The Setup and the Shot

[Ethan]

A few weeks ago, before all this white stuff fell out of the sky, I decided to take my 8x10 kit on a hike up Mt. Greylock. While hiking it was great, but the next day my shoulders and back had some complaints to make. I had been hoping to get some nice landscapes looking off the mountain, but then the clouds came in and reduced visibility to only a few hundred feet. There is a small pond on the top of the mountain, and a shack next to the pond which is covered in graffiti. However, from this angle I thought it looked quite nice through the fog.

Camera is a rajah (deardorff copy) 8x10, and the lens used was a Kodak Eastman Ektar 12"



This is a scan of the negative which I edited digitally. I'm still working to get a traditional print from it that I'm happy with.

[Bill Suderman]

I think I know that place. Merry Christmas, Jim.

[Pedro_fiz]

In Zamora Spain, the Duero river.
Graflex crown graphic. FP4+125.
https://flic.kr/p/2hXc12h
https://flic.kr/p/2hXeeFS

[Ethan]

In Zamora Spain, the Duero river.
Graflex crown graphic. FP4+125.
https://flic.kr/p/2hXc12h
https://flic.kr/p/2hXeeFS

Lovely view! The contrast between the jaged cliffs and soft water is especially nice. It’s also timeless which I like, someone could tell me it was taken in the early 20th century and I might believe them!

[Pedro_fiz]

Lovely view! The contrast between the jaged cliffs and soft water is especially nice. It’s also timeless which I like, someone could tell me it was taken in the early 20th century and I might believe them!

Thank you for your comments.

[Deardorffuser]

[David Schaller]

A few weeks ago, before all this white stuff fell out of the sky, I decided to take my 8x10 kit on a hike up Mt. Greylock. While hiking it was great, but the next day my shoulders and back had some complaints to make. I had been hoping to get some nice landscapes looking off the mountain, but then the clouds came in and reduced visibility to only a few hundred feet. There is a small pond on the top of the mountain, and a shack next to the pond which is covered in graffiti. However, from this angle I thought it looked quite nice through the fog.

Camera is a rajah (deardorff copy) 8x10, and the lens used was a Kodak Eastman Ektar 12"



This is a scan of the negative which I edited digitally. I'm still working to get a traditional print from it that I'm happy with.

Nice image, and I’m impressed! I would never be able to haul my Deardorff up the mountain. My hikes on Greylock now include only a MF camera, and I often don’t go to the summit. Let me know if you’re interested in company for 8x10 photography a bit closer to the car.
Dave

[ericantonio]

In Zamora Spain, the Duero river.
Graflex crown graphic. FP4+125.
https://flic.kr/p/2hXc12h
https://flic.kr/p/2hXeeFS

This is amazing!

[Harold_4074]

I've been away from the forum (and LF photography) for a couple of years, and I must say that this thread was a delight to discover today.

A lot of folks talk about sharing, but it usually stops at the point of finished images and technical data. I have found studio photography, in particular, to be very challenging to emulate ("If you hope to do it better than the masters, maybe you'd best first learn to do it as well.") because there is such a range of possible technologies. I can tell the difference between a round beauty dish and a square softbox by looking a the catchlights in a subject's eyes, but not the size of the source, the distance in source diameters, or the nature of the room, and I find that these things are at least as important as the film brand, developer, or (usually) the lens....

Many thanks for starting this thread, Cameron, and I hope that it stays with us.

[Cameron Cornell]

I've been away from the forum (and LF photography) for a couple of years, and I must say that this thread was a delight to discover today.

A lot of folks talk about sharing, but it usually stops at the point of finished images and technical data. I have found studio photography, in particular, to be very challenging to emulate ("If you hope to do it better than the masters, maybe you'd best first learn to do it as well.") because there is such a range of possible technologies. I can tell the difference between a round beauty dish and a square softbox by looking a the catchlights in a subject's eyes, but not the size of the source, the distance in source diameters, or the nature of the room, and I find that these things are at least as important as the film brand, developer, or (usually) the lens....

Many thanks for starting this thread, Cameron, and I hope that it stays with us.

Harold, I'm really happy that you've found this thread beneficial. I find the work of the practitioners in this community really inspiring.

Cameron Cornell
Washington State
analogportraiture.com