What did you compose at Waters Edge?

**Joe O'Hara** · 3-Sep-2023, 15:31

Agreed with Martin, they are lovely, Michael.

**Kerosene Hat** · 15-Oct-2023, 18:49

Originally Posted by Michael Kadillak

Attachment 241762 Attachment 241763

Absarokee Range Wyoming
T Max 400 and Foma 200 8x10 contact prints

Fantastic, Michael.

**Kerosene Hat** · 15-Oct-2023, 18:49

2022 07 Edisto Boardwalk 4x5 Rolle IR Caltar-II N 90mm
by Brandon Ward

**Ulophot** · 16-Oct-2023, 08:31

Kerosene, the two sepia images are exceptional. Well done! They remind of seeing a comment a couple of years ago saying that landscape photography is easy. Ha! And those clouds just happened to be perfectly integral and harmonious with your composition the moment you arrived, and stayed there motionless while yo set up and composed. Right.

Paul Strand once invited Walter Rosenblum to accompany him on a commercial shoot of a city skyline. Longer story short, Walter gave up after two or three days (I forget which) of Strand setting up but not making a single image all day, because the clouds weren't right.

Ilford has a post recently about a photographer who tracks wild animals in Africa. He speaks of waiting hours in his car for a pair of young lions to awake from their nap.

**Kerosene Hat** · 16-Oct-2023, 14:53

Originally Posted by Ulophot

Kerosene, the two sepia images are exceptional. Well done! They remind of seeing a comment a couple of years ago saying that landscape photography is easy. Ha! And those clouds just happened to be perfectly integral and harmonious with your composition the moment you arrived, and stayed there motionless while yo set up and composed. Right.

Paul Strand once invited Walter Rosenblum to accompany him on a commercial shoot of a city skyline. Longer story short, Walter gave up after two or three days (I forget which) of Strand setting up but not making a single image all day, because the clouds weren't right.

Ilford has a post recently about a photographer who tracks wild animals in Africa. He speaks of waiting hours in his car for a pair of young lions to awake from their nap.

Thanks, Phil - I think credit for your compliment goes to Michael - I was commenting on his landscapes. Mine is the one (with clouds) of a short pier in SC (which was hard fought, in July, in mid-day heat w/ IR film and South Carolina-grade mosquitoes).

**Vaughan** · 18-Oct-2023, 05:00

Thompson Street Jetty, Drummoyne NSW: Toyo Field 810M with single-coated Fujinon W 180mm f5.6 and single-coated Fujinon W 210mm f5.6 lenses. Exposures are 1/15s f32 for both using Shanghai GP3 100 developed in HC-110 1+39 21˚C for 7.5 minutes using continuous agitation. The 180mm lens is the Copal shuttered version which has slightly larger (~10mm) image circle than the Seiko shuttered version, which only just covers 8x10. The 180mm was used without movement (the camera was adjusted from the horizontal in lieu of raising the front standard) while the 210mm lens has about 30mm of movement of which about 15mm of rise was applied to the front.

This was a test of the Leofoto G4 geared head I just acquired, it's atop a Leofoto LS-364C tripod. The Leofoto design and manufacturing is superb, arguably the best from China and probably the most expensive, but still significantly cheaper than Gitzo et al. The G4 head is a beautiful piece of engineering and IMHO is adequate to the task of holding the 7kg Toyo 810M steady with lenses up to maybe 300mm, but would not be sufficient for longer lenses. For any smaller and lighter camera the head would be perfectly fine. The geared actions are smooth.