View Camera Magazine - What would you like to see?

Discussion in 'Large Format' started by steve_simmons|1, Dec 1, 2001.

  1. Now that some of the shouting is over I do have a sincere interest in hearing what people would like to see in future issues of View Camera magazine.

    <p>

    steve simmons
     
  2. Steve, in general, I enjoy technical articles relating to film,
    paper, and printing - which we large format photographers tend to be
    interested in. Don't be afraid to re-cover something, perhaps in a
    different shade. Andre

    <p>

    PS Also portraiture: any chance of getting Richard Avedon to submit
    an article? Or have I missed that one already?
     
  3. Articles and interviews (if living) in each issue of great and near-
    great LF photographers, with examples of their best work.
    Suggestions: Paul (not John Paul) Caponigro, Marie Cosindas, the
    Westons, the Muenchs, Saint Ansel, John Blakemore, Avadon, Meyerwitz,
    Sudek, Strand, George Tice.... Dig into their philosophy, give
    specific first-hand reviews of what they were doing and thinking for
    specific pictures (ala AA's "Examples"). The difference between LF
    and other photography is much more than the size of the cameras and
    film -- it is the attitude, which should be emphasized.
     
  4. Some of your finest articles, including those that originally
    inspired me to pick up my first camera (a LF one as it happens), have
    been thoughtful interviews with photographers, usually featuring some
    of their work. It's fine to dwell on the brass tacks of equipment
    reviews and darkroom techniques, but at the end of the day it's
    presumably meant to be about the art itself. In addition to Avedon
    mentioned above, it would be great to hear (again?) from Sally Mann,
    Joel Peter Witken, Nicholas Nixon, just to touch on a few. Actually,
    now that I think about it, there has been more emphasis generally on
    landscape than portrait (in terms of artists, techniques, history,
    etc). I'd love to see more portrait photographers, both in terms of
    their work, but also their ideas and techniques. Not a criticism,
    and I'm sure these areas have been touched on in the 13 year life of
    the magazine, but they are what I'd like to see more of.

    <p>

    Still the first magazine I read despite a dozen professional journals
    in ophthalmology I'm supposed to get through every month!

    <p>

    Nathan
     
  5. More interviews/portfolios of current photographers.

    <p>

    More detailed "history of lens design" type articles.

    <p>

    Reviews/samples from current books (not how to stuff)

    <p>

    Workshop reviews/descriptions (part promotional from the people
    offering the workshop plus a couple of reviews from participants)

    <p>

    Articles by leaders of phot suppliers (eg Kodak, Ilford) on how they
    see the future of their business.

    <p>

    Bios of the greats with some insights from their "assistants" etc

    <p>

    Keepup the good work

    <p>

    Alan
     
  6. I read 'View Camera Magazine' in thirty mintues. rarely find value.
    I read 'Camera Arts' for days, constantly returning to relevant
    articles.

    <p>

    you'd never know they were related publishings.
     
  7. Better editing of articles, especially those submissions by readers.
     
  8. I agree there should be lots of interviews/profiles of contemporary LF
    artists with generous reproductions of their work. You do a good job
    with those sorts of features. But more women please. You may have to
    beat the bushes a bit but they are out there.

    <p>

    Along the same lines, continue coverage of (and feature users of)
    smaller format view cameras, which some women (and men) prefer for
    ease of transport. One of my female students saw my 6x9 Arca and her
    jaw dropped: "That makes me want to work with the view camera! The
    4x5s at school are so unwieldy..."

    <p>

    How about a whole issue on medium format view cameras and
    practitioners?

    <p>

    Cheers, Sandy
     
  9. I know that you are asking what we would like to see, but I will tell
    you what I don't want to see. I have no desire to see the number of
    articles concerning digital imaging that you have been running for
    the last couple years. That's why I haven't renewed. Get rid of all
    the digital articles and I might consider resubscribing.
     
  10. I would keep much of what you have as it is very good. Some of the
    articles I would push to make more technical with much more
    exploration and information in them. Much like the sorely missed
    Camera & Darkroom articles used to be, a lot of information and more
    depth than what we have generally available in the US market now.
    I have no problem with coverage of pixelography or photo output from
    scanning or inkjet/digital printers but do think you are right on in
    emphasizing what we know as traditional photography. Keep it up and
    let us know in print when the two can be merged or used together to
    improve our work, our control of the medium or just for information
    sake. In the digital realm I would like to see more in depth coverage
    of the realities of it... how fast fading occurs, real life
    expectance of the storage media, reality of using the digital backs
    in the field and direct comparisons of traditional & digital where
    they can both do the same job. Especially the comparisons of B&W
    inkjet high end and B&W high end printing.
    Profile a major historical name every few issues (as you have done
    often) as well as searching out the lesser known names of history
    that have made contributions to the craft. (as you have been doing)

    <p>

    As for the bricks some throw at your very large & public picture
    window on the world, let them throw them. No matter what you do you
    can't please everyone. Get even better printing & some bitch the
    quality isn't high enough. Accept an ad from a digital firm & some
    piss & moan about you quitting on 'real' photography. Feature
    landscape photos, architectural or portraits & those with other
    favorites feel slighted. You can't do it all in one issue, but then
    you know that. I have watched the magazine grow through the years &
    enjoy it. Just a bit more depth to many of the film, equipment and
    technique articles please. Other than that, keep up the good work.
     
  11. Thanks for your comments. Portraiture will be the theme of our
    Jan/Feb 02 issue.

    <p>

    I will work on your other suggestions.

    <p>

    steve simmons
     
  12. MORE COMMERCIAL WORK !!!

    <p>

    No, I don't mean more ads.

    <p>

    I mean more articles about commercial photographers who use large
    format in their ad jobs. You know ... product photography, etc.
    There's a huge amount of commercial (non-arsty) photographers doing
    very good, creative work in large format. Yes, many have gone the
    digital route but there are still many using traditional methods.

    <p>

    Tip/techniques of the aboved mentioned photographers. Interviews, a
    day in the life of so and so while he/she tackles an assignment.
    Above all, something with substance.

    <p>

    Regards

    <p>


    BTW, I'm glad you asked. I consider that pretty gutsy.
     
  13. I first started reading View Camera in September 1998 when my father picked up an issue for me while on a business trip. Since then, my favorite articles have been those regarding the art and philosophy of large format photography as well as some of the more advanced technical articles. I'm no a huge fan of digital, and I think that at times there has been too much concentration on digital techniques in your magazine. There are other magazines devoted entirely to digital processes that can do a better and more thorough job. That said, I don't object to the occasional article on digital- there have been a few that I have found very interesting and informative("Mixing Traditional and Digital Processes," Nov/Dec '99), but like others I think that after a point it becomes overkill.
    I've always enjoyed articles by/about photographers like John Wimberly, John Fokos, and Gordon Hutchings. As someone else said- I'd like to see some more still life/commercial work, too- along the lines of the Jan/Feb 2001 article on Rob Stanton.
    As far as technical articles are concerned, I think equipment review type articles are kind of a given, but shouldn't be over- done. What I'd like to see more of are articles pertaining to refining technique in traditional b&w darkroom proceses in pursuit of making fine prints- things like split contrast printing, use of papers like Azo, and split toning techniques.
     
  14. How about something for the novices and newcomers to the world of LF?
    Do only professionals read View Camera Magazine? I doubt it - I'm
    not a professional and I read it .....
     
  15. Ditto to everything Dan Smith said. As a specific example, I'd like
    to see an extended exploration of the qualities of available fiber
    based b/w papers, especially with regard to differences between
    graded and VC types. My own tests show very significant sharpness
    distinctions, usually in graded's favor, but there are undoubtedly
    other factors that can be demonstrated such as tonal scale, etc.
    This is a lot of work, but effort that would be very much appreciated
    by those of us who do not do photography professionally and have
    limited time to dedicate to it (see recent thread on that subject).

    <p>

    Most of all, thanks Steve for what you've provided us over the
    years. It is appreciated.
     
  16. Dear Steve

    <p>

    Thanks for giving all of us the opportunity to contribute our
    personal ideas and preferences. However, even more thanks for
    working hard and publishing a great magazine!

    <p>

    As some have pointed out, no matter what track is pursued, some will
    feel left out or not given their due. If you talk about
    architecture, a table top person might not feel enough coverage has
    been done to their field. Hopefully, over time, you can write about
    all of our favorite subjects.

    <p>

    I enjoy studio tours to learn how past and present photographers have
    set up their operations. Also, I learn much when a photograph is
    shown and there is a full explanation of the setup with diagrams and
    discussions about difficulties or obstacles overcome. Maybe an
    article about how photographers deal with urban shooting when there
    are lots of people milling about. Perhaps, a panel discussion about
    lens selection when taking various types of shots-not just numbers,
    but why they feel certain lens act or react better than others. I
    personally would like to read histories (not merely the PR sections
    taken from company literature) of the various companies who are
    involved in large format-how big is the Sinar factory, how many
    employees does Linfhof have, how many lenses has Rodenstock produced
    over the years, a tour of Schneider's factory or maybe an article
    about how Kodak makes sheet film today. Possibly a photo tour of the
    US giving suggestions of interesting landmarks and directions where
    out of area photographers can go when they are visiting. Tips from
    photographers who travel extensively about their suggestions for the
    packing and safe shipment and delivery of photographic equipment both
    domestically and abroad.

    <p>

    Again, thanks for taking the time to ask our input.

    <p>

    Regards,

    <p>

    John Bailey
     
  17. I thouroughly enjoy the magazine and it has contributed greatly to my
    ability and expanding my interests in different aspects of large
    format photography. Keep up the somewhat ecclectic approach to
    material. I especially like the sprinkling of the mixed bag issues
    with those that follow a more specific theme. My only suggestion
    would be the folowing.

    <p>

    It is in the interest of everyone who loves working in large format
    to help increase interest in the format. I think a series of
    articles discussing how to get started and the pros and cons of
    buying used gear vs. new gear, classic vs. modern lenses etc. I
    don't know how feasable it is to talk about buying used when you
    depend on new equipment advertisers for revenue, but in my case,
    being able to buy used to begin with allowed me to master some of the
    technical aspects and be able to make a more informed decison before
    I purchased a new camera.

    <p>

    Also occaisonal articles dealing with xtra-large formats. I know you
    have included such articles in the past and they are a real treat.
    Thanks for all your efforts.
     
  18. First off, a BIG thank you for producing this publication!!
    Personally, give us anything and everything concerning TRADITIONAL LF
    photography. I'll read interviews, field tests, equipment reviews,
    printing and processing, ANYTHING!! Just don't give me DIGITAL!! I
    appreciate that digital is a tool for the busy commercial
    photographer who may also combine it with LF. But I guess the
    majority of your readers, even those who practice in this commercial
    field, want to see TRADITIONAL!! There are plenty of digital "rags"
    around!!
    We are in a priveliged position in as much as you are open to
    suggestions from your readers and the overwhelming fear at the moment
    seems to be that traditional techniques are becoming obsolete.
    Recent postings concern themselves with films that are no longer
    being made and the apparent "writing on the wall" that this is the
    death nell for traditional LF. Please prove the pessimists wrong!!
    Lets have a journal dedicated to REAL LF. I'm no technophobe, but
    there is a time and a place for digital, and it aint here!!
    Regards Paul
     
  19. Steve,

    <p>

    Mainly echoing much of what has been said - articles on/interviews
    with contemporary LF photographers, their philosophies as well as
    techniques - not necessarily just "portrait" types - Sally Mann is an
    example, though you have had some good stuff on her - so: Meyerowitz
    (his World Trade Centre work among others); Sternfeld (what a great
    new book); Sturges; Chris Killip; Nicholas Nixon; Misrach;
    Gursky...?; and suchlike. Maybe some European (ok UK) photographers -
    Don McCullin's use of LF? Graham Smith; Paul Davies?

    <p>

    That said I also enjoy the reviews of modern LF cameras, as well as
    things like older but useable lenses - Ektars, Goertz etc.

    <p>

    Tim A
     
  20. Not bad so far! More on alternative processes would be appreciated.
    Thanks, Steve
     
  21. An area which perhaps has not been mentioned which would be of value
    in my opinion would be a "roving critique" of the various LF workshops
    given throughout the country--an evaluation of personnel, value for
    the money,the pros & cons--perhaps a touchy subject but if your
    looking for "truth" then......... And, I would like to see more
    articles on what is happening in "academia"--what's is being taught,
    by whom of significance, what trends are being taught, who is making
    "waves", what is coming out of Rochester,ASU, etc.
     
  22. You presumably have some idea of the breakdown of your readership
    between professional and amateur photographers but unless
    professionals comprise a pretty large proportion of your readership,
    I'd can the articles involving digital stuff that costs $30,000 and
    upwards. The two major articles in the last issue involving the Sinar
    back that cost $30,000, and the guy with the all digital system the
    price of which was never mentioned but that surely was in the $50,000-
    $100,000 range, weren't real relevant to someone who is never going
    to spend that kind of money on photography equipment (i.e. to most
    amateurs). If you want to include some digital equipment articles
    from time to time, which I think you should, I'd confine them to
    digital equipment that isn't so expensive that it can be afforded
    only by people who can pass the cost on to someone else (i.e.
    professionals), unless of course you have a lot of professional
    readers, in which case I recognize that you have to strike a balance
    between the interests of the two types of readers.
     
  23. As I said my last issue was the Sep/Oct issue, and I loved the Gum
    bichromate over platimum article. Althoug I personally did not like
    the end result, and all the time I was reading it I was thinking:
    Why ruin a perfectly lovely platinum print? I thought the article was
    very instructive, it had a little for everybody, negative, print
    registration etc. If anything I would love to see more articles of
    this type, a novell approach to the old techniques, for example there
    is a photographer in Canada who has been able to coat a fixed out
    baryta paper with pt/pd solution and make a print, he states in his
    booklet he has been able to get D max of 1.5 with pt/pd and fixed out
    paper, plus a "glossy" look, I think this would be of interest to
    some of your readers, another one I came across and thought it was
    interesting is of a phtotgrapher doing pt/pd on plexyglass using
    albumen, PVA and siloxane fixative (fixative as holder, not developer
    fix).

    <p>

    As far as digital, from the previous responses I guess it is a touchy
    subject, but if anything I would like to see a "competition" between
    a expertly printed silver or pt/pd print against a piezography print.
    I am sure you have many beautifull negatives, make one print the
    traditonal way and the other with piezography, and show it to people
    (your choice, either layman or expert photographers) and ask them
    which one thy like best, and why?

    <p>

    I don't want to bore you any more I have hundreds of ideas, but I
    guess you have enough of those already.
     
  24. Anybody (doesn't have to be a "big name") doing good large format
    (preferably 8 x 10) work. Their philosophy, their method of
    preparation for the shoot (more about them as people), their method
    of seeing, their method of exposing and processing film, and their
    mehtods of showing their work. Kevin
     
  25. Thanks for the comments. There have been many good ideas and we will
    work on them.

    <p>

    Just to clarify a few things.

    <p>

    We've done an article on Paul Caponigro.

    <p>

    51% of our readers claim they are professionals

    <p>

    Ansel is dead. I can't imagine doing anything new about him. No
    disrespect intended.

    <p>

    An article comparing Azo and regular printing paper is in the works.

    <p>

    PT/PD, silver and digital prints are different media. It would be
    like arguing which is better an apple or an orange. They all have
    their beauty, advantages and disadvantages.

    <p>

    We have done articles on used equipment since the beginning. In the
    Nov/Dec 01 issue we had a detailed article on Fuji lenses. We've done
    articles on lens design as well and older lenses.

    <p>

    The gum over platinum article was in the July/Aug 01 issue.

    <p>

    An article on reviewing workshops would be a challenge. Why, it is so
    subjective. In my own workshops I have had people thrilled at what we
    did and disappointed - all in the same group. I try and be as clear
    as I can about the topics and class plans and my low tech approach.
    In one of my groups I had some people going with me from 6am to
    midnight and up again the next morning at 5 and others mentally check
    out midweek because I was not techncal enough - they wanted to study
    the camera not how to use it to make photographs. The reviews of that
    workshop would have been all over the place depending on who did tyhe
    writing. A couple of years ago we did a piece where 5-6 people who
    teach large format did write an essay on what they try and do in
    their workshops.

    <p>

    We get criticized about John Paul's articles but he is trying to get
    into the hearts and minds of his subjects and help us get to know
    them as people and artists.

    <p>

    We are always looking for new artists to feature - looking at
    photographs is one of the best parts of my job. We will try and
    feature a few more table top people. Is there an interest in more
    architecture?

    <p>

    steve simmons
     
  26. Got enough suggestions yet?
    I have read many issues donated by friends, etc. but have not
    subscribed as yet because I (and I know I am not alone) care very
    little about what some "cutting edge" commercial photog is doing in
    New York or L.A. or who is showing where. Nor do I care to read long-
    winded, technical articles about film curves.
    The beauty (and interest)in LF is in the image - not the photographer
    who snaps the shutter, or the company who made the camera.
    I am interested in the images and the techniques applied to produce
    them.

    <p>

    A picture is worth a 1,000 words!
     
  27. I would love to see some Architecture, specially in B&W (is there
    such beast?), on the other hand I am always amazed at the pictures
    some potographers turn out in the achetiectural field.
    Ok, Ok, so I missed the month about the Gum bichromate, still I think
    it was a good article would love to see more like this.

    <p>

    Please don't take this as critizism, but with respect to John Paul
    Caponigro, I don't know what it is about his style that turns me off,
    maybe it is the artistic pseudo-speak, or should I call it
    methaphysical comparisons, I really cannot pinpoint what it is, but I
    do know that I let my susbcription lapse since I started seeing his
    articles, and every time I saw there was an article by him, I did not
    purchase the magazine, specially since I was so disappointed about
    his interview with his father, such a great opportunity lost in the
    artsy pseudo-speak! ah well!.....ok I think this is enough from me. I
    wish you continued success.
     
  28. I like photographer's portfolios, much like what is found in B&W
    magazine. I also like to read articles about how different LF
    photographers use their equipment in the field. I like bios on LF
    photographers. I am not really interested much in the latest and
    greatest of equipment or technical aspects. Art and personality
    profiles are what I enjoy.
     
  29. i do HABS/HAER work, and have a deep interest in historical
    photographers who did architectural and topographic work in the 19th
    century, such as carleton watkins, edouard baldus, le gray, marville,
    sebah, bonfils, zangaki, antonio beato, a j russell, fenton, and
    auguste hippolyte collard. i would love to see some in-depth
    articles about any of those folks, and any contemporary pros in the
    field of architectural and engineering recordation, such as jack
    boucher and jet lowe.
     
  30. Unsung heroes. I'm a lot more interested in folks with names I don't
    immediately recognize that are doing novel things in large format. Do
    a piece on the under $1000 complete outfits possible. Do a piece on
    old pro's that bought a Deardorff in 1955 and are still using it.
    Investigate some of the regular contributors to this forum and I'll
    bet you'd find some interesting approaches and visions. Reprint some
    of the stuff most asked about all together in a special that could be
    bought seperately like the history of lens design pieces. And by all
    means ditch the digital crap. Start a 3rd mag for that. Best wishes!
     
  31. Thanks, Steve, for giving us the opportunity to say what we'd like to
    see in View Camera. I doubt it will be very helpful to you, since
    we'll have different and even contradictory opinions, but I really
    apreciate your asking.

    <p>

    I hadn't meant to add anything
    to this thread, but after reading the exchange about John Paul
    Caponigro, I
    want to tell you that the one article from View Camera that I
    treasure, and have read and re-read until the magazine is falling
    apart, is John Paul Caponigra's interview with Christopher Burkett. I
    had dismissed CB as just another photographer of forgettable color
    scenery, and had
    never really looked carefully at his work until I read this article.
    Now I think
    I have a much better appreciation of Burkett both as a photographer
    and as a human being, and it's all due to that article.

    <p>

    I agree with Sandy that it would be nice to see more female
    photographers featured in the magazine, and I always want to see more
    on alternative processes. I would also like to see more about vintage
    lenses, particularly pictorial and portrait lenses; Jay Allen's short
    article left me wanting something more in the way of specific
    information about the various lenses.

    <p>

    Thanks again,
     
  32. Steve,

    <p>

    I think it would be useful for readers to have a profile each issue
    of a photographer covering topics like their photographic ideas,
    inspirations, techniques, perspectives and part of it could also be a
    small biography to show what's possible and what others are acheiving.
    I know there's only so much available space each issue so it would
    have to be brief but it would help intoduce different applications of
    imaging....small format...large format....digital etc. to others who
    may only be familiar with one format. It would be like how some of
    the interviews that have been down in your magazine but a monthly
    feature.

    <p>

    Thanks

    <p>

    Paul Doty
     
  33. the 10 year old back issues i have i treasure because of the amount
    of solid info from real artists working in lf-commercial, fine art or
    what have you.

    <p>

    i don't subscribe because when i pick up an issue and see yet another
    exercise in velvia carnival color by yet another pretentious yuppie
    art pimp, or another pretentious article by the same pretentious
    yuppie art pimp who has been taking up entirely to much space in your
    otherwise wonderful magazine, i don't buy that issue.

    <p>

    the article on fuji lenses was a great service to all of us who in
    fact create art with lf cameras. your articles, steve are wonderfully
    informative and good reading. wisner's articles are also always great
    reading and instructive. ditto norman mcgraff. ditto cole weston,
    wimberly and so many others.

    <p>

    i think i would subscribe if you dump caponegro

    <p>

    i have to echo the comment about camera arts v view camera-but you
    could still dump caponegro

    <p>

    i think you should dump caponegro

    <p>

    hey steve-dump caponegro
     
  34. Steve,

    <p>

    I'm a subscriber and I'm not so put off by the digital media. Here
    are my thoughts for articles.

    <p>

    1) I think someone mentioned above getting started for under $1000.

    <p>

    2) Building a mammoth camera. (a kind of how to article) My friend
    and I are in the process of doing just that and maybe there are
    others who have taken on such endeavours.

    <p>

    3) Making old view cameras better. I'm sure there are quite a few
    people out there who have an old Gundlach or Korona or 2D that have
    devised all sorts of ways to refine them.

    <p>

    4) How about an interview with the airlines about travelling with big
    camera gear and what we can do to make travel easy and painless.

    <p>

    5) How about the digital darkroom for under $1500. I love my Omega
    E4 but maybe I don't have the space.

    <p>

    6) Maybe a travelogue in the US for unusual or less travelled
    places. (I would expect readers may want to contribute here).

    <p>

    7) Speaking of, an article defining national and state park
    priveleges (sp) for photographers would be good.

    <p>

    8) OK, last one, How about a discussion with Kodak or Agfa about the
    future of LF products.

    <p>

    Thank you for the opportunity to contribute some ideas.

    <p>

    Sincerely,
     
  35. The vast majority of View Camera issues are superbly laid out. I hope
    that you continue with this high level of performance. Am I in error
    to say that yours is the only magazine that includes portfolios and
    interviews of large format women photographers? Certainly your
    magazine deserves commendation for the even-handedness with which it
    features women photographers. I notice that several women responded to
    your question on this webpage, which is almost unheard of at this
    website. I like the fact that you do discuss the photographers
    attitudes and the problem solving required to take the images
    displayed in the magazine, and I hope this practice continues. You
    invariably do this when you write articles for the pubication. It is
    the interplay between image and text that made Ansel's books on
    photography so helpful. I am of the impression that your magazine is
    largely devoted to American photographers. It would be satisfying to
    me if more were disclosed about the portfolios and commentary of the
    European or Asia large format landscape photographers. If there was
    any area in which your magazine has a shortcoming, it would be the
    unimaginative, strike that, awful advertisements by a few of the
    equipment manufacturers, in obvious need of input from a graphic
    artist. Overall I am content with your magazine as is but see no
    copellig reason why should not experiment
     
  36. i've been getting your mag for about 8 months or so. i'm not new to
    photography, but i am new to lf. there are so many things i want to
    know. equipment, lenses, (fuji item was great.) i really need some
    basic "how to" lf stuff as well as lf darkroom. and keep the
    inspiring bits, (personal work.. maxwell mackenzie ect.) as for
    digital... well its here to stay. its just not for me, and not what i
    expected when i subscribed. i didn't even read the articals. my
    interest is in the more conventional realm of lf.( 1/2 sec. @ f:16 w/
    3 degrees of tilt.) meat and potato stuff. my 2 cents.
    and thanks for asking. dee
     
  37. Mr Simmons, I'm glad you finally ask.

    <p>

    Open it up to readers (show that you approachable), with a
    letters/questions to the editor section.

    <p>

    Improve the type and lay-out, it has always been a bit of a mish/mash.

    <p>

    Devote one issue per year to young LF photographers, the ones
    finishing their education: let them decide on the contents, have them
    edit the entire issue- with your gentle advice available to them if
    needed.

    <p>

    Make it easier for Canadians to subscribe, you sent me a faxno. that
    was of no use-I informed you but never received a reply.

    <p>

    Respectfully,
     
  38. Howdy Mr. Simmons,
    I'm brand new in the large format arena with a omega view 45F and a
    toyo field AII, a few 'nice' lenses and lots of desire to learn.
    I bought my first issue at a local Barnes & Nobel bookstore in Dallas
    this past month and also really devoured the article on the fuji
    lenses.
    I would like to see some article helping/teaching all of us 'newbies'
    a new important aspect each issue. The pros can skip over that
    article if they are so smart that they can't learn something from it.
    I did also buy your book and will shortly start trying to absorb the
    information.
    I have just bought a book about 'Hollywood Glamor and portrait shots
    and how these were supposedly done including the retouching of the 8
    by 10 negs. The book is very general and would like to see more
    specifics. The name of the book is: HOLLYWOOD PORTRAITS-CLASSIC SHOTS
    AND HOW TO TAKE THEM by roger hicks and christopher nisperos ,
    photographs from kobal collection. lib of congress #00-103119; isbn
    #0-9174-4020-8. It covers the 'stars' and celebrities of the 1930's,
    the 40's and the 50's. Some of the photogs were Laszlo Willinger,
    Frank Powolny, Robert Coburn, Ashley-Shaw, John Engstead, C.S. Bull,
    George Hurrell to mention a few.
    I was telling a friend who shoots for universal studios about the
    shots that i admired from Hurrell and he suggested i look into
    getting a book on some work by Horst, which i don't know of yet.
    Just trying to emulate this type of work is a REAL joy in todays busy
    and crazy world. We should all feel blessed to have this passion and
    to be able to pursue these dreams, i mean just look around us right
    now.
    I'll be looking forward to the next articles concerning portraits and
    will purchase a subscription just because you evidently had the
    huevos to stick your neck out here in the 'flames' and are commited
    to your cause for a top notch issue each and every time.
    Portraits are not the only thing that interests me, a little
    landscape possibly floating down a river in my 17 foot canoe,
    tabletop product photography like cosmetics, food, jewelry,
    archetecture to name a few more interests.
    The platinum process as i know nothing of this (neewbie) but have
    stood at a display downtown for hours with my mouth hanging open. The
    TONALITY of the black and whites were undiscribeable.
    I'd like some real specifics as far as how to retouch the negs as
    some of the above mentioned photos used to do in the 30's , 40's...
    I'd like to see some specifics to setting up an affordable LF
    darkroom.
    I don't care what the photogs had for dinner but I'd like to know the
    mindset of them as they prepared to photograph some of the celebs of
    yesteryear, their preshoot planning, their lighting techniques and
    the reasons behind these. The films of choice and methods of
    processing are another interest.
    A final note, I WOULD BE WILLING TO ORDER A CD SET WITH ALL THE PAST
    ISSUES COMPLETE WITH SCANS for my personal library and
    enjoyment/learning.
    i'm going to pick up the copy that i bought last month and turn in my
    subscription now.
    Gracias!
    miles
     
  39. Ooh....I like Hans' idea. I'm 19 and I know maybe one other
    college-level photographer who voluntarily shoots large format,
    so it would be really nice to see what other student and
    emerging photographers are doing in large format. Perhaps
    something of a similar idea to what PDN doesto showcase
    emerging photographers, but with people shooting with view
    cameras.
     
  40. Steve,

    <p>

    How about an article about Jon Cone and a rundown on all the different
    papers, inks, software, and printer combinations he sells?
     
  41. View Camera has had some excellent articles throughout the years. I
    could see it as value added to occassionally re-publish some of the
    gems of the past. In fact, having a whole issue on gems would be
    neat. That's an issue I would purchase.

    <p>

    I realize that some people may have saved older issues, and may
    already have some or these articles. At the same time, I'm sure that
    View Camera has many new subscribers in recent years, for whom these
    articles would also be new.
     
  42. How about a two year running series profiling those who are dedicated to
    teaching large format or serious "vision" oriented photography , not just the
    technical and copy cat stuff, around the world. break the US up in to
    sections: East, South, Soththwest, West Coast, Midwest. then Europe and
    then Asia. <P>How about a piece on Robert Adams?<P>What is Nicholas
    Nixon up to?<P>How about a piece on Joel Meyerwitz's World Trade Center
    project?<P><P>Is there any humor in large format photography?
     
  43. I forgot: A piece on Texas LF photographers.
     
  44. An amateur/hobbyist LF b/w photographer and a subscriber in my second
    year, I am basically happy with the current layout of the magazine.
    Possibly others than myself would like to see some or all of the
    following in future issues:

    <p>

    1) While granting that Ansel is dead, articles on important but
    perhaps lesser known historical figures such as William Henry
    Jackson, Charles Jones, Alma Lavenson.

    <p>

    2) Brief reviews of current photography exhibits, photography books
    still available new or used, or even television specials, written by
    practicing LF photographers (as opposed to critics without experience
    in our craft).

    <p>

    3) Equipment reviews or discussions of technique duplicating articles
    in long past previous issues for the benefit of more recent
    subscribers. Perhaps include darkroom, mounting, matting and framing?

    <p>

    4) Short stories written by or about amateur/hobbyist LF
    photographers, both biographical and accounts of LF outings to sites
    that might be accessible to some of the rest of us.

    <p>

    I look forward to my next issue. Good up the good work. Nick.
     
  45. Very interesting to compare the above comments with this same
    discussion from last March:

    <p>

    http://hv.greenspun.com/bboard/q-and-a-fetch-msg.tcl?msg_id=004uNO
     
  46. Excellent suggestions so far. How about one devoted to hand held LF?
     
  47. John Paul Caponigro and Abigail Foerstner are two of the best
    photography writers and interviewers. please retain their services
    and contributions. why we do what we do is as important as how we do
    it. I would like to see a departure from the landscape crowds and
    more focus on using large-format in unconventional ways by
    unconventional artists.
     
  48. Having thought about it overnight, I finally realized that the most
    important thing about photography -- good pictures -- are often
    missing from the magazine. Often it's possible to go from cover to
    cover without seeing anything original or profound, or even
    beautiful, including in the many advertisements. That should be the
    primary purpose of the magazine, namely showing us great images
    unique to LF. Everything else is secondary.
     
  49. I have been a subscriber to vc since the third issue and immediatly
    bought the first two issues but in the last couple of years there
    have been less issues with articles I enjoy. I keep my subscribtion
    up so I don't miss something. I guess there is only so much you can
    say about traditional large format photography.
    William Blunt
     
  50. Steve-
    First, let me applaud you for asking. You have received many good
    suggestions in response. From them I assume your readership is
    relatively young or at least in terms of experience with large
    format. I, on the other hand, have been involved for many years so
    my comments come from that background. I would like to see the work
    of young photographers, or at least lesser known photographers, not
    the same old dinosaurs.

    <p>

    The product reviews and technical articles relating to large format
    are good. But please, could you scrap the digital stuff? A magazine
    already exists devoted exclusively to that subject. Thanks again for
    asking.

    <p>

    Regards,
    Merg Ross
     
  51. Steve,

    <p>

    Thanks for asking your question. I hope you will return with this
    question every year or so. This forum and your periodical are rowing in
    the same direction. I agree with many of the recommendations that have
    been previously posted. And I am very pleased that the awkward first
    try at communication (in the previous thread) has become more positive.
     
  52. Steve
    Dan Smith's comments has my vote. I couldn't say it any better.
     
  53. Hello Steve, I emailed you a month ago about a photography site that
    was in need of your help. And you didn't even respond with a curt
    stick it. I know you are busy but this brings me to my point of what
    is and has always been missing in View Camera. That feeling of being
    connected. Being connected to something bigger. Large format shooters
    are different. And we are snobs. We feel we are in a separate class
    and we are purists. That feeling of being connected to a group and
    knowing who's who. That personal touch. John Paul Caponigro? A little
    too far into metaphysical art talk. Hard to feel connected to him. Jay
    Dusard? Now that is one plain talkin guy. Easy to become involved
    with. Ruth Bernhard? What a great story and wonderful photographer.
    And with a great approach to photography. Nothing hard about her
    approach. Ron Van Dongen? Flowers that are beautiful. You the
    architectural shooter. Landscapers, still life shooters. Guys like
    me that shoot hand held. With modernized old equipment. We LF
    photographers are all of these and more. I asked you to have a look at
    a site on the web and see what community means. The site is full of LF
    photographers, from those just learning to those of us who are already
    teaching it. Like this site. Large format photographers come here to
    learn and be a part of something unique. And you are listening to
    them. But what of the new arrival to large format? Your magazine
    should link that person to other places and other photographers with
    whom he can become aquainted and become a member of a larger
    community. Have you put the address of usefilm.com into your magazine?
    Just a one line recommendation to go have a look? How about Ed
    Buffaloes site? What a resource. How about the address of this site? I
    haven't seen them. But you come here and ask us to purchase your
    magazine. It deserves something from you in return. Link everyone
    together. Like a bookmark section. Doesn't cost you much space. Where
    is the sense of community? That's how you get it. Usefilm.com is such
    a place. Not a clique like so many yahoo sites. But a really good
    teaching site. A site that gives lessons and homework to do. Full of
    nice people willing to help a new arrival get their feet wet. And lots
    of images to look at. Like your magazine should have in it. So please
    give usefilm.com a look and find a small place in the magazine for an
    ad and include this site as well. Create a space for suggested
    e-sites. Links to large format photographers sites. Help make large
    format into a family. Link all the resources up. Be a leader in the
    field. You will find readership will increase dramatically because
    this will become "the" place to look for all things large format. And
    I'd like to see a lot more emphasis on images and how they come about.
    Why did Cy De Cosse start shooting still life and how does he achieve
    such beautiful results? How did Hurrell light those magnificent
    portraits? How does Karsch do it? How did Wynn Bullock get such high
    contrast into his images without blowing out the highlights. How does
    Tom Barril solarize his polaroid film before he shoots his Botanicals.
    How about books that are out there that will peak our interest in
    shooting? There are hundreds of them. Where in Joe Shooters area are
    galleries where a large format photographer can go see examples of
    work by other large format shooters. Places to stop when traveling
    like Dan Smith's gallery in Provo or the venerable The F Stop in Santa
    Barbara. Or where do you hang out in New Mexico. Make this magazine
    "The" resource and you won't begin to be able to fill the new
    subscriptions. And go to usefilm.com and take a look and see what
    community is like. I plug your magazine there all the time. And some
    of the other wonderful magazines out there like your companion Camera
    Arts and B&W and Lenswork. They aren't competitors. They are
    resources. Just like auto malls. Hint Hint. James Mickelson
     
  54. I would like to see more articles about the specific aspects of the
    technique used by well experienced LF photographers,a "how I do it"
    type of article.
    I would like to see more european photographers featured,there are
    some wonderful people outside the US and their experience and take on
    LF photography would be of interest to me.
     
  55. Steve:

    <p>

    Thanks for asking.

    <p>

    Please continue to do articles about digital. It’s the future of
    photography, without a doubt. There may be other sources for
    information about digital, but the revolution that we’re witnessing
    deserves to be reported from many different viewpoints,
    especially the ones that VC can provide.

    <p>

    For instance, an article could profile a great digital practitioner,
    his or her techniques, how those techniques affect the final
    images, and of course, a portfolio of images.

    <p>

    Don’t exclude the perspectives of the working professionals (for
    digital or film.) For that matter, why make a distinction? All
    practitioners, commercial, amateur, fine arts, young and old, are
    gaining experiences that are worth sharing.

    <p>


    DW
     
  56. As others have said before, I would like to see articles that are
    directed at the relative newcomer to LF. Realizing that you have
    probably done these types of articles in earlier years does nothing
    to help us new subscribers to your magazine. We are seeking out new
    ideas (to us the beginner), new or used equipment, and more
    importantly to learn from those that have gone before us.

    <p>

    I sometimes feel that as a "newbie" I first have to resolve what your
    articles are about from other means such as the web before actually
    digesting the content. As James Mickelson has pointed out there are
    excellent resources on the web and you might choose to be a focal
    point for many of these. At the present time I see your magazine in
    danger of becoming less appealing to new LF photographers like others
    and myself.

    <p>

    Earlier you stated that the readers have claimed that 51% of them are
    professionals. This is probably true and if you wish to reduce your
    present readership downwards towards the 51% marker then you will
    continue to cater to their needs. As for me, my first year
    subscription has just become due and I have just finished asking
    myself what value your magazine has provided me for my hard earned
    dollars? What else might I have done with that money towards
    increasing my enjoyment in LF?

    <p>

    I carefully reviewed the issues I received and compared their useful
    content to the web, other magazines I subscribe to, and books I have
    bought. The conclusion I came to is not in your favor. I am now on
    the fence in regards to renewal and truly am hoping that your
    magazine may become one of my premier choices in my selected area of
    interest, which is LF photography. Believe it or not I have just as
    much "disposable subscription money" as any professional but I am
    doing it for "the pure joy of it" which would seem to be a very
    strong driving force.

    <p>

    Crossing my fingers and hoping that your magazine changes to include
    us newcomers.

    <p>


    Regards,
     
  57. I am pleased at so many responses. I will spend the next week or two
    going through them to see what common threads there are and how to
    achieve a balance in the case of competing interests (less digital vs
    digital is ok for example).

    <p>

    We are publishing an Article Index in the Jan/Feb 2002 issue covering
    all articles we've done between our first issue in 1988 through the
    Nov/Dec 2001 issue.

    <p>

    We plan to continue our coverage of the alternative processes,
    working in the darkroom, we will add more how-to info in each
    portfolio and do more how-to pieces, etc. We will also do more on
    table top photography including how-to kinds of articles.

    <p>

    steve simmons

    <p>

    steve simmons
     
  58. Steve, thank you for asking this great community we have here. From
    the responses so far, you can see that View Camera has many
    supporters here. Here is my $.02

    <p>

    Here is what I would like to see in future VC issues: Printing
    articles from 'master' printers, ie John Sexton. Getting started in
    LF architecture: an insight to equipment needs and techniques. How
    about an article from an emerging amateur?

    <p>

    Since I am new to LF (May of this year), I am unaware of articles
    pre-2001. Can you publish a list of past issues that you might have
    sitting around gathering dust? I also like the idea of putting
    together a digital darkroom for under $1500. I know I might get
    flamed for that request, but I am at a crossroads for printing,
    since I don't own my own printing equipment yet.

    <p>

    Your workshop this past May was my first exposure to LF, and you
    were very approachable regarding beginner's questions. I have
    learned quite a bit from VC Magazine and this forum ever since.
    Please keep up the good work, and visit here often.

    <p>

    Andy Biggs
     
  59. As another who has the magazines from the first issue I will add one
    more thing. Through the years I have questioned some of the articles
    & the slant of a number of issued. But over the years many of those I
    first thought of little interest to me get another looking at as I
    move forward, learn more and get more experience. A question comes up
    & I go looking through back issues & find it, often in one of the
    articles that didn't interest me the first time or a few years back.
    I see this as a tough balancing act for Steve, putting out a product
    people will buy & want to continue to buy while stifling the urge to
    focus it so narrowly that it covers one aspect completely at the
    expense of other areas. Each issue is interesting or at least has
    something of interest for me. I wouldn't mind seeing a few very in
    depth articles running over a few issues. One thing that might help
    is a reference box occasionally pointing out earlier issues that
    covered a similar subject...which might help sales of back issues as
    well. The format specific issues are fun though surprising in the
    lack of response from many of us when the call goes out months in
    advance for images in these formats. Try it again & see if it picks
    up. Your issues with solid contests are good as well and I wouldn't
    mind seeing more of them with some very specialized topics or formats
    mixed in with general 'open image calls'. I could easily see a photo
    call for infrared or Bergger warmtone or Ilford coldtone or such with
    prizes from the product makers or distributors as part of the awards.
    Product or format specific might help bring attention to certain
    aspects of the LF family. Heck, even announcing something
    like "Yellowstone in LF B&W" two years ahead of time might spur many
    who want to go there to shoot to finally get going and result in an
    interesting issue. I am not quite so worried about pixelography
    compared to photography but more so with the final image and am most
    interested in how the images came about, why some were taken and the
    thought that went into them during various stages of the process.
    And, I do enjoy the interviews of John Paul Caponigro but sure would
    like to see an in-depth retrospective of his father as well as some
    other 'icons of photography' still living, something past the
    interviews. Some have been done and more remain. Keep up the good
    work.
     
  60. Dear Steve,
    hope you don't regret asking now!

    <p>

    My personal angle on this is from the point-of-view of a professional
    photographer (only occasionally get to use LF for professional work),
    most interested in the craft of large-format, 'fine-art' photography,
    for personal work.

    I have little interest in digital for LF.

    <p>

    The main reason I buy View Camera is for the articles on both big-name
    and lesser known photographers. Interviews, features etc. which get
    into the minds of the picture-makers, which talk not only about the
    technical and practical side of their work, but also about what
    compels them to make the work, the thought process, the philosophies
    behind the pictures.
    I can't believe people are so dismissive of John Paul Caponigro. Do
    they really want to read a magazine which talks only of technique or
    equipment, and not about the philosophical or spiritual process of
    making Art?
    I read and enjoy many of the articles on technique, but you could swap
    twenty of those articles for the feature on Sally Mann, or the
    interview with Richard Misrach, for example.

    <p>

    My only criticism, as an Englishman, is that the magzine has a very
    'American' flavour. I'm interested, of course, in American
    photography. However, it would be great to see some work from the
    UK/Europe. There are some really great people working in large-format
    over here: Jem Southam, Thomas Joshua Cooper (American I know, but
    resident in Scotland), Thomas Struth, etc. etc.

    <p>

    Finally, I would very much like to see my own work in your magazi
     
  61. Sorry.....in your magazine :) !!

    <p>

    howcome the end of my sentences always cut short?
     
  62. Who is Captain Ferricyanide? Perhaps he or another maven of
    Ferricyanide bleaching can offer some hands-on instruction in this
    process. I've been getting dark yellow stains on Ilford Multigrade
    paper when doing selective bleaching of dark black lines. Is this
    staining avoidable? Remediable?
    Thanks for asking.
     
  63. You should continue your coverage of both traditional and digital
    processes. However, most import, you should rededicate yourselves to
    showing fine quality images, and not those of here today-gone
    tomorrow gallery promoted trendies who lack technique and vision or
    those of moderately accomplished amateurs who get published primarily
    because they are famous for other things. There are many lifelong,
    highly accomplished, professionals who need and deserve greater
    exposure. At the end of the day we all learn the most from seeing
    great photographs.
     
  64. Here is what we are planning for the next few issues

    <p>

    an issue on portraiture in Jan/Feb 2002

    <p>

    an article comparing Azo with vc paper in Jan/Feb 02

    <p>

    an article index from 1989 through 2001 in the Jan/Feb issue

    <p>

    an article on color transparency films for outdoor work in jan/feb
    2002

    <p>

    John Paul will continue to write as he has time. The reviews on him
    seem to be mixed but he does bring a context to his articles that no
    one else does

    <p>

    an article on using filters sometime in 2002 (for b&w)

    <p>

    an article on Thomas Joshua Cooper is in progress

    <p>

    an article on setting up the digital darkroom for less than $1500
    sometime in 2002 (black and white and color)

    <p>

    an article on making the contact print and an issue showing
    photographers who only make contact prints - smetime in 2002

    <p>

    we are working on other ideas and reviewing all of your comments.
    Thanks

    <p>

    steve simmons
     
  65. Steve, thanks for asking. How about more coverage on photographic
    permanance, archival processing of B&W materials. What does Wilhelm
    say about this subject? How do the accepted masters in the fine art
    field process for permanence. What products improve archival
    permanence most effectively?
    I have been a subscriber for several years and look forward seeing
    this subject and the others suggested in upcoming issues.
    Ed O'Grady
     
  66. Steve,
    I would enjoy a retrospective of Paul Caponegro's work.
     
  67. I would like this opportunity to restate my opinion of John Paul
    Caponigro and his articles and interviews in View Camera. I reread my
    response about John Paul's interviews and it wasn't what I meant. I
    enjoy his interviews very much and his articles on digital printing. I
    was just using him as an example but failed to do a very good job.
    Please keep him on the payroll Steve. But also add other voices to
    your Magazine. Thanks. James
     
  68. Gee, they came out of the woodwork on this one.

    <p>

    My rec's are; Portraiture(covered), competitions, in-depth camera
    reviews (especially older models for the new enthusiast), old/new lens
    reviews and test, centerfold (camera optional), handheld 4x5 article,
    2x3 cameras article, Dunkin Donuts coupon, View Camera hats and
    t-shirts.

    <p>

    Get up a small budget and I'll produce a TV show for ya.
     
  69. Gursky, interview him and get him to talk technical. In view of the
    noise lately on this forum about the going-digital-trend and View
    Camera's role in this, this may be a useful illustration of combining
    the best of the two worlds.
    Also, does Meyerovich still use the same techniques as during his Cape
    Light project, or did he come up with novel insights?
     
  70. Lots of good suggestions above.

    <p>

    Coming from the U.S., I'd also like to see more work on photographers
    in other parts of the world, where the aesthetic and historical
    influences are much different from those in the American tradition,
    Gursky just being one of the biggest names.

    <p>

    Hard to get enough info about classic lenses, but of course, I know
    you've already published articles on them and they aren't making any
    more of them. How about publishing a _View Camera Magazine Guide to
    Classic Large-Format Lenses_, compiling articles from past issues
    maybe with some solid comparison data, tables of resolution and
    coverage and--most importantly--photographs made with these lenses
    that show their special qualities?

    <p>

    Have you ever done something on repairing and maintaining classic
    shutters? That's something I would like to see.
     
  71. Well, I'll toss out an idea, in regards to some of the posts about
    preservation work. I know you all did an issue interviewing the 2
    primary HABS/HAER guys, and some other preservation architectural
    articles in year's past, but I also enjoyed the article you did on the
    Chicago Albumen Works and the introduction of Centennial POP. Along
    the lines of archival storage, although there's a heck of alot of this
    info out there already ....anyways, maybe do an article about the
    Image Permanence Institute, the PAT and the updates to the ANSI
    specs....alot of people talk about archival storage, but really don't
    have an understanding of the "marketing" that goes on in some of the
    products out there....I'd also be interested in some more on the
    Chicago Albumen Works and the work they're doing in regards to
    preservation masters and conservation work on safety-based films....I
    know this isn't exactly "large format" shooting, but it still might be
    interesting to see an article about floating emulsions off decayed
    negs etc. Besides fine-art, the majority of the larger institutions
    around use sheet film, and I imagine will continue to do so as long as
    possible....my opinions here, not my employers.
     
  72. With so much said, a few short comments:
    1) Steve, don't be intimidated by the ludites that do not want to see
    more Digital stuff. They are probably the same ones that saw the
    portent of doom in such modern amenities as "artificial ice". For
    them you could have a few articles written by .....psychiatrists.
    2) Don't limit articles to subject matter on the basis of equipment
    cost. The misguided pragmatism of those who propose such is the road
    to ignorance. A good magazine should open minds and be more than a
    Sears catalogue.
    3) The LF community has a large population of the color blind or the
    pretentiously so. Humour them by all means, besides, it's cheaper.
    But do publish more articles dealing with color. We humans were given
    the great gift of a colourful world and the eyes to glory in it.
    Yes, colour photography is artistically more difficult as the good
    Ansel found out but that is no aliby for all the snobbery of the
    colour blind.
     
  73. What I would like is a reason to pick up your magazine when I don't
    even have time to read it. The first two years I read your magazine I
    didn't even begin to undertand thoes articles on doing some
    complicated procedure or other -- now I go back and read them and I
    now they are there. If I am too tired or busy to read, I must pick it
    up for my archive and I will read it in six months. For the last near
    on year, there has been none of this in your magazine. I don't want
    to keep an archive of digital gizmoes that will be obsolete. Your
    magazine was a reference book bought monthly, now it is a "Dr.
    Tomorow" flyer.
    Dean Lastoria
     
  74. I wish to again express my appreciation for all of the input I've
    received in the last week or so. Please be assured we are carefully
    reviewing all of the comments. Some articles are already developing
    out of the comments and I am sure that more ideas will develop as we
    review the suggestions.

    <p>

    In the next few weeks we will be updating our web site and one of the
    possibilities is that we will try an area where people can upload
    images and receive comments. However, before we try this I have two
    questions

    <p>

    is there any interest in us providing this type of service?
    should it be open to everyone or just subscribers? It is going to
    cost to create this service and subscribers are helping support our
    efforts.

    <p>

    Another question. Should we post articles on the web site? If so how
    current should they be?

    <p>

    steve simmons
     
  75. If there were a searchable archive online of back issues, that would
    take care of the problem of requests for older articles, and if it
    were available only to subscribers, that would certainly convert me
    from a frequent newstand purchaser to a subscriber. If it were a
    subscribers-only service, of course, it would really have to be well
    done with a good search engine, up to date, and a reasonably fast server.
     
  76. Steve, I've got every issue from the first, and still subscribe. To
    answer your questions: I have no interest in your providing the
    image upload service. It is available elsewhere, seems to bring out
    the worst in people and has the potential to tie you up resolving
    problems as an administrator. If you implement that capability
    anyway, do limit it to subscribers. Second, I suggest you don't
    publish articles on the Web site. There's no point in buying your
    publication if you give it away.

    <p>

    You are planning an article index in the Jan/Feb issue. If it's like
    those previously published, improving it is where I'd like to see you
    expend the effort you'd otherwise allocate to image upload/on-line
    publishing activities. All your previous indexes have been less than
    easy to use. They frequently don't place things in categories one
    would expect, and leave out many items, resulting (for me anyway) in
    time consuming manual searches. All this may be too late for the next
    issue, but please work on it before you publish another index after
    that.

    <p>

    Thanks again for listening.
     
  77. As a relative newcomer to large-format photography and hence the
    magazine I'm looking forward to the article index; however, you
    already provide that on your web site so it would be nice to have a
    brief summary (in the magazine or web site) so I could decide if I
    would like to order it.

    <p>

    I would also like to see information about some of the older cameras,
    as someone suggested. I read about a lot of cameras that I don't know
    much about and it can be almost impossible to find any information
    about them.

    <p>

    Lastly, I'd love some "beginner's" articles. I read about all sorts
    of techniques that are easier to accomplish in LF than roll film, but
    find it hard to learn how or why to use a technique (such as flashing
    paper or film).

    <p>

    As for the online archive, I agree that you should not give something
    away for nothing, but having an archive online for subscribers would
    be great. I don't know how many people order old articles, so you may
    have to consider the # of subscribers you'd convert by adding the
    searching vs. the $$$ you get from people purchasing old articles.

    <p>

    Thanks for asking! and as for the digital issue, while it's not
    something I can seriously consider I did find the issue interesting
    to see where digital is taking the industry and how far it has come.
    Personally, I'm not interested enough in digital to buy digital mags,
    so having that show up in my mailbox was perfect.
     
  78. Steve,
    As a long time subscriber whose indulgence in LF photography is
    strictly on a personal level, not commercial, what I like most about
    your magazine is when you share information on a broad range of
    topics. When your primary focus for an issue is on one subject, like
    digital in the last publication, you risk having many disgruntled
    readers who feel they get nothing out of it because it's not
    necessarily something they are intersted in. I am interested in
    digital output possibilities as long as they are within the financial
    grasp of a financially challenged photographer. Please do keep a
    focus also in B&W traditional processes, glad to hear you may be
    doing something with contact printing soon, love seeing portfolios
    with interviews whith the photographer which not only discuss the
    technical aspects of the images but what motivated the individual as
    well. Although John Paul Caponigra's articles may not be everyones'
    cup of tea, I do enjoy his interviews and hope to see more. And
    lastly, please continue to broach the topic of landscape
    photography. Although it is a well trodden subject I still find it
    most stimulating and facinating when done well. For the landscape is
    where we play out the drama of our daily lives, and it has shaped us
    in countless ways over the centuries. Today we are changing and
    influencing it more then ever and who knows where that shall lead.
    Thanks for the hearing me out.
     
  79. I think your magazine would do better if you provide the articles to
    subscribers, as a LF phtographer I want you to do well and I would
    certainly subscribe (now that I know you do take subcriptions from
    Mexico) if you would provide an expanded web site with past articles
    and photo uploading capabilities for subscribers. Since an expanded
    web site will cost you more, I think it is only fair you get
    somehting out of it.

    <p>

    I beleive your photo uploading is a good idea, this way you are more
    aware of what NEW or UNKnown people are doing plus it will allow
    other LF photographers to see what other people are doing specifcally
    in our area. I think in a sense you would be uniting LF photographers
    more thus making your magazine more valuable to us.
     
  80. Hey, here's an idea. See the thread:

    <p>

    http://hv.greenspun.com/bboard/q-and-a-fetch-msg.tcl?msg_id=007HYj

    <p>

    currently active. How about hosting this forum (software and data) on
    your View Camera Web site? Pefect synergy!
     
  81. One question Steve. Do you ever look at and track how many subscribers
    are longtime subscribers vs newer subscribers, vs subscribers who take
    your magazine for a year or two, stop for a year or two and resume for
    a year or two? Statistical marketing analysis? That would tell you
    a lot about what your audience wants to see. James
     
  82. steve
    i would love to see an aricle by you about the process of large
    format portrature-the 2 examples of your 5x7 work that i've seen in
    the mag are slammin-would love to see more
     
  83. her isa better idea: tying this Q&A forum and View Camera's site
    to photo.net. Instantly a huge amount of exposure (check the
    photo.net stats) for "View Camera' and "Photo Arts".
     

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