Large Format Landscapes

[Maris Rusis]

Attachment 82624


MPP 4x5 Fomapan 100

That's a good first post and a classic example of the deep focus photograph a well used view camera can deliver.

[chassis]

Nice one przemur.

[Thomas Greutmann]

It is fall here in Germany.

Earlier this week, just a short bicycle ride from home.



Linhof Master Technika with Grandagon 90mm, Kodak TMAX 400 developed in XTOL 1:1

Greetings, Thomas

[mono]

Well done, Thomas!
Beautiful tonality.

[Nana Sousa Dias]

That will tell you if your lens illuminates the format. Try that with a petzval. It tells you nothing of the sharp coverage of the lens.

Eheheheheh...that's one of the reasons why I don't use petzvals...

[Nana Sousa Dias]

Nana, the seascape is almost "otherwordly" except that the foreground rocks "ground you" into reality. Great images both. Thanks for sharing. Portugal seems like an exquisite place to photograph.

Thanks....

Portugal has a few good spots to shoot seascapes...about 800 kilometers coast line.

[Nana Sousa Dias]

Ditto.... I have yet to get a nice crisp clear neg from my own developing. Something tells me, maybe try a lab on some sheets to see if it is indeed me.

There isn't nothing special to get a good negative, my way of doing it is very simple:

"Just keep it simple!"

I develop my negatives with Rodinal, 1+50, always with constant agitation, in Jobo tanks, Expert 3010, 3006 and 3005. I don't use stop bath (just water), I fix it with Ilford Rapid fixer 1+4, then, I wash films in water and use Adox wet agent...simple...

I think the most important is to get a well exposed negative. With the use of a good spotmeter and Zone System, that's easy to get a well exposed negative in almost situations.
I always carry with me a notebook with the reciprocity failure compensation charts for all the films I use, I think this is one of the most important things for the landscape photographer.

I use a lot of different films, low and medium speed...almost always I use yellow, orange, red filters and, sometimes, polarizer, as well as center filters with SA 90 and SA 47 Schneider lenses, besides that, I use almost always f22 or f32 apertures. All that, combined with sunset or sunrise low light, gives me long exposure times, wich forces to use the compensation charts for reciprocity failure. The only film that doesn't require that compensation untill 2 minute exposures is Fuji Acros 100 but, it's too expensive for me...I wish I could always use that film...

[Kirk Gittings]

NANA, IT clearly works well for you. I am a huge believer in simplicity and repeatability too. My workflow is not disimilar to yours except I recently ran out of my huge stockpile of pre-expensive Acros! Damn!. Anyway it is now FP4 and TMY, Dark Green or Yellow Orange filter, Pentax Digital Spot, Zone System, PyroCat HD, BTZS Tubes, Rapid Fix. Why so simple? If it gets more complex I make mistakes and get fewer keepers chasing that elusive furtive light. I found along time ago that while in theory a more complex approach with more films and developers might help me in more diverse lighting extremes, simplicity allowed me to work quicker and more dependably resulting in more actual success.

[Miguel Coquis]

flickr 上 多啦73 的 img54

wow !!!

[rich815]

It is fall here in Germany.

Earlier this week, just a short bicycle ride from home.



Linhof Master Technika with Grandagon 90mm, Kodak TMAX 400 developed in XTOL 1:1

Greetings, Thomas

Just great Thomas!