Large Format Landscapes

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Originally Posted by Nana Sousa Dias

Ahahahahah....you knew that I'm a professional musician? I should know the name of this in english!!!!:confused:

We call this a "clave de sol", in portuguese. Clave=clef (Clef is a french word wich means key), de=of, sol=G (musical note).

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Actually, calling it the treble clef is appropriate only when the curly marking wraps around the second line of the staff. The general term in English is "G clef", which is an exact translation of clave de sol. We wouldn't want to confuse the treble clef with the French violin clef, now would we?

On the subject of your photos, I have GOT to make a point-n-shoot camera for my spare 65/8 Super Angulon. It must be somewhat liberating to have a camera that does the one thing you want to do really easily. I see you spending very little time fiddling with the camera to make photos that seem so undistracted.

Rick "whose musical world falls under the purview of the F clef" Denney

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Originally Posted by rdenney

Actually, calling it the treble clef is appropriate only when the curly marking wraps around the second line of the staff. The general term in English is "G clef", which is an exact translation of clave de sol. We wouldn't want to confuse the treble clef with the French violin clef, now would we?

On the subject of your photos, I have GOT to make a point-n-shoot camera for my spare 65/8 Super Angulon. It must be somewhat liberating to have a camera that does the one thing you want to do really easily. I see you spending very little time fiddling with the camera to make photos that seem so undistracted.

Rick "whose musical world falls under the purview of the F clef" Denney

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Thank you for the explanation, Rick.

As to the camera, I think there is someone here who made a P&S camera with a SA 65/8, I don't remember who nut, you should check it on the thread called "Show us your home made camera. I sarted that thread, I think. I got some good ideas from there. You can find some nice home made cameras here, too:

http://home.online.no/~gjon/camerabuilders.htm

My camera is really fast to operate, it fixed focus ans has an external viewfinder, wich is very fast to compose. Sometimes, I run between waves, put the tripod, compose, shoot and run back just in time to keep dry. I couldn't do that if I had to look by the GG and confirm focus with a lupe.

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Originally Posted by Nana Sousa Dias

As to the camera, I think there is someone here who made a P&S camera with a SA 65/8, I don't remember who nut, you should check it on the thread called "Show us your home made camera. I sarted that thread, I think.

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Thanks for the link--I remember that thread well. I keep that 65/8 lens just for such a project, but I keep getting distracted.

I know a Brazilian who lives in Sao Paulo who built a 4x5 box camera using the 47XL. He used a helical bought off ebay. I bought my 47/5.6 from him--I use that as my ultrawide for 6x12. Come to think of it, an ultrawide 6x12 point-n-shoot would be even easier, and I have a spare Shen-Hao roll-film holder. Hmmmm.

Rick "who followed the thread when it was active" Denney

A tree at dusk in dense fog. I used a Linhof Technika and an apo symmar L 120mm lens at f/16, exposed for 1 second, TMax 400 rated at 260 iso. Cropped and postprocessed in Lightroom.

Intriguing composition, Frank.

Wonderful shots everyone.
Nana, Leon, really had to check several times your photos. Great work!

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Originally Posted by NicolasArg

Wonderful shots everyone.
Nana, Leon, really had to check several times your photos. Great work!

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Thanks for the Kind words Nicolas. Patagonia is on my list of places to visit in this lifetime :-)

Cheers,
Leon

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Originally Posted by NicolasArg

Wonderful shots everyone.
Nana, Leon, really had to check several times your photos. Great work!

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Thank you, Nicolas.

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Originally Posted by rdenney

Actually, calling it the treble clef is appropriate only when the curly marking wraps around the second line of the staff. The general term in English is "G clef", which is an exact translation of clave de sol. We wouldn't want to confuse the treble clef with the French violin clef, now would we?

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I believe that we call it Treble Clef because it is the third clef. As you say, the staff line that the curl surrounds represents the 'G'. The other two clefs are the Bass Clef, aka F Clef with the two dots showing the line position of the 'F', and the Alto Clef, aka C Clef, that designates the line position of middle C by means of the indentation of the curly brace.

Each of these clef signatures may be positioned on different lines of the staff for the convenience of reading music related to the different instrument or vocal ranges.
[With a little help from my Music Theory Dictionary.]

From sprezzatura to scordatura in a few short posts...

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Originally Posted by al olson

Each of these clef signatures may be positioned on different lines of the staff for the convenience of reading music related to the different instrument or vocal ranges.
[With a little help from my Music Theory Dictionary.]

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The conventional labels (as used in the U.S.) for clefs in various positions are more convention than definition. The F clef is only the bass clef when F is the second line from the top, but in practice one would hardly be likely to see it any other way. My comment about the treble clef was a setup for a punch line that was obviously intended to be a joke--I doubt many musicians have ever seen the G clef used in any other positions, as it would be when known as the French violin clef. But the C clef may commonly be in either of two positions, known as the alto clef and the tenor clef. (Quixotically, the soprano clef uses the C clef marking, not the G clef).

But as we have shown (even Struan) it takes a reach onto the shelf for a music theory dictionary (or, in my case, Gardner Read's classic notation text) to remember the details, at least for those who don't specialize in "historically informed" music, which, come to think of it, might be just the sort of intellectual trifle that would amuse Struan.

Rick "whose Big Dic is always handy" Denney

http://visualfiction.org/zenphoto/al.../sm-img012.jpg

Perhaps too literal (large format and landscape):

http://visualfiction.org/zenphoto/al...all-img004.jpg

And a couple of weird ones (petzval and pinhole):

http://visualfiction.org/zenphoto/al.../sm-img009.jpg

http://visualfiction.org/zenphoto/al...all-img001.jpg

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Originally Posted by Frank Bunnik

A tree at dusk in dense fog. I used a Linhof Technika and an apo symmar L 120mm lens at f/16, exposed for 1 second, TMax 400 rated at 260 iso. Cropped and postprocessed in Lightroom.

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Very interesting composition, indeed.

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Originally Posted by rdenney

intellectual trifle

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You're just trying to get a raise out of me, I can tell :-)

I like the sound of sympathetic strings, both on folk (Hardanger) fiddles and the classical Viola d'amore. It's an interesting concept too - like a good, but not too literal visual echo.

Here's a landscape I'm still not sure about.

http://struangray.com/miscpics/bothy.jpg

Salmon cove, Rubh' a' Choin

.

1.http://img228.imageshack.us/img228/1050/pa002.jpg
NSD 45 PS, Schneider SA 47mm XL, Fomapan 100, Yellow filter

2.http://img146.imageshack.us/img146/8624/pa004.jpg
NSD 45 PS, Schneider SA 47mm XL, Fomapan 100, orange filter

3.http://img502.imageshack.us/img502/9259/mx001.jpg
NSD 45 PS, Schneider SA 47mm XL, Fomapan 100, yellow filter

4.http://img824.imageshack.us/img824/1439/mx003.jpg
Shen Hao HZX 45 IIA, Nikor W 210/5.6, Fomapan 100, yellow filter

http://www.rangefinderforum.com/phot...00/altapan.jpg


Stitched four shots together in Photoshop 2.0 back in 1992, a technique that has since become a standard workflow. Prints scanned on a Xerox Kurzweil scanner! One mile wide covers the entire base, the vertical rise is over 2000', Alta, Utah.

Thanks for the comments.

Beautiful panorama Frank.

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Originally Posted by rdenney

Thanks for the link--I remember that thread well. I keep that 65/8 lens just for such a project, but I keep getting distracted.

I know a Brazilian who lives in Sao Paulo who built a 4x5 box camera using the 47XL. He used a helical bought off ebay. I bought my 47/5.6 from him--I use that as my ultrawide for 6x12. Come to think of it, an ultrawide 6x12 point-n-shoot would be even easier, and I have a spare Shen-Hao roll-film holder. Hmmmm.

Rick "who followed the thread when it was active" Denney

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I know the guy, the world is a small place, Rick!!!!:cool:

The name is Rodrigo Whitaker Salles, right?

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Originally Posted by Frank Petronio

Stitched four shots together in Photoshop 2.0 back in 1992, a technique that has since become a standard workflow. Prints scanned on a Xerox Kurzweil scanner! One mile wide covers the entire base, the vertical rise is over 2000', Alta, Utah.

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I'm heading to Alta to ski next month. Really looking forward to it. It looks like they've got great snow this year.

Awesome pano Frank.

Thanks. What's funny about it is that you can see the weather-sun change during the walk from left to right (it was a mile long with stops to shoot). Most people shoot panos from one vantage point.

Come to think of it, does anyone else do this? Walk between the shots to do a pano?

I like that shot, too, and have ski'd there a couple of times. But, wouldn't Kirk normally be descending on a non-LF post?

It was four large format shots....

Must be lovely, printed big.

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Originally Posted by Frank Petronio

Thanks. What's funny about it is that you can see the weather-sun change during the walk from left to right (it was a mile long with stops to shoot).

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I hadn't noticed that until you mentioned it. :) It's a very good image. With immobile subjects, the walk-between-shots method should give higher quality than the pivot-the-camera method, as the end shots aren't stretched to get the right subject size. I've done "the walk" method with some industrial interiors.

I probably should go back the original film and rescan it, then make a nice expensive roll paper print for someone's ski house.... hmm....

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Originally Posted by Nana Sousa Dias

I know the guy, the world is a small place, Rick!!!!:cool:

The name is Rodrigo Whitaker Salles, right?

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Indeed. He has been active for many years on a forum for those who collect ex-soviet cameras and lenses, which I currently moderate. I wish I'd had time to meet him in person when I was in Sao Paulo in November, but my trip there was official and filled with activities.

Given his own point-n-shoot project, I'm not surprised that you know him. His project first got me interested in the concept.

Rick "whose list of fun projects to do is too long" Denney

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Originally Posted by rdenney

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Rick "whose list of fun projects to do is too long" Denney

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I resemble that remark! :) :)

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Originally Posted by walter23

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Really nice!

There are so many nice images in this thread :)
Nana, great work as always.

Thanks, Allen.

Its' been a while since I browsed through this thread, and my compliments to all.
Nana's work I find especially beautiful!
Keith

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Originally Posted by Allen in Montreal

Really nice!

There are so many nice images in this thread :)
Nana, great work as always.

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Walter I love this pinhole shot (which Allen commented on) also. It is very creative. Allow me to ask a "newbie" question (to you or anyone else who has the answer). How do you meter a shot like that. In other words how do you determine the correct exposure using a pinhole set up. It is strictly trial and error or do you try and determine the theoretical "f stop" of your pinhole set up by measuring the light hittling the gg using a meter?

thanks

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Originally Posted by Filmnut

Its' been a while since I browsed through this thread, and my compliments to all.
Nana's work I find especially beautiful!
Keith

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Thank you, Keith.

I spent the weekend mountaineering with my Toyo 45, just began to scan the sheets.
Reflections in Laguna Los Tempanos, a tiny pond formed by glacial water. The walls here are catching sunrise light.
Toyo 45A, Schneider 210mm f5.6 at f22 (I think). Kodak Tmax 100 in Tmax RS.

http://farm6.static.flickr.com/5249/...6614394e_b.jpg

I have a Toyo 45A too, must be an Argentine thing. haha

Great shot Nico

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Originally Posted by Nana Sousa Dias

1.
NSD 45 PS, Schneider SA 47mm XL, Fomapan 100, Yellow filter

2.
NSD 45 PS, Schneider SA 47mm XL, Fomapan 100, orange filter

3.
NSD 45 PS, Schneider SA 47mm XL, Fomapan 100, yellow filter

4.
Shen Hao HZX 45 IIA, Nikor W 210/5.6, Fomapan 100, yellow filter

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Wow! I'm really a fan of your work Nana. Muito bem!

http://www.vasina.net/wp-content/gal...-401-c_web.jpg

In Winter's Grip

Chamonix 5×8″, Schneider-Kreuznach G-Claron 150mm, 13×18cm, Wephota NP 15 @ EI 25, N development in Rodinal 1:50.

Beautiful, Jiri..

http://www.adweb.co.uk/ian/photograp...ges/img010.jpg

Beeston Regis, Norfolk, UK. Speed Graphic, 127/4.7 Ektar, TMax 400

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Originally Posted by ElRooster

Wow! I'm really a fan of your work Nana. Muito bem!

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Obrigado! Gracias!

Beautifull shots, Nikolay and Jiri!

http://i246.photobucket.com/albums/g...cool/Creek.jpg

Kaslo River, east of Retallack, British Columbia, Canada, Dec 30, 2010

Sinar P2 8x10, T-Max 400, 300mm Sinar Sinaron-S, contact Printed on Ilford MG FB and scaned on my crappy HP scanjet 4850

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Originally Posted by eduardtoader

Beautiful, Jiri..

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+1!

Thanks a lot, Eduard, Nanã and Peter.

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Originally Posted by Allen in Montreal

Really nice!

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Thanks Allen. I like it too, but I am annoyed about the flare / light leak in the lower left margin. This was from a home-made cigar box pinhole, with the film holder held with rubber bands, so there was likely a small leak or something around the back. I'm going to try to add some kind of light trip around the periphery of the holder to mitigate this kind of thing because I love shooting with this "camera".

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Originally Posted by Frank_E

Walter I love this pinhole shot (which Allen commented on) also. It is very creative. Allow me to ask a "newbie" question (to you or anyone else who has the answer). How do you meter a shot like that. In other words how do you determine the correct exposure using a pinhole set up. It is strictly trial and error or do you try and determine the theoretical "f stop" of your pinhole set up by measuring the light hittling the gg using a meter?

thanks

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Frank,

You can determine the theoretical f-stop of a pinhole from the diameter and distance to film. I don't remember the numbers for this one (actually, the FL is 25mm so you can work back to the pinhole size), but in theory it's about f/150 and so I treat it as f/200 when metering. Typically I don't bother metering because in bright sunlight and ISO 100 film it's always around 10 seconds, and once you get a couple of stops over that you can pretty much just guess the exposure (ie, leave it exposing for a long time) and be fine, erring on the side of overexposure. In light cloud I shoot for a minute or two. In shadow 5 mins or more (exact exposure time not very critical).

There are two competing factors, as you probably know. Reciprocity error is one (needing more exposure than theoretical to account for chemical reactivity of the emulsion at low light levels)... and the simple doubling of exposure times needed for a theoretical gain of one stop exposure... Whether you leave it open for 3 minutes or 5 minutes, at best you add an extra 2/3 stop (no big deal for B&W film).

Short answer: in bright sun I just shoot 10 seconds. In dimmer situations I tend to go with 5 minutes. In really dark situations; as long as I can stick around. Haven't tried night shooting; probably wouldn't have enough time between sun down and sun-up to get the exposure.

I do actually meter and try to account for reciprocity when doing colour slides though.

-Walter

To get a very useful Pinhole resource try here:
http://www.pinhole.cz/en/pinholedesigner/

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PINHOLEDESIGNER 2.0

PinholeDesigner is a program for Windows and is aimed at making the calculations for designing and using pinhole cameras easier. Amongst its main features are calculations for the optimal diameter of the pinhole and the exposure times for pinhole cameras.

This program offers:
– calculation of the optimal diameter of the pinhole
– calculation of the optimal focal length
– calculation of the f number for a given combination of pinhole and focal length
– calculation of the exposure factor for f 22
– calculation of the exposure times for a given f number of the pinhole camera
– calculation of the extended exposure times due to reciprocity failure for the majority of commonly used films
– saving exposure table as Microsoft Excel file or text file
– calculation of the angle of view, with diagram
– calculation of the magnification and size of the subject on light-sensitive material
– calculation of the zone plate with optional number of zones
– calculation of the f number for the zone plate
– saving the zone plate in Adobe PDF format
– conversion of millimetres to inches and back

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Hope its useful

nn :)

Near San Diego

5X7 - 450 Nikkor M
Efke Pl 100 - Pyrocat HD
JandC Nuance - MAS Amidol

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Scott Walker;673296Kaslo River, east of Retallack, British Columbia, Canada, Dec 30, 2010

Sinar P2 8x10, T-Max 400, 300mm Sinar Sinaron-S, contact Printed on Ilford MG FB and scaned on my crappy HP scanjet 4850

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Two thumbs up Scott. Beautiful.

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Originally Posted by msk2193

Two thumbs up Scott. Beautiful.

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Thanks Michael, I really appreciate that.
I am very reluctant to post immages here because my scanner is so bad. All the detail in the shadows and highlites vanishes and the scanner adds a few minor light streaks plus one big one that I can either have just on the one edge or right in the middle depending on where I place the immage on the scanner bed. :(

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Originally Posted by Donald Miller

Near San Diego

5X7 - 450 Nikkor M
Efke Pl 100 - Pyrocat HD
JandC Nuance - MAS Amidol

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Donald, that is superb!