Try one of the black 4x5 viewer things for the lightbox. I picked one up at Calumet, attached the string and it is virtually indistructable. Plus later you can use it to view individual slides on the lightbox - or buy two or three...
Try one of the black 4x5 viewer things for the lightbox. I picked one up at Calumet, attached the string and it is virtually indistructable. Plus later you can use it to view individual slides on the lightbox - or buy two or three...
Andreas, I too work in MF and Large. Never felt one is condemning the other. The y are rather complementary. For some shots I use LF and for others I wouldn't use the expensi ve size. And if I want to make wildlife photographs, I don't take anything but a SF. However, when viewed on the light table, a 4x5 is a nice spectacle as compared to a 6x7 (and I guess a 8x10 compared to a 4x5). But some of my best photographs are 6x7! Now, I sometimes wish they where made on the larger format , for this is an added value, especially if they are used for large prints. When I began with a large format, I soon realized it was important to have some habits and to stick to them. For example, to always put t he slider back and reversed as soon as the shot has been taken. On roll films, to always put the sl ider back and advance the frame immediately, before contemplating the scene again. It soon becomes an auto matism. This way I was able to suppress almost completely the double exposures, black gaps and open shutter mistakes. I too use a viewing aid. A sheet of black plastic found in the old Kodak Readyload s with a window cut to the proportions of the film I want to use : 6x7 (4x5), 6x9, 6x12. It's small (overa ll 6x11 cm), flexible and tough. I can forget it in my pocket. I found a small cutof gives me more stand back and makes it easier to evaluate the scene graphically. I find the long loupe easier to use than a sm all one ( I have a Horseman 6x). It's possible to check the focus through the open focussing hood. Also in cold weather, the GG is not too prone to get breath condensation. Would be happy to share more tips on speci fics if you ask. Enjoy being "at large"!
Charlie,
Artie could out shoot you with a broken holga and am outdated roll of seattle filmworks film that's been dipped in a bottle of fixer... I hope I did not start a flame war (see how stupid that sounds).
I need my morning tea...
PS. Artie good to see you around again
Just as a carpenter would not think of having just one saw or hammer for all his work, photographers need a range of formats for different situations. I love LF, and as nearly all my present work is for fine art black and white work LF is what I use (surely there is a better term for good prints than "fine art"). I have pushed a lot of 5x7 film holders in a studio Noba back when we shot split 5x7 for protraits. It was a lot of aggrevation sliding the back from side to side and trying to remember if you slid the back so you didn't double expose. I don't know of any portrait photographer who tried the RB 67 who didn't think it was great. It, and other slr roll film cameras, replaced the old sheet film cameras in studios in just a few years time. The old Speed Graphic was replaced in short order by the TLRs and then 35mm for news work. Incidentally, James, the Speed Graphic is still the fastest camera for the first shot. We used to lock the focus track at 12 feet, set the aperature at f16, put a bulb in teh reflector, and carry the camera with the darkslide out and wire finder up. Bring it to your eye and shoot. No waiting for auto-focus to lock or trying to find the subject in a tiny hole. The second shot was a bit slower, but we didn't take a lot of second shots. It wasn't motor drive stuff. Yet, it is a lot simpler to carry one of the modern 35mm cameras with a pocket full of cassettes than to carry the Graphic and a suitcase full of holders. Simply put, there isn't a "best" or "worst". Just different tools for different jobs.
Almost forgot, Andreas best wishes with your new tool, don't forget to really play with those movements when the mood strikes you, experiment , experiment, experiment...
Drag that thing everywhere for a couple weekends and shoot with it in conditions where you think you should not, you'd be surprised how many more things you can make it do with a little creativity and passion.
buncha bitches.... wanna cooler? ya think so Al?
heheheee not from what I saw....
Oh my, what did I start?!?!?! But it's nice to see how compassionate you all are about your craft. No worries - I won't ditch my medium format equipment anytime soon, different tools for different applications, right?! But I have to say, manipulating the image on the the groundglass to my heart's desire is really cool! Thanks for your advices!
I've been shooting LF for over 20 years and I STILL check and double check to see if the shutter is closed before I pull the slide. There is nothing quite as like having a shutter make no noise when you push the shutter string, and knowing full well that you forgot to close the shutter. (Unless it means the shutter is busted OUCH I've had that happen too!) Now as for Medium Format...........
Reading your summary of your experience reminds me of my own. Large format is very thrilling and satisfying as are all of my other formats. I have found that each format fills a specific need in my photographic life. I shoot from 35mm through 8x10 and I enjoy all of them. I have been shooting for approximately 7 years now and I still check and recheck my behaviors and actions related to exposing a large format negative. I have found that when I neglect my normal sequence of actions...I make a mistake which sometimes causes me to loose what I thought would be a wonder large format image. In othe words, it is OK to check your camera and lens several time before removing the dark slide and exposing the negative. I started with base tilts. If you can locate a camera with axis tilts life will become a little bit easier.
Try to shape your sight to see what each of your lens are capable of seeing (their angle of view). this will help you with composition. It also take time and familiarity with your equipment to be able to do this. Never be afraid to explore and experiment with your large format camera. Many unconventional actions yeild very beautiful results. Large format is one of the artistic avenues of patience, precision and deliberate action. Wish you much luck and success on your photographic journey.
check out this website www.dreamwater.com/art/wrjphoto. I think may contain some helpful information.
Again, good luck
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