Tips to Speed LF Landscape Setup

[John Hollenberg]

Well, it happened again--I missed the best light. I was up at Convict Lake in the Eastern Sierra, nice light, but cloudy and changing fast. My friend gets a perfect composition and perfect light with a 35 mm SLR. It turns out that I chose a very similar composition, but by the time I am ready (maybe 5-7 minutes later) the light has changed and wind has kicked up obscuring the wonderful reflection of snow covered peaks on the lake.

So I get to thinking, "How can I speed up the setup?" (besides practice, which I will definitely be doing). I identified several areas that take me too long and am hoping for suggestions to speed up setup:

1) Leveling the camera - I use a Gitzo leveling base (which I love) with an Arca Swiss B1 on Gitzo 1325. It still takes me too long to get the ballhead level in two dimensions. When I get one right, the other has moved. My current camera, a Wista DXII doesn't have bubble levels. I have been using a small pen-sized level I bought at a hardware store. Tips on working faster with the ballhead? Should I buy a bubble level and attach it to the camera? If so, which one? Should I consider switching to a pan head like the Bogen 410 compact geared head?

2) Setting up the camera - this is actually not too bad, I like the Wista best of the three cameras I have owned (Tachihara, Toho are others). Does take some time to unfold and attach the lens, but reasonable. Certainly a non-folding Ebony or perhaps a monorail set up with lens already on it would be faster.

3) Attaching the hood and checking for vignetting - I am using Lee Prohood for Cokin P adapter. Not my favorite. Finding adapter rings for lenses and setting things up, checking for vignetting takes me WAY too much time. Would the regular Lee system be better? A camera which has a good compendium hood (Toyo AX, Arca Swiss)? I will definitely keep the Wista for multi-day backpacking trips, but may want to get another 4X5 for shoots closer to civilization. The Bright Screen I got from Maxwell Precision Optics for the Wista is a joy to use--much better than either the Tachihara or Toho.

Thanks for any help.

--John

[John Cook]

I had a similar problem many years ago In Hollywood, shooting multiple location setups with an 8x10 Sinar of Schwinn bicycles with models for their large catalogue.

The Sinar carrying case required the camera to be completely collapsed, broken down and the lens removed and stowed separately. Seems we spent the whole day screwing things together and then taking them apart (as the sun set on us).

Our solution was to have a case custom-made, from one of the many Los Angeles case makers, which would accept the camera fully set up and ready to go, with lens attached and bellows extended.

It turned out to be too large, awkward and heavy to easily shlep over hill and dale. But we worked within sight of the location vehicle. And, come to think of it, we were younger then, as well.

[Mark Windom]

1. Bubble levels: I used to shoot a Wista SP (on a B1 and G1325) and would attach a bubble level in the hot shoe on the top of the camera. You can get levels that work in two directions, left to right and front to back. Any good camera store should carry them.

2. Hoods: I never used them. I found that shading the lens with a hat, the dark slide, etc. did the job. I can't say I ever saw any flare or drop in contrast with this technique.

3. I now shoot an Arca-Swiss 69 (monorail) and I really don't think the amount of time saved in setting this up as compared to a folding field camera is worth the investment in a monorail. There are several other advantages in using a monorail over the Wista that I won't go into here.

[Robert A. Zeichner]

I'm not sure that speeding up what already, for large format set up, seems like rushing, makes sense. The whole LF thing is a contemplative, slow-paced process and while there may be situations where you miss opportunites due to set up time, there will be other times when, if you just wait for the right light, everything will come together for you. It might take me 10 to 30 minutes to adjust everything to where I want it and then another hour or more of waiting for clouds to drift in (or out) or some other changing situation to do what I want it to do. I try to anticipate potentially interesting weather situations and just plan on waiting. If you want to work faster than 5-7 minutes, that's fine. I just think you need to re-evaluate whether or not LF is the right approach. Maybe a Crown graphic with a rangefinder and Grafmatic holder is your answer? Or maybe MF?

[David A. Goldfarb]

Arrive early. Study potential compositions and plan. Wait for the light and see what it does. Expose film at the decisive moment.

[Brian Ellis]

For landscape work I don't use bubbles to level the camera, I just look at things on a gridded ground glass. Absolutely perfection in leveling isn't usually necessary for landscapes, observing straight lines like the horizon line on the gridded ground glass usually works fine. I used to use a Lee hood and the Lee filters but abandoned them because they didn't work well with a Linhof Technika camera. I now use circular screw-in filters and they go a little faster than the Lee system with its separate adapters for each lens. I don't use a hood at all now. If the sun is striking the lens I shield it with my hand. If it isn't then I don't worry about it. In theory you really should use a hood in cloudy, diffuse light more than with directional light from the sun because diffuse light strikes the lens from all sides and you can't block it all with your hand. However, like someone else mentioned, I don't notice any problems without a hood. having said all that, I still don't get set up as quickly as I'd like sometimes.

[Gary DeWitt]

Last week in Yosemite Valley it had been snowing and the storm was clearing. Awhile before sunset there were clouds moving across the face of El Capitan while the sun was sinking into a partly clouding sky near the horizon. The light on El Cap was extraordinary and could wink out at any minute. I got a shot off in less than three minutes. How? I cut corners to get an "insurance shot." I composed very quickly such that I could get the extraordinary light on El Cap at the expense of foreground. That eliminated the need to spend much time focussing as I needed no tilt, just a tad bit of front rise. Jam a lens on, focus quickly and shoot.

Now I had a shot in the bag and I could take the time to work on the shot I really wanted. As it turns out I had time to get the shot I wanted, too, in fact I exposed 15 frames of great light on El Cap.

[Alan Davenport]

1) Leveling the camera

While a desirable starting point, this is really only critical in architectural and a few other shots. Eyeball-level is level enough for most scenics. A gridded groundglass also gives an instant reference for the horizon.

2) Setting up the camera

Practice, I guess. I hear there are some field cameras that can fold with a lens installed (at least some lenses.) What a boon that would be, unfortunately it isn't the case with mine. One thing that may save a few moments is to wear a vest or jacket with commonly needed items always at hand (loupe, meter, etc.) A lot of people like to keep a cable release permanently attached to each shutter, which would save a bit more time (IMO, at the expense of possible damage in storage and handling.)

3) Attaching the hood and checking for vignetting

For that quick shot, use the darkslide to shield the lens from the brightest light. If you're not using much in the way of movements, vignetting is less of a problem; if so try using back tilts where possible.



IMO, the best advice is that already given: get there early. Carry a 35mm camera for those shots you almost got there in time for.

[John Hollenberg]

Thanks for all who offered suggestions. As far as LF being a "contemplative, slow-paced process", I believe that is up to the individual (see this thread: http://www.largeformatphotography.info/lfforum/thread.php?topic=496935#500359 ). I do photography for fun, and frequently mixed with hiking or extensive backpacking. Due to other constraints (friends or family won't get moving, too tired to get up after backpacking the previous day for seven hours, etc.) I may not "arrive early". However, when I see a composition I like in good light, I want to capture the moment. On this particular trip, I only exposed 6 sheets of film at one setup using two different lenses. Fortunately, I got one shot I am pretty happy with (actually I prefer it to the better lit shot on 35 mm). The rest of the trip I shot with a Canon 10D, but none of the shots were close to the one shot at Convict Lake.

I am glad to hear there are others who want to work quickly when the moment is right. I guess we all need to find our own rhythm.

[Peter Collins]

David Goldfarb is right. Everyone should go back and read it again!

Ansel Adams got Moonrise **partly** because he had spent way more time than we ever will trudging around the high Sierras and elsewhere in the West--lots of heavy gear, making photographs. He could be fast because he had been at it for 20 years already. And **partly** because he was lucky. Remember, by his own telling, he got Moonrise after giving up on a stump he had spent too much time on. In his words, more or less, "The stump won."

[John D Gerndt]

It doesn't hurt to "dry fire" your camera. Practice setting it up and tearing it down. I also live on the wild side and carry my camera premounted on the tripod when I am NOT on rock/concrete. This has strengthened my imperitive to check all joints/lockdowns for all shots. A wobly camera has (previously) spoiled many a shot. As the whole procedure becomes refined and reflexive speed goes way up ans so will your percentages.

Cheers,

John

[Richard Boulware]

I hear John's frustration in setting up a view camera in the wilderness when time is of the essence. I feel compelled to respond as an award winning professional photographer for a great number of years.

For newcomers to the field of LF landscape photograpy, there seems to be a desire to use all view camera movements,...just because they are there...

May I respectfully offer some 'simple truths' that professionals know that might be of help to you.

First,...for landscape photography, most view camera movement are not needed, and the one most frequently used is the front standard forward tilt to extend focus plane.

Second....most professionals feel the the view camera is primarily a studio camera where camera movements and perspective correction is manditory. This is rarely the case in landscape photography, but is obviously important in archituctural work and product photography in the field...or in studio.

Third. Most LF photographers...including my old ACS classmate David Muench, use cameras like the Linhof, and can be ready to snap off a shot as fast as a film holder can be loaded into the back.

Forth: For myself, when I shoot LF landscape work, I use a Linhof Super Technika V, and carry six lenses. My camera is always ready, with a 150mm lens attached and it is in a plastic bag to protect it from dust. On occasion, with my students, I have been able to jump out of my car, make a shot,...sometimes even hand held, before my students have their tripods set up. When a tripod is necessary, I use a Linhof Twin Shank Pro, which sets up in a flash, and use the Linhof Quick Fix II quick attachment and release plate. With any kind of luck I can be set up in about two minutes, and if a rainbow or something similar is happening, I am prepaired to shoot, hand held, and need only twenty or thirty seconds to make the shot.

As I travel, I am always aware of changing light conditions, and take meter readings continiously. I adjust my camera to the average ambient light conditions, so I am ready,....just in case that 'once in a lifetime' shot presents itself to me.

Just because your camera has all those movements, does not mean you have to use them all....all the time. You might be surprised how simple it really it, and you just might have captured that shot you mentioned. Good luck.

Don't fall in to that trap...of having to use them all (Controls). Most photography is not that complicated.

It has much more to do with your mind (eye)....than how many controls your camera offers.

Respectfully submitted.

[Mark Erickson]

Here are a couple of ideas that elaborate on Gary DeWitt's experience:

1) Try a folding, press-style camera that can close up with the lens attached. Linhof Technika, Crown or Super Graphic cameras come to mind. You pop the front door down, pull out the lens, and you're ready to go. If you really need speed, get a camera with an attached rangefinder, use the rangefinder and a readyload/quickload film holder, and don't go under the darkcloth at all.

2) Forget about obsessive leveling. Correcting a little tilt in your negative or chrome is a lot easier than correcting for a missed opportunity.

--Mark

[John Hollenberg]

Richard, thank you for these words of wisdom. One question: when you say "use cameras like a Linhof" what specifically are you referring to? What brands and models fit into this category?

--John

[Michael E. Gordon]

John: I'm interested to know how often you practice photography with this setup. Reason being is that you cite equipment issues in analyzing how you can speed things up, but by your tone, I get the idea that you might be a little unfamiliar with your equipement. For any experienced use of a ballhead, setup should be a snap. Unfolding the camera and attaching the lens should be a snap.

My assumption could be wrong, but I think you just need to get out more often with this setup and become faster and more proficient. The more you use the gear, the more second-nature it will become.

[Frank Petronio]

Insomnia strikes again. Learning to work quickly with a view camera is realistic. I haven't had the time or inclination to take dedicated photographic vacations, much less spend an entire day at photography. Instead my camera goes with me, usually in the back of my (politically correct, modest sized) SUV (which just saved my life when I hit a deer last night...) If you see a guy pulled off the highway, climbing onto his SUV roof with a suit and tie on, carrying a 4x5 Technika, it might be me.

The wooden Wistas, Tachis, Dorfs, etc. require the photographer to tighten several knobs once the camera is opened up. A Linhof Technika (or Wista SP, Toyo, Crown or Super Speed Graphic, etc.) opens up nearly ready to go - the photographer simply slides the lens forward. I leave short, cheap cable releases on each lens. My camera keeps a 150 with cable release and front lenscap onboard. The rear cap resides in a convenient place near my other lenses, which are in Domke lenswraps (not ideal - the wraps are slow to use.) If I am on location and switching lenses, I can leave the lenses unwrapped and in compartments of the camera bag. Right now I only use 90 and 150 Rodenstocks and can't say that I miss having wider or longer lenses. Sure, I'd love a 110XL but it wouldn't fold up in the camera, so I have to change my working style. Learning to "see" what your lenses see helps you get into posistion faster. I will admit that if I was out West I'd want a 300 Nikkor or Ronar for distant scenes, but for Eastern landscapes and most situations I'm comfortable. Going superwide on 4x5 hasn't worked for me, but if I was to get a superwide I would want a dedicated wide camera rather than a "do it all camera" because of the compromises involved. I'd look at Cambowides, Sinar Handys, or the elusive Linhof Technar.

I store my lenses on "T" with the apertures open, so they are ready to focus without an extra "return to the front of the camera." If you minimize the back and forth between the ground glass and the lens controls, you'll save a lot of time. Learn to use the folding focus hoods for overall composition, and a loupe for checking infinity and near focus points. I don't use the rangefinder system, as it is a pain to change cams and lenses, plus I like the assurance of checking the ground glass. It seems nearly as quick anyway. Use a holster for your meter, and Readyloads or Quickloads for film.

I use tall, deep Domke bag that allows me to carry the Readyloads vertically. I toss away the large box they come in and grab them out of the foil package. I have the "exposed stickers" in an easy to access portion of the bag, so that I can sticker and segregate the exposed film easily. Also, I dedicated one pocket of the camera bag to the bare essentials that I need for the shot - loupe, spot meter - while the rest of my "gadgets" like levels, cleaning supplies, spare loupe and cable release, repair stuff, etc. gets put into a less accessible pocket. I don't have to set the bag down - I can leave it on my shoulder - which saves time and binding over. It also allows me to work in muddy, crappy spots - I keep a pair of high rubber boots and some old towels in the car so I can "wade" into some nasty stuff.

I keep my tripod legs partially extended in the car, unless I need to save space. For many "infinity" shots, the height of tripod isn't going to matter, or 75% you extend it to a comfortable working height anyway. And I use an Arca-Swiss Monoball with Really Right Stuff plates - they work very well and make the camera easy to mount on the tripod. I'll carry the camera on the tripod for a mile or two - I never felt insecure about the mounting, although I do spot check it every so often. Walking a few miles on moderate trails with the camera/tripod over the shoulder and the Domke over the other shoulder isn't bad at all - better than many 35mm set-ups.

It's not the same as shooting with a 7x17 or even a 4x5 monorail. 4x5 with a Graphic or Technika can be a bridge between roll film and slow large format. But if speed is still bothering you, I suggest getting a good medium format set-up - the Fuji 6x9 rangefinders produce excellent results, as do Rollei TLRs, Mamiya 6 and 7 rangefinders, and the usual Hasselblads, etc. And the Fuji or Linhof pan cameras - 6x17, etc. - all will be faster than the fastest 4x5. As for weight, the Technika is too heavy to seriously backpack - but a Crown Graphic isn't much different than the Wista, etc. (as well as being cheap and durable, albeit with less movements (that you probably wouldn't miss)).

If you want to use a Kerry Thalman-style ultra light backpacking set-up there will be some trade offs, but I'm sure Kerry can get his Toho set up and shooting very quickly because of practice and planning ahead. But if I were backpacking myself I would simply take a medium format camera, spot meter, and film.

[Ed Burlew]

TO move fast I quickly became frustrated with the process of opening then mounting the lense then the camera on the tripod. I made a cradle that fits in the seat of the car , one that holds the camera when the camera is opena nd a lense is mounted. The arca swiss is hled upside down in a foam padded cradle with a lightweight lense. The triod is already extended and tha film holder is ready, the camera is set for a hyperfocal to allow for infinity. Then I can stop the vehicle pop the tripod open and this is where the arca swiss is the best , the focusing rail fits into the tripod clamp. I can then level and compose quicly and usually get one photo off in under five minutes. Now the picture will not be perfectly composed but I will have recorded the basic picture and I will have to crop in the darkroom. I do this with and 8x10. No company makes the cradles , I had to amke mine custom to fit my camera and my car and its seatbelts. I also use a wisner and I made a similar upright cradle for it so I can carry it open and at the ready. The biggest help was to keep the tripod open and have a quick coupling for the camera.

[Jean-Louis Llech]

Tripod : I use a Gitzo tripod G-1329 Carbon and a Gitzo Low Profile Head 4/5 Magnesium 1570.
1°) My camera (a Linhof Master Technika) is fixed on the head by means of a rapid plate Quickfix 2.
2°) It still takes me too long to get the ballhead level in two dimensions. : The three-way head (weight : 1,3 KG) is easier to use than a monoball, as each movement has its own lever. So when you move the head on one axis, the two others are not put out of order. I also use a two-way spirit level on the accessory shoe of the Linhof. You can also use a Photo Angle Finder like Horseman's, to check all movements.
And it is thus very easy a) to attach the camera on the head and b) to level the camera.
Camera :
1°) The multi-focal viewfinder allows to choose very quickly the lens and the place where to place the tripod.
2°) If I have to take the shot very rapidly, I don't focus with the GG, but I use the rangefinder : focusing is as quick as with a Mamiya 7 or any non-autofocus reflex.
3°) Light measure : Sekonic L508, and spot-metering.
4°) All my lensboards but the 2 tele-lenses are equipped with a Quick-Socket cable release. This system allows to fix the cable release very quickly without screwing and unscrewing it.
5°) Very important : Once the picture is taken, always put all camera and head movements to zero. So the camera is always ready for the next one.
6°) Always arrange your accessories in the same place in your bag. Don't waste your time searching something.

Generally speaking, the best method to setup rapidly a camera is : training, training, training. When I received my camera, I used to setup it at home. You must be able to find all levers, buttons etc with closed eyes.
Everybody has his habits, and you must find yours. Even better, write a check-list for automatical processes and learn it by heart.
JLL

[Frank Petronio]

You may find this funny: I have a friend, a well known and widely exhibited photographer, who sometimes keeps his 5x7 Sinar mounted on a Majestic tripod that fits into the rear compartment of his Ford Explorer SUV. He is very good at driving in reverse, and he composes his photos in his rear view mirror. Then he pops the rear door (switch up front, it swings to the top), jumps into the back seat, and shoots! It works very nicely in the rain and snow.

[Ed Hobin]

I've been reading this thread and the one started by QT Luong with great interest. The thing that intersts me is the idea that you will acquire a shot with a 35mm camera that you may miss with a LF camera. The point that has been missed is, will that shot be worth printing, or enlarging, once you get the film processed? You may have the shot but if that rock in the forground is out of focus and the tonal range is constricted then what's the point? We all decided, at some point, that we wanted to move up to larger negatives. And it wasn't because we thought that lugging around heavier equipment would be good for our health :-) The only way to achive set-up speed is to do it every day (or most days, anyway). But no matter how fast you are you're still going to miss a shot. That's the way it goes, no system is perfect, but I think we all agree that the extra effort is worth it in the darkroom.

love -ed

[Bill_1856]

Ed Hobin, be assured that WE do not all agree on ANYTHING, particularly how on wonderful it is to be in the darkroom.

[Jeff Lentz]

Practice!

I have a quick release on my tripod so I can leave that with the legs extended, then all I have to do is whip out my camerea form the bag attach it and unfold it. I have gotten it down to a matter of a few minutes including metering and whatnot.

Jeff

[Tom Westbrook]

Perhaps you didn't wait long enough? Instead of thinking you missed the scene that evaporated before your eyes, maybe you just wait a little longer and see what transpires--I mean, why waste all that work? I think a lot of folks (or maybe just me) tend to get stuck on one missed composition to the exclusion of others that might be waving their hands in your face.

[Ed Pierce]

Many years ago, when I got my first 4x5, I was advised to use a stopwatch and time myself unpacking, setting up, metering, making an exposure/ development plan, and making the exposure. I think I started at around 15 minutes, and after an afternoon's work, had it down to under two minutes. As I did this exercise I kept finding little things that were holding me up, such as the way equipment was arranged in the bag. Then over the years, little by little I've become more streamlined. It takes time. Everybody misses shots regularly; it's the price you pay to print a LF neg.

The reply to take a quick shot asap is good advice; many times that's all you're going to get.

[Michael Chmilar]

For bubble levels, the Ebony has the most sensible arrangement. Check out Greywolf's review for a photo of the Ebony bubble levels (http://www.largeformatphotography.info/cameras/ebony/rrlev.jpg). The mirror allows you to see both levels clearly when the camera is a eye height.



Perhaps a similar set of levels can be attached to other cameras?



If I am shooting in a situation where I think the light might be lost quickly, I usually try to get the camera "roughly setup" very quickly. Then, I am ready to expose a film sheet, if there is no extra time to fine tune the setup.



To roughly setup:
<UL>
<LI>Unpack gear.
<LI>Tripod up (Gitzo 1227, Acratech ballhead), camera openned (standards parallel) and mounted.
<LI>Get approximately level using on-camera levels (will change anyway while composing).
<LI>Attach lens (cable release is already attached), and rack the focus approximately to the position for the lens.
<LI>Attach Ebony "bellows focussing hood" (I use this instead of a darkcloth).
<LI>Rough focus, aim and roughly compose.
<LI>Re-level.
<LI>Adjust rise/fall for composition (may skip this (and previous) step if time is really tight).
<LI>Focus with loupe.
<LI>Take meter reading; set lens.
<LI>Slide in quick load holder, and film sheet.
</UL>
This can be done in under four minutes.



At this point, I can take a shot. I will sometimes take the shot, just for "safety", even if I might get more time. If I take a shot at this time, I will have the lens stopped down a lot to get depth of field, since I have not used any tilts.



However, if it looks like there is more time, I will proceed to "fine tune" everything:
<UL>
<LI>Evaluate composition more closely. Make changes.
<LI>Level the camera very accurately.
<LI>Repeat until satisfied.
<LI>Apply some tilt or swing, for finer focus adjustment.
<LI>Re-evaluate exposure, and lens settings.
</UL>

[tim atherton]

"For bubble levels, the Ebony has the most sensible arrangement. Check out Greywolf's review for a photo of the Ebony bubble levels. The mirror allows you to see both levels clearly when the camera is a eye height.

Perhaps a similar set of levels can be attached to other cameras?"

Sinar used to sell one pretty much the same - not sure if they still do?

[Richard Boulware]

John Hollenberg: Thank you for your kind words. The Linhof's I was referring to are the Linhof Super Technika/Master Technika series. Last time I saw Dave Muench he was using a Super Technika V. Many of us at Art Center started, and continued to use the Super Technika series, rather than the view cameras required. Art Center's official policy was view camera... or a Super Technika. I have used the model IV, the huge 8X10 studio Kardan, the 4X5 BI and am on my second model V. (steady as a rock in a 40 mph Colorado wind.)

You will see quite a few models of the Super Technika V on eBay at really good prices.. If you need any more information, I will be happy to help you. Email me, back channel. ( I am mentoring three promising students...I have the 'pass it on philosophy.) (:-)

Be well and good shooting. Richard Boulware - Denver. www.boulware-den@att.net

[james mickelson]

If you like your current setup, here are a few tips. Unless you are shooting a scene that is less than at infinity, set up your camera sometime and focus on infinity. Then mark where your standard is on the rail or bed of your camera (that is what the rail stops are for on Speeds and Crowns in the first place). You don't have to focus all the time if you are shooting landscapes at a distance. If you are shooting closer, set up your camera and measure off 100 ft, 50 ft, 40 ft, 30 ft, 20 ft, and so on. These distances can be marked on the rail also. Get rid of the levels unless you are shooting architecture. If you can't see when your camera is level just eyeballing it, then I don't know what to tell you. Close is close enough. Get rid of the lens hood and clunky filters. If you need filters (which I use a lot even with black and white), just set up and hold the things by hand when you shoot. If you can, keep your tripod legs extended. Learn to see the light. Take your meter everywhere with you and meter everything you see. Practice metering. Practice, practice, practice. If you really understand what the light is telling you, you will begin to see that in most lighting situations, you are always using the same exposure times with a certain fstop. Unless the light is really changing, you can just look at the scene and get close. Use quick release style tripod heads. Know where your lenses are and practice putting them on your camera. That can't take long (5 secs?). Cable releases. Quick connect. Again, learn to estimate your light levels. I do what Richard does all the time. I meter as I walk and drive. All the time. I know what the exposure setting is when the clouds are there and when they are not. And if I am shooting positive materials, I will just meter a grey card or use an incident meter reading if I am carrying one. If the scene has more than 4 stops of contrast when using positive materials, , it better be a really wonderful scene because I won't expose film needlessly. I will often just hang out and wait for the light to get to where I want it. Even using a meter to measure the brightest and darkest parts of the scene shouldn't take you but 10 secs. Max. But it should take you no more than 2 mins to set up and shoot. That is the max time it takes me and I shoot with a bulky Gandolfi and old everything. But the best advice I can give you is to take your time. This ain't a race. Take it slow and easy. If you want to rush, go back to 35mm.

[Andrew Ito]

John,

I remember emailing you (a year or two ago?) regarding the Ebony 23S that I own. The Ebony S or SU series are extremely quick to set up and shoot. It is not a folding camera so your set up time is very quick. I keep a lens constantly mounted to my 23S in a LowePro Orion AW waistpack. When I want to shoot, I just pull the camera out, mount to my tripod, take off the cap, compose, level, focus, meter, attach my rollfilm back and shoot. It's very quick with this setup. The Ebony has the previously mentioned bubble levels with mirrors to compose without having to look at the top of your camera. The SU would be even quicker to focus with if you're using movements since it has asymmetric tilts.

[Andy Eads]

A well designed case will help. As you practice using the camera, work out where the vital items need to be so they are in easy reach and in assembly sequence. When everything you need falls to hand, the whole process goes very fast.

[Michael A.Smith]

I like to take my time when setting up, but have done it in less than two minutes on occasion--with a 35 pound camera.

Keep it simple.

Get a different tripod head. The problem you have with a ball head wastes time. I use a Ries tripod. I use the head with only the forwrd/backward tilt--not the side-to-side levelling tilt. To do that, do not tighten the legs of the tripod. Just nudge them. Takes an instant.

Either keep the tripod legs at preferred length or mark tripod so you can extend legs to predetermined height quickly.

Learn, by practice what kind of view you get with each lens you have, so you automatically select the right lens.

As others have said, forget the levels. Leave them home or throw them out. Do not get so invololved in this stupid techy stuff and gizmos and gadgets, like levels. I'm for forgetting gridded ground glass, too. Use your eyes.

Movements: as Richard said, few are usually needed for landscape work. If you do not use any movements, there should be no need to check for vignetting. Use a set screw ring and fixed, collapseable lens shades--not the compendium type. With the fixed ones and the use of few, if any movements, you never have to check for vignetting. With those lens shades that extend it only means another thing to check. I have written about this extensively on the Azo Forum at www. michaelandpauld.com. I have two retaining rings--one for series 8 lenses, one for series 9. For series 8 I use a step-up ring, so need only one set of filters.

In general, sounds like you are making it way too complicated for yourself.

[Dick Roadnight]

Leaving the camera all set up and ready to go on the tripod helps - I daydream about a system which gets itsself out of the gadget bag, puts isself on the tripod and levels itself, ready for me to adjust the movements remotely.

It may seem OTT, but I plan to mount the camera on a mast on the vehicle, with a digi camera with CCTV as a view finder.

Change lenses or load film through the sun roof!