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A lake in the North Cascades, Washington state.
This palette is a challenge for tungsten film + 85b.
For example, it captures but intensifies the pinkish volcanics in this morning light.
Attachment 121059
Tachi 4x5
Schneider 150mm/9 g-claron
Fuji-64 tungsten (w/ Lee 85b filter)
Level camera + 20mm front fall
Epson 4990/Epson Scan
Stone, the bed looks tilted upward slightly, and the rear standard look tilted forward slightly. This necessitated the front standard to be tilted forward to maintain front and back standards generally parallel - with maybe a little extra front tilt for depth of field control.Quote:
As I mentioned earlier on another post, the first row is in focus but behind that it's all out of focus BUT the treeline way in the distance is also in focus as well as the clouds, it's a lot more noticeable in a large print which is what I planned to make out of it. On top of that the tree like isn't parallel with the camera so there was also some front and rear movement there as well.
When I say TONS I mean tons for 8x10 on a view camera, for 4x5 on a rail "tons" is a LOT more movement I'm sure, and when I actually learn more view camera techniques in school I'll probably be much better.
Again usually everything I do is very subtle so for ME this was a lot of movement. I don't have every pic to show every spot but I used every movement option available except front shift.
For landscapes, I recommend leveling your tripod before mounting a camera. Then level the camera bed front-back and left-right. Set up the camera and start composing. (And recommend getting in the habit of doing this for every setup) With a perpendicular rear standard, trees and objects will retain proper perspective. Btw, if you use tilt in front of tall trees, be careful the tops don't come out of focus. Generally with perpendicular trees it's best to keep the camera squared and stop down to f45 as Vinny mentioned. Use rise and fall as needed.
Keep working at it. Take detailed notes. Much of it will become second nature.
It was at f/45Quote:
Originally Posted by David Lobato
The bed is that way to get as high over the palm as possible... The tripod didn't go any higher and used that little extra to get an inch higher...
Thanks. That makes sense, I have done the same thing. Hard to know details if one wasn't there. Nice photo.Quote:
It was at f/45
The bed is that way to get as high over the palm as possible... The tripod didn't go any higher and used that little extra to get an inch higher...
I know, it's cool, it's hard to tell what's going on when you weren't there, someone else might have been right, I should have walked away lol!Quote:
Originally Posted by David Lobato
I love it. There is a strong mystical feeling about the picture.Quote:
Originally Posted by Robert Langham
Out in the swamp today. It was egregiously hot (I've been amusing myself by using ever more descriptive words for the heat lately). I had two deer ticks try to get me and probably lost 5 pounds of water weight.
Anyway, I shot 3 rolls of 6x17 images with my Shen-Hao and spiffy new Schneider 72mm XL, on Provia 100F. Here's one image from today, showing the carnage wrought by flooding last summer - there are trees and detritus everywhere here, which used to be just plain forest. Dang sun came out of the clouds during the 8-second exposure and caused that big hot-spot in the background. Oh well.
http://www.oceanstarproductions.com/...2mm-0330ss.jpg
The "Bloom" is also out in full-force. I found this wonderful grotto with not a single inch uncovered by bountiful green...something. Actually I can't really remember right now what this is caused by.
Same gear:
http://www.oceanstarproductions.com/...2mm-0328ss.jpg
More fallen trees and overgrowth:
http://www.oceanstarproductions.com/...2mm-0332ss.jpg
http://www.oceanstarproductions.com/...2mm-0333ss.jpg
Hmm, I enjoyed those, especially the upper fallen tree; great juxtaposition of textures! I can see how that place continues to inspire you!