Large Format Landscapes

[Robert Langham]

I try to put a photo on every post because....that's what images are made for- to be viewed.


Katie being a pilgrim at Mont St Michele.

[Jim Cole]

Thanks, I agree they are distracting, while I was there I saw no way to get rid of them without losing the base of the tress as you mentioned.

See I was on a sort of hump, and it was the only raised area, if I stepped in front my camera wouldn't be high enough and it would end up with a different perspective I didn't like.

I'm in school now so eventually I'll learn how to "clone stamp" and can remove them.

I also agree the digital effect is too strong I'm going to buy some ANR glass and then re-scan it anyway so I'll work on fixing that when I re-scan without the newton rings hopefully!

Stone,

I rarely contribute to critiques, but I thought I may be able to help here. When you saw the issues with this image that you couldn't correct, it was time to call it quits and move the camera to a slightly different position or to a new subject entirely. I found my photography skills only increased as I learned when not to waste a piece of expensive film, even after spending an inordinate amount of time setting up a shot and waiting even longer for the light that didn't happen. It's easier to walk away than fight an impossible composition. Good luck.

[andreios]

quick flatbed scan of a recent Fomapan 100 shot (Wista 8x10 and Nikkor SW 120)
any comment is welcome

Very nice, Andrea! I like the composition very much - rich and yet leading to "the point" in the centre.. Well done!

[vinny]

Then perhaps being new you should step back and listen and learn and find out who people are before being yourself rude and assuming. Or send a pleasant message, introduce yourself and ask for credentials if you need that. But it would be wise to first simply observe.

When I joined the forum I didn't make any posts for 6 months at all.

Now can we get back on topic?

The color version of this really intense image I wanted to capture, I did have to increase the saturation 20% at the scanning step because I wanted a "Velvia" look but only had 10 years expired Kodak Portra100T on hand.

8x10 450mm TONS of movements, 85b, circular polarizer and graduated ND f/45 @ 4 seconds.

Attachment 120985

Since mentioned "tons" of movements, I have to ask why. Other than rise, In a situation like this, I'd likely shoot this straight at f45. What did tons of movements do for you here? I guess if you're attempting to get everything other than the foreground sharp and achieved that, then so be it.

[StoneNYC]

Stone,

I rarely contribute to critiques, but I thought I may be able to help here. When you saw the issues with this image that you couldn't correct, it was time to call it quits and move the camera to a slightly different position or to a new subject entirely. I found my photography skills only increased as I learned when not to waste a piece of expensive film, even after spending an inordinate amount of time setting up a shot and waiting even longer for the light that didn't happen. It's easier to walk away than fight an impossible composition. Good luck.

You're right, but I wanted to see how the image would expose with the ND filters and the box of 8x10 only cost me $35 which was pretty damn good! So I figured why not learn while it's cheap! Lol

I've walked away from a lot, but I wanted this one!

[StoneNYC]

Since mentioned "tons" of movements, I have to ask why. Other than rise, In a situation like this, I'd likely shoot this straight at f45. What did tons of movements do for you here? I guess if you're attempting to get everything other than the foreground sharp and achieved that, then so be it.

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.

[RHITMrB]

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.

Thanks to good ol' Scheimpflug, the longer the lens, the more movement is required - so you'll need more absolute movement for 8x10 than for 4x5, not the other way around.

[Heroique]

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.



Tachi 4x5
Schneider 150mm/9 g-claron
Fuji-64 tungsten (w/ Lee 85b filter)
Level camera + 20mm front fall
Epson 4990/Epson Scan

[David Lobato]

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.

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.

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.

[StoneNYC]

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.

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/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...