Best vehicle for rooftop shooting?

[rguinter]

"loss of situational awareness"

Sounds like SOP when looking thru a camera, with the classic example being the photographer hit by a race car out of control coming right at him. Or most of us with our heads under the darkcloth.

As one who tends to set up the 8x10 in odd and dangerous locations, I try to also keep some of my attention on my feet (and where they are). The whole world seems to be held on that GG -- far too easy to forget that a step back can be 20, or 200, feet down!

Absolutely. And good it is to train yourself to keep a basic level of focus on one's place (and situation) in the environment.

How many times have we all driven for miles behind someone and said to ourselves that we didn't think the driver in front ever looked in the rear-vue.

A lot of people live their lives this way until... one day the loss of situation awareness becomes a matter of their life or death.

Bob G.

[rguinter]

...But if money were no object, well those old Land Rover Defenders are pretty sweet. The other luxe SUV-RVs seem too big to get into the rough.

Frank: Right you are.

I had one of the very early Rangerovers which were a bit narrower than the Defender.

There were places where I went with it that I was scraping on all 4-sides... sometimes having to get out and cut stuff out of the way to make clearance. And praying that there would be an opening (eventually) where I could turn it around.

So those biggies are probably great for getting close... but may have to trailer something a bit smaller behind to get in where no-one else gets......

Cheers. Bob G.

[ic-racer]

It seems the popular DoF texts don't go into practical detail but you need to be quite high up to get the bottom forground of an 8x10 negative to match the bottom forground circle of confusion size of a handheld 35mm camera. In fact you need to be eight times higher than eye level.*

*With these conditions:
Same vertical angle of view lens
Same linear aperture
Same print size
Same viewing distance
No movements
Both cameras veiw parallel to the ground

The 'poor-man's' car platform is to use a little front lift so the near point at the edge of veiw is the same as if the camera were way up in the air, but the horizon is then lower. If you raise the whole camera up in the air, the horizon stays at the same spot.

[jim kitchen]

The 'poor-man's' car platform...

Dear ic-racer,

I cannot speak to your information, because I do not know the answer nor would I know where to begin any calculations, and although your information is very interesting, the last thought on my mind when I am in the flatbed portion of a pickup truck, is to rethink of my basic exposure and how to compensate for near and far because I am a metre or two above grade level with my 8X10. So, using two examples of mine, these images were captured from the back of a Ford pickup, and I used the same focusing technique I always use on grade level, such as the one-third, two-thirds focusing rule. The nearest objects are less than two or three metres from the camera's lens, and the farthest objects are obviously at infinity, while keeping the film, and wide angle lens's planes in a vertical position. My new viewing position with a bit of luck, just happens to be above the roadside shrubbery garbage that could interfere with a decent image.

I like being above the normal grade level viewing position, but only at the elevated level offered pickup truck's flatbed...

jim k

[Michael Jones]

The other alternative is to put a mechanical basket hoist on pull trailer and pull this behind your vehicle. When you get to location you can hand crank the basket to the height you want to work at and at the top is a safety basket to stand in to do your work. With levelers on the corners of the trailer and a basket at the top, I feel that this would exceed the safety issues with a tripod on top of an auto and get you to a higher shooting elevation. Just my $0.02.

Be very careful with these; I came to the office one morning and had to dodge the yellow crime scene tape. Seems a photographer hired by the realtor for the building across the street wanted a clear architectural shot. Unfortunately, he did not set the outriggers properly and the bucket tilted, bringing the apparatus down onto his head.
I generally stick to the bed of my pick-up, but am now intrigued by the orchard ladder/tripod Michael mentions.

Thanks.

Mike

[arca andy]

Pleased you brought up suspension. The rigidity of the suspension and chassis is a significant issue and I haven't seen it raised before. It wasn't until I was shooting from the flatdeck of a Toyota Hilux that I realised how important it is to avoid cheap under designed trucks. The beast had hardly had a hard life but the suspension was so sloppy that I almost felt the need to hold my breath to quieten it down. I'm used to my ex-military Series II Land Rovers. They were built in the '60's and are strong, stable and rigid. Apparently build quality went down from the Series III's in the '70's on. Anyway, in this part of the world at least, an old one can still be bought for relatively little. No one who cares for their comfort wants one. 50-55 on the open road is about it too. And you won't be getting much better than 15-20 mpg, if you're careful. Still, unless you get a rag top you can walk all over them and they'll stay put. Here's a shot of the long one. It's been said that every 5 year old should be able to draw one




Best,

Richard

Yes a long wheel base Land Rover...its the only vehicle that is perfect for large format photographers. Much more suitable than any SUV.
The modern diesels Land Rovers do 35MPG, they are stable, tall, take all your gear and family and camping paraphernalia and then tow your boat/caravan, they are the best off road vehicle in the world with high range, low range and diff lock, you can accessories them to your requirements and they last for ever.
But these is not the main reasons for buying one, oh no. The main reason for buying one is because you have also got a large format camera.
You see a Land Rover is just like a large format camera...The technology is old school but it has always worked. It isn't a fast car, in fact its one of the slowest around but you'll always get there. A Land Rover is slightly left field, you are not one of the pack in this car. It exsists purely as a functioning vehicle proving you with the best travel experience you can get on four wheels....
And when your SUVs is pulled out of the snow this week by a Land Rover just remember why you choose large format photography and then go and by a proper 4x4.
But don't take my word for it have a look at Teriann Wakeman's site www.expeditionlandrover.info
Ta Andy

[rguinter]

Dear ic-racer,

I cannot speak to your information, because I do not know the answer nor would I know where to begin any calculations, and although your information is very interesting, the last thought on my mind when I am in the flatbed portion of a pickup truck, is to rethink of my basic exposure and how to compensate for near and far because I am a metre or two above grade level with my 8X10. So, using two examples of mine, these images were captured from the back of a Ford pickup, and I used the same focusing technique I always use on grade level, such as the one-third, two-thirds focusing rule. The nearest objects are less than two or three metres from the camera's lens, and the farthest objects are obviously at infinity, while keeping the film, and wide angle lens's planes in a vertical position. My new viewing position with a bit of luck, just happens to be above the roadside shrubbery garbage that could interfere with a decent image.

I like being above the normal grade level viewing position, but only at the elevated level offered pickup truck's flatbed...

jim k

Jim:

Now your #1 photo above is absolutely "awesome!"

And I swore years ago when the word started becoming so fashionable that I would rarely (if ever) use it.

But here I am chiming in with a (typically) overused word.

Would you be willing to tell us what film and exposure captured this beautiful winter scene?

Cheers. Bob G.

[jim kitchen]

Dear Bob,

The images were not meant to gather any kudos, but thank you none the less...

My field notes indicate that I exposed the negative from the flatbed of a rented Ford F250 at Emerald Lake Lodge, Yoho National Park, British Columbia, Canada, TMY not TMY-2, ISO 250, Schneider 210 XXL, f-45.5 at 1/8 second, developed in XTOL, one part XTOL and one part H2O, N-1, 10.5 minutes at 20 degrees Celsius, continuous agitation in a JOBO 3005 drum, while using a Unicolor Motor Base. Temperature at time of exposure was a brisk minus 34 degrees Celsius without a wind chill factor.

I hope this helps.

jim k

[rguinter]

Jim:

I am surprised but still very appreciative of such a nice photo. I would have been pleased to have produced the image myself.

I fully expected you to tell us it was one of the infrared films... due to the dark rendition of the sky.

A great shot on TMY. I really haven't used very much of it myself... a few rolls of it on 120 and some TMX. And I don't do any of my own processing... someday when perhaps I own my own place again. But for now not to be.

Thanks. Bob G.

[jim kitchen]

Dear Bob,

Thank you for reminding me to recheck my notes...

I forgot to mention that I used a K15 filter to affect the blue sky and to separate the high level clouds with better effect.

jim k