How would you photograph this scene?

[lfgary]

This is Trillium Lake in Oregon. I am going there tonite near sunset to photograph this scene and need your advise on how to do it. I am new to large format and really want to get this done right.

First of all, I was taught to focus on the furthest and the nearest object I want in focus and to note the distance on my rail and split the difference. The furthest object is the mountain itself. The closest object could be either the trees on the sides of the lake, the edge of the lake between the reflection and the mountain, or the reflection of the mountain peak in the water, which (duh to myself) couldn't be in focus since it is seen on moving water).

So, please tell me how you would photograph this scene. I would like your opinion before I get there. Also, any filters you might recommend?

Equipment: Tachihara 4 x 5, 135mm Nikkor 6.8 lens, velvia 100.

[Mark Sampson]

I've been there and taken that shot, not at sunset though. Functionally speaking, everything in that shot is at infinity- especially with a 135mm lens on 4x5. Square up the camera, focus on the far shore of the lake, use rise/fall to compose, then f/16 and shoot. I can't imagine any filters needed, but someone else might.

[Gem Singer]

Hi Gary,

A 135 lens, will give you a huge amount of depth of field.

Focus approx. i/3 into the scene and close down to f22. Everything will then be sharp. The light might be too dim for you to focus using the method that you described.

No need to use filter.

Meter off of the surface of the water. It should be very close to medium grey (Zone V).

Bracket 1/2 stop over and 1/2 stop under, if in doubt.

BTW, that Nikkor 135 is f5.6.

[Richard M. Coda]

I'd get there early to focus, bring a nice sandwich and a bottle of wine or a few beers and wait for sunset. Then all you have to do is meter.

However, that little rock in the water (lower left) is probably your near object. If you want that in focus you have to make it you near focus object. The trees are WELL into the scene.

[Brian Ellis]

Amazing how many scenes there are like this in Oregon, I would have sworn that was Sparks Lake near me here in Bend.

If you're out there near sunset you shouldn't have any trouble using the method you describe to focus, which is also the method I would use, i.e. focus on the nearest thing you want to appear sharp, focus on the farthest thing you want to appear sharp, set the front standard half way between the two points. Apply any movements you plan to use before doing that.

If you're trying to get everything sharp from front to back, which is what I'd do with a scene like this, then use the top of the ground glass (i.e. the front edge of the lake) as the near point and the mountain peak as the far. A little front tilt might be useful but you may not need any tilt at all with a scene like this but I'd try a little just to see if it helps (i.e. if it reduces the distance, if any, the front standard travels when you focus on the near and far). Ideally you'd use a depth of field table to determine the optimum aperture based on the distance the front standard travels between the near and far points but if you don't have one f22 is probably fine unless there's ripples or other motion in the water (I can't enlarge your picture so I can't see what the water's doing) and the shutter speed using f22 is too slow to stop the motion (assuming you want to stop it). In that case you could open up a stop or even two to increase the shutter speed and still have enough depth of field with a 135mm lens and a scene like this.

I don't know that this method is any better than any other method and I wouldn't suggest that it's the only method or the best method, just that it's what I would do with a scene like this (as nearly as I can tell what the scene is given the postage stamp picture).

The only filters I'd even consider might be a polarizer or a graduated neutral density (polarizer to possibly reduce distracting reflections on the water if there are any, neutral density depending on the brightness of the sky relative to the rest of the scene) but it's hard to say whether either would be necessary or even useful without being there.

BTW, don't pack up when the sun goes down. Stick around for another 20 minutes or so leaving your camera set up. A lot of times that's when you'll get the best color in the sky after a sunset.

[Jim MacKenzie]

And take some black and white film also. That scene would be terrific in the right light in monochrome.

[Don7x17]

Gary

I can't enlarge the image to tell what is along the edge in the upper right -- if that's a tree branch (likely - I've been here many times), then try to eliminate it, unless you intend to scan the image and correct.

Stay later than sundown -- you may get some nice alpenglow, but its pretty cloudy this afternoon here in Beaverton, so seems like you may not get it (but you may get a good sunset)....

the method Brian mentions is the one I use -- two additional details that I am certain Brian just didn't mention but must also do
1) stop down and look through the ground glass -- loupe the image and check to ensure its in focus. (I use the table method Brian mentions, but still use the loupe. Sometimes you'll see something you missed that is still out of focus...)
2) check that the image isn't being restricted by the lens, bellows, or any sort of compendium that you may be using....the best way is to stop down the lens, then look in from the front...can you see all four corners of the ground glass? Most people look through the corners of the ground glass but this is quite a bit dimmer than doing it the from the lens.

And you are using some form of lens compendium or other means? Its particularly important after sunset (or before sunrise). Your light source becomes one big softbox at these times -- the sky itself. You'll need to be careful to keep unwanted sky light from entering your lens -- it will reduce contrast and in certian conditions create flare. That'd be important during alpenglow, etc.

[Brian Sims]

I'd move the camera closer and lower to the water. I'm personally not that wild about a dominant line right through the middle of a composition. I would pick the reflection as the subject, and let the actual mountain be an echo of the subject. I'd try for two good exposures--one metered for the reflection and one metered for the actual mountain. I'd scan both and blend them together, still leaving the reflection somewhat darker (this accomplishes the same as a graduated ND filter, but with a lot more control).

I totally disagree with Richard. Skip the beer or wine and bring a flask of good scotch and stay until the stars come out and there is still some light on the mountain.

[Richard M. Coda]

I totally disagree with Richard. Skip the beer or wine and bring a flask of good scotch and stay until the stars come out and there is still some light on the mountain.

How about some really good vodka? Not a Scotch man, myself.

[lfgary]

I am not much of a drinker. Would a tall dr. pepper and a big bag of m & m's work?