So I’m attempting to move in a new direction with my RR photography. I’ve started shooting Large Format film (4x5 for now, 5x7 soon and 8x10+ sometime in the future). LF work isn’t exactly a quick endeavor, so finding non-moving subjects always helps a bit. I’m still working on all phases of the art (from shooting to developing to printing and even scanning). I’m not entirely thrilled with these two shots, but I am making some progress with it all:
I’ve posted these (and some non-RR stuff) on some photo forums, but I’d also love some input from all of you as well. I should have a couple more scanned pretty soon, so I’ll try to post those, too.
Terrific, as usual. But stop making excuses before we see 'em, Chris.
In a way, you demean yourself by doing so – because 98 percent of the gang that visits here could never aspire to work at the level where you dabble. Most guys would be thrilled to make pictures you dismiss as crap.
Just my $0.02, from a fellow brilliant shutterbug [(-D]
Pop Zitello
PS – It’s not always the equipment one uses, Chris. Every great picture-maker has been gifted with an artist’s eye. You have it.
Chris, please quit being so hard on yourself!! These pictures are the same quality of all your pictures I’ve seen. You’re a very, very good photographer; wish I had half a small thimble full of your talent!! I see nothing wrong with these two photos. Keep up the good work!!
Thanks, Pop_Z , CW & Brian for the nice comments. I’ll try to curb my self-criticism a bit. I guess I’m always striving for the quintessential “wall-hanger,” so I tend to over analyze a little too much.
Anyways, thanks for the positive feedback!
P.S. - PZ, I agree with you about the equipment thing, but I’ve also found that shooting LF gear has allowed me to explore new paths a bit, too. For example, the use of camera movements has really opened up a lot of possibilities, though I’m still learning how to utilize that advantage fully.
In the RGS Caboose shot, I was able to keep the film plane parallel to the plane of the caboose and use front rise to get the view I wanted (as opposed to pointing the camera up and getting a “keystone” look). I know some perspective correction is possible in Photoshop, but in this instance, I didn’t sacrifice any of the image to get it.
Using the Scheimpflug principle to control depth of field is a lot of fun, too (though utilizing it effectively in field conditions seems to require a fairly steep learning curve). Like I said, it’s a work in progress…but one I’m at least having some fun with!
…To my eyes, the shots are sharp as usual from you…and I like the close detail as well. Interesting subject material. {Doubt if that is what you are looking for on here from us…}. To me, what really stands out is the forlorn look of the once high status observation car of the Chief…Weeds and all…and looking like it’s at the “end of the line”.
YOR FREN’[swg], ED [C):-)] WILL HEP YA’ OUT[oX)]!!! Rosewood frames,EH!
SERIOUSLY, HE AND THE OTHERS ARE RIGHT; ALL THE PHOTOS YOU HAVE POSTED HERE, ALWAYS SEEM TO DISPLAY A GREAT PERSPECTIVE, AND EYE TO DETAIL.
[This is from a real photographer, who just got a Kodak digital camera for Christmas, I’d post the photos I took while on vacation this Spring, BUT…how do you take stuff out of a photo, so it won’t show the rearview mirror in the picture???] [(-D][(-D][(-D][(-D]
Chris your work is done very well as was mentioned. I like your ‘photographers eye’ because you tend to capture the things that make a photo work, but usually get overlooked IMHO. Keep it up![tup]
Chris, again you remind me of the fun that making images can be.
I am glad you are getting into the LF experience; there is something extra special about the control a view camera can give you. The RGS shot, even at screen resolution, made me flinch a little bit, in the sense of don’t get splinters off that wall. The Chief’s emblem area seemed hot to the touch. It’s funny that both pictures inspired tactile responses on my part. Looking a second time at the Chief car, my reaction was something along the lines of ‘oh, the tales it could tell,’ or something like that.
You and some others are almost inspiring me to get out my reels and join the local darkroom club in Balboa Park. That is, if I can find a decent fiber paper to print on any more.
Thank you everyone again for the very kind words. I’ve said it before, but the hobby is even more fun when I can share it with people who appreciate my stuff.
Chuck, I’m still a newbie in the darkroom, but I’ve been learning on Kentmere Fineprint VC FB Glossy paper based on a couple good reviews that I’ve read. So far I’ve really liked it (though I don’t have anything to really compare it to).
If you’re seriously thinking about getting back into a traditional darkroom, you should head over to Freestyle. They have boatloads of stuff from traditional manufacturers, as well as stuff from European manufacturers. For example, I’m shooting a film from Croatia, Efke 25. It’s an ultra fine grain, slow speed Orthopanchromatic (almost red blind, but not quite) that has worked really well for me. I might have to pick up something a little faster for catching action photos, but for detail shots like these, I love it.
Chris, you do nice work…my suggestion is that you accept and enjoy the accolades being offered to you and simply smile (and continue the nice photography). Jim
Chris, as usual your “attempts” are superb. I haven’t done any LF work, but learned a bit about them in photography class. Wish I had the resources to give it more of a try. Maybe somebody will figure out to to do a digital “LF” camera.
If you shot those pictures with a bellows camera - try using the up and down on the front frame - you can take a lot of that “looking up” factor out of the RGS picture without resorting to climbing a ladder. Not that there’s anything wrong with it now… [:)]
Larry, I was already about maxed out on my front rise with that shot. I was shooting with a 5x7 camera with a 4x5 reduction back, so the bellows are a little bigger. They were getting pretty compressed in the shot. I don’t think I had a lot mor image circle from my Schneider Symmar 150mm f5.6 lens either. It’s an older lens, and doesn’t have the monstrously big image circle that some of the modern LF lenses do.
I actually really like the composition on that one. The part that I’m not 100% satisfied with is the redering of the window. I’m thinking that I should probably have used a polarizer to cut the glare a little bit. Still, it makes a nice contrast point to the darker tones of the wood grain, so it’s forgiveable. Good enough for an avatar at least!
It’s true that PhotoShop has perspective correction in the cropping tool; however, it is problematic in use and doesn’t IMHO replace swings and tilts. Of course, shooting with a small digital, sometimes you have to resort to PhotoShop to overcome anyway. (Actually, I have had to use perspective correction on a scanned Z shot that needed it, although it took three tries and the crop before I was least dissatisfied. The price I paid for not buying a tilt-shift adapter and lens, but that’s another story.)
As for the glass in the RGS shot, I’m not sure having a polarizer take down the reflection would have been an improvement. Having the good luck to have something in the reflection may have improved the story, but the texture and weathering say a lot in the image already. (Back to that tactile stuff, again.)
Dan mentioned the ‘eye’ as the most important equipment, which is really true. I am not sure if it’s true or not, but my opinion at least is that either you have it or you don’t, it can’t be taught. You can learn the technique side of the art, in fact you have to in order to be able to create the kind of images your ‘eye’ sees. The fun of it is being able to learn what you need to translate your vision into an image your ‘eye’ mostly likes. I appreciate how you view your work, which is something I well understand, which is that no matter what you end up with, your ‘eye’ wants a little more. That for sure is the formula for great images, which you have aptly demonstrated many times for us.
BTW, Freestyle is now too dangerous for me. I have fond memories, though, of going to their old store on Western Avenue down from Hollywood Blvd around 1961 or so, and loading up on bulk 35mm Plus-X and various papers, plus a bunch of used Kodak cartridges (before they went to the stake-caps) to last me for a few months in th
Chris, I’ve got a lot of photographers, including some big names, in my circle of acquaintances, and your efforts rate right up there with the best of them.
