Arca 4x5 Discovery
Virginia City, Montana
Betterlight Super 6-K HS with Schneider 210 APO Lens
Last edited by routlaw; 7th February 2010 at 12:10.
A few from my trip to Zion with Betterlight Super 6K-HS & Zone VI field camera.
Thanks for looking.
Last edited by routlaw; 18th August 2010 at 09:38.
Very nice images Rob!
The dynamic range of the scanning back is amazing.
I wish I could see them printed 24"x30"; the details must be incredible.
Thanks for sharing.
Yes there is nothing quite like the scanning back for dynamic range. I used a modified 10 stop S curve that is actually a bit more extended and somewhat flatter than the 10-S curve due to the extreme lighting conditions within the canyons. When you get it right the details really are amazing too and its not just the resolution detail either but also the hue and values within the scene. I will post a few 100% details to give you an idea of what I am talking about.
Here are a couple of 100% pixel crops. The crop from the sunset image was scanned at only 50% of the maximum resolution, the other crop is from the upper right hand corner of the vertical early afternoon image from a 100% resolution scan. The systems image quality if really sick and twisted.
Last edited by routlaw; 18th August 2010 at 09:38.
Twelve stop program maybe... bring us from the darkness into the light.
Good one Lloyd!
That last image, the long horizontal was at sunset with very very dim light in the canyon. At the time I felt I was really pushing the envelop with this one, but the final results were tack sharp detail from corner to corner and excellent separation of values and hues. This really does not come across well in web images.
Hope this helps.
Beautiful composition Jim!
I just love how all the geometric shapes interact.
Echoing Lloyd's and Francois' compliments here Jim....that is a truly outstanding image. The reflections, clouds, lines....it all works so well. Have you printed this one yet?
I had just been looking thru the Sept/Oct issue of View Camera magazine at photographs by Steve Rosenthal of New England churches and his new book of the same called "White on White", when I thought to check the large format threads here.
Again...nicely done Jim!
Doesn't look like I've posted this image on this thread....which is surprising, since to this day I think it is probably the best large format image I've ever made.....and it was one of my first. It's all been downhill since then I guess....despite spending many more $$ on equipment.
I took this photo with my first view camera....a Graphic View II and and old Zeiss Tessar lens (which I subsequently sold and wish I still owned). Maybe it's that lens which gives this image a "glow" which I've never been able to achieve since. Or it could be all the stainless steel and natural light. Hard to say.
This diner on the edge of downtown Minneapolis was demolished as part of an urban renewal project a couple months after I took this photo. I used to stop here regularly in the early 1980s during one summer on my way to work in the morning....I walked past here and would stop for a cup of coffee or breakfast.
I've made several inkjet prints (up to 13x19) of this image over the years and it never fails to please me. One of these prints was selected for the annual Alaska Rarefied Light Juried Photography Exhibit a few years ago.
Now if I could just make a few more images like this before I put the cameras away for good......
Last edited by bensonga; 26th November 2009 at 21:31.
One more from the archives (I really need to get out and take some new images).
Minneapolis, Minnesota in the mid-80s. Nicollet Mall, Orchestra Hall Plaza (the steel tube scuptures) and the tall glass tower is the IDS Building (where I worked on the 40th floor).
Taken with my second view camera (a Cambo 4x5) and a Rodenstock Sironar 150mm lens.
I think I might have applied a bit too much correction for perspective control to this one.....top of the buildings seem a little too wide. What do you think?
Yes, I was afraid that was so....maybe I can adjust this in Photoshop now.....ahhh, the wonders of digital image processing. :-)
I think the eye can more easily accept converging lines in tall buildings than even a little hint of diverging lines.
Somewhere in the Castleberry Hills art district, Atlanta, GA.
First the technical specs:
Camera: Chamonix 4x5N-1
Lens: 150 mm f/5.6 Symmar-N (or S I really never can remember )
Exposure: About 1/4 s @ f/16
Film:Fujicolor Pro 160 S rated @ 125; no filtration at exposure
The camera was set about 18 to 20 inches off the ground on a slopping drive way at the scene. The location is in a old section of Atlanta which is a transitional area that has become a new center of art studios, design houses, galleries, and professional offices; an extension of what is known as the photo district.
The image is part of a series that I've been working over the last couple of years or so, some in B&W and some in color. Right now images that are printed as inkjet prints will eventually be reworked for tri-color gum for color (or pigment over palladium) or for mono one of the iron based processes such as gum over palladium, kallitype or straight carbon prints - who knows right now.
In this series my approach has been to make 2 to 3 exposures on 4x5 film for later stitching in PS. Once I conceptualize the composition I setup the camera and make multiple exposures at the same settings by shifting the front standard right, left and usually a exposure with no shift. This gives me plenty of overlap for high quality stitching. In a sense this motif is an a variation of view camera triptychs or dipytichs. In some compositions I make the decision at the scene about how the final comp should look which means that some cropping will take place in post. This decision is make at exposure time not later. I want to be as precise as possible with my framing, though I will allow for some wasted film space to be cropped later if the need is required because of limitation of camera placement, movements, etc. I don't go out with a preconcieved idea per se but I look at scenes with this possible treatment in mind. Some compositions are failures.
The scans are on a Howetech 4000 drum scanner at 2000 spi for each sheet. Thanks to Don Hutton (who was with me at the time this shot was made), my good friend here in Atlanta who does the scanning for me.
The final image dimensions after stitching: 7815 x 13420 ppi @ 2000 ppi x 16 bits.
Post processing the shot required a *LOT* of masks to adjust the color of various sections of the image. This was after making a global color correction neutralizing the midtones, specifically the grey gas meters. There is also a small section of the image that is syntisized in PS; or to put it another way the image presented is NOT a 100% literal translation of the scene photographed. Can you spot it? I hope not. I try to make my PS composites look natural and unmanipulated. My intent is to produce a surreal view of the scene without the viewer being aware of it. In B&W I'll often do this with local tonal manipulations.
I use Nik Sharpener Pro 3.0 for sharpening final output size to inkjet, the image you see here hasn't been sharpened. I've found that drum scanned images require roughly 50% LESS sharpening than say with digital captures for printed output. I proof on Ilford Fiber Gold and do large prints on River River Aurora White. I also really love Harmon Fiber Gloss and may commit to printing a small portfolio of large prints on that paper someday - Kaching!$$$
Okay end of brain dump, I'll post a small unedited version for you to compare later.
Thanks for looking,
Last edited by donbga; 7th December 2009 at 07:06. Reason: Typos
Don, is there a reason for using multiple 4x5 images for stitching instead of utilizing a 8x10 (assuming that you have both)?
Thanks for posting!
I like having a light 4x5 like the Chamonix, all of my lenses probably weight twice as much as the camera at least or maybe more. I do pine for a Chamonix 5x7 and I'm not sure I'll ever return to working with an 8x10.
I became slightly disabled this year due to a foot operation so that is a factor as well. Looking at the 8x10 viewfinder is wonderful and very seductive but carting 8x10 film holders and the associated gear don't provide for spontaneity (can you have that with a view camera?) that one has with 4x5 or even 5x7. And with 5x7 should one choose that format, the image quality is just about as good as 8x10.
But back to the crux of your question. No doubt the 8x10 is wonderful but for me I've become very comfy working like I do. Drum scanning or scanning on a flatbed - 8x10 film is a chore. I want to enlarge my images not make contact prints. Working with a digitized image affords me with creative options that I wouldn't have other wise. This non-traditional approach of course will make some grind their teeth!
Additionally I'm not clear about what is going to happen long term with 8x10 film production. The stuff is really getting expensive! I know that expending 2 to 3 sheets of film on a shot isn't a whole lot cheaper, but I don't go out and do these for every scene.
And oh yeah 8x10 film is a bit more difficult to process though not too much more.
Scanning makes alternative processes printing more manageable though there is no doubt that a palladium or carbon print made from a large negative has presence that digi-negs can't quite match.
Also I might mention that I shoot with DSLRs and smaller roll film cameras in a similar fashion stitching scenes in PS. Not like large format but using smaller cameras keeps me busy making images when time and circumstance don't allow view camera photography.
I'l post another big shot soon.
As promised here is the initial version of the yellow fireplug shot after stitching in PS. This was the pilot image from scans created with an Epson 4990.
Also I should probably mention that some of you sharp eyed viewers picked up on the vignetting at the top of the image due to the amount of front rise I used. I didn't feel the need to correct it in PS.
Also I need to correct a mistake I made in a previous post, the drum scanner used is a Howtek 4500.
And yeah my approach is a bit quirky and arcane.
Thanks for looking,
A restaurant interior's:
Please leave some comments as I'm really new in interior photography.
are you using a betterlight? I will let the pros like Jim ,Jack, RobOutlaw etc critique but damn that second one really an eye catcher for my layman eyes!!!
Thank you for your comments!
Very very nice Alex.
Love even the first shot, which gives a live feel from the customer perspective.
Tones are rich, lights smooth.
The place looks great -and not exactly cheap.
Btw, if you shot some with your D3X on this session, it'b be interesting to see them (Nikon section?)...