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I wonder what he means by "go right to fine art" and how he makes that decision. Interesting article.But I still continue to use film and my 4x5. If I’ve got a scene that I know is really going to go right to fine art, I’ll pretty much revert to film.
You get used to it. It's awkward even on an LF camera but possible. It's more a matter of compromise - an MFDB set is not as agile once you're out in the desert. A larger format means more money and more bulk.I wonder what he means by "go right to fine art" and how he makes that decision. Interesting article.
I personally can't 'see' in stitching and prefer a big ground glass, but the possibilities available now are very cool.
Sometimes you just know. The trick is to bring the right gear for the occasion.I wonder what he means by "go right to fine art" and how he makes that decision. Interesting article.
I personally can't 'see' in stitching and prefer a big ground glass, but the possibilities available now are very cool.
Six frames, 12 secs between frames... I can do 10 secs on my LF Ebony and it's still too slow if there are low-flying clouds.Stitched, in the middle of a cloud (it was moving fast) and movement, the horrors! :ROTFL: Tell you something, doing a rotational stitch is one heck of a lot faster than flat stitching. I made this, a 70 megapixel stitch in less than a minute.