reason that the traffic is the pits in Northern Virginia is because the people there call the area "No Va". It is their own fault the traffic is bad! "No Va" means "It does not move.", "It does not work." and "It is broken." in Spanish.

Steve

[rdenney]

By the way, the reason that the traffic is the pits...

Please don't go there, even in jest. You guys don't need the rant I could muster.

Rick "who's a traffic management specialist in his day job" Denney

[Tim Meisburger]

Your kidding! right? I hopes its not you who is wholly responsible for the worst traffic nightmare since the 1960s...

Sirius, I'm also up for outings and workshops.

Cheers, Tim

[rdenney]

Your kidding! right? I hopes its not you who is wholly responsible for the worst traffic nightmare since the 1960s...

Uh, that would be a "no".

Rick "'a prophet is not without honor except in his own home'" Denney

[Fauxtographer]

Mobius-

depending on what you're looking for, I teach alternative process workshops here in DC. Thanks to a rent hike I've lost my public space, but I can do 1 on 1 or at most 2 on one out of my home darkroom, until I find a bigger space. I teach platinum/palladium and gum bichromate. My studio mate in our public space teaches wet-plate collodion, but I don't know if he's still offering classes without a public teaching space.

I am definitely interested in wet-plate and dry-plate techniques if you know someone who will teach them. Any info you can provide is much appreciated. Thanks!

[Scott Davis]

I am definitely interested in wet-plate and dry-plate techniques if you know someone who will teach them. Any info you can provide is much appreciated. Thanks!

My studio-mate Barry Schmetter (BarryS here on LFInfo and on APUG) teaches an intro to wet plate class. Once I'm set up in my new studio space (should be up and running next month) we'll try to have a class there again, probably April-ish time frame. In the meantime, contact Barry directly for more details.