john_bailey1

Dear Ellis

<p>

Yes, I am certain either the museum or architect or both try to

maintain rights restrictions on the buildings and grounds. I really

do not know since I have not been to the new facility, however Jim

says they restrict tripods which I can understand from safety

standpoints, but do they also actively prohibit the taking of photos

anywhere on the exterior? Living next to a national park, I know

when I tramp in with 'pro' type equipment they become very concerned

that I might be misusing the park for commercial purposes. Probably,

the Getty does not want their facility used as a backdrop for ads,

unsupervised articles and who knows what.

<p>

What I believe Jim was getting at was reasonably asking whether the

museum could accomodate LF users. His suggestion of limiting LF

access to a couple times a year seemed reasonable. His concept of

going in the morning before the general public seems a good way to

stave off the public then asking why they could not use their

tripods. If reproduction rights are a concern, then the LF

photographers could execute an agreement that images would not be

used for commercial purposes without further review or specific

release.

<p>

What galls me is that apparently the Getty chose not to reply. All

too often the cultural types believe they know what is best without

looking at the big picture. A simple, polite, 'we'll take it under

advisement' often will go a long way.

<p>

By the way, I often appreciate your comments and perspective on many

of the forum's issues!

<p>

Best regards,

<p>

John

Dear Jim

<p>

Perhaps, they are afraid if we take photographs of the buildings,

then we might steal their souls!!

<p>

John

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

Dear Michael

<p>

I tend to agree with the approach of gentle persuasion. However,

making lemons into lemonade, you may now be able to feature their use

of your work in some of your self-promotional efforts.

<p>

You may wish to read an article on the front page of the second

section of this week's Wednesday Wall Street Journal. Somewhat

similar, it talks about ad creators who create ads on spec. Now, I

am not suggesting you do that, but the article was of interest

looking at how certain people are trying to garner business. In part

and quoting the Wall Street Journal, the article reads:

<p>

"Ad Creators Spend Their Own Money

To Get Noticed by Working on Spec

<p>

By VANESSA O'CONNELL

Staff Reporter of THE WALL STREET JOURNAL

<p>

Burke Wood, a free-lance director of commercials, recently spent

$32,000 to make two ads he hopes will attract new clients. Though he

hasn't told his wife yet about the expenditure, he insists the money

was well spent.

<p>

In a reflection of how deep the advertising recession has struck, Mr.

Wood and other free-lance and out-of-work ad executives now are

churning out "speculative ads," or sample commercials for brands and

products -- often at great personal expense. In his case, Mr. Wood, a

37-year-old father of two, has created a reel that includes

commercials for Snickers, the candy bar owned by Mars Inc., and 1-800-

Flowers, the national delivery service. Neither company has paid for

the work so far. But Mr. Wood contends he has to show his abilities

somehow. "Nobody is going to give you a chance unless they see you

are capable," he says."

<p>

Best of luck in your efforts to win compensation or recognition.

<p>

Regards,

<p>

John Bailey

JS

<p>

When I attended Print '01 in September in Chicago, I ran across

ColorByte Software. They have written a drive program for the Epson

printers called Imageprint (I believe that is the correct name). It

blows away the driver provided with your printer. Also, it gives you

much more flexibility in producing the images. SinarBron was across

the way from them and they could not believe how much better their

images looked when doing side by side comparisons.

<p>

Take a look at their web site. The president of their firm is John

Pannozzo who is most helpful. Give him a call and I am certain he

can help you much better than I can.

<p>

http://www.colorbytesoftware.com/

<p>

Regards,

<p>

John Bailey

Dear Kevin;

<p>

You raise some interesting thoughts. As for my own experience, I

have had a view camera for about 10 years, but it was resting

comfortably on a shelf in my basement. When I originally got the

camera, I had gone out and added all those accessories I could buy

new and some I found in the camera store in their used area. I found

it difficult to build my system. I shot some images, but never

delved deeply into LF at that time. Most of my work was medium

format or 6x17 panoramic (I guess that is 'kinda' shooting large

forat).

<p>

Last year, a friend induced me to look at Ebay and start tracking all

of the camera products being offered. I ended up buying a high end

35mm digital which re-awakened a passion for photography. Not just

digital, but also causing me to shoot more film in my medium,

panoramic, but especially large format cameras. Then I put two and

two together and looked at the large format listings. All of a

sudden, I am bidding on and winning auctions to buy those bits and

pieces of equipment for my large format camera that I previously

could not afford or maybe couldn't find. I have even bought stereo

cameras via Ebay-when was the last time you thought about taking

those kind of images. In a way, I think Ebay may be a tremendous

asset to LF. Think of all those people who have had cameras they

wanted to sell, but the prices offered when they went to re-sellers

was not enough so they decided to just keep them in the box. Ebay

gives them an outlet and the market determines the price which

advantages both buyer and seller. I think it is easier and more

convenient than scouring the used departments or waiting for ads in

magazines that maybe were placed months ago. Put on top of this,

forums like we are in where people from all over the country are

giving advice, asking questions and mutually assisting each other. I

felt like I was alone a decade ago and did not now where to turn for

answers other than my local camera store-now I find friends and

others who genuinely want to help me no matter how simple my needs.

<p>

Perhaps LF is being eclipsed in the commercial market-that can be a

whole discussion by itself. Digital is certainly digging into the

sales of film products and that trend is continuing. However, for

people with a passion for taking pictures and for those enjoying the

mystery and art of photography, there may be benefits in this

revolution of technology. True, products and companies are

disappearing at an unfortunately too quick rate, but the ranks may be

strong as ever.

<p>

Thank you for helping me to think about these issues.

<p>

Regards,

<p>

John

Dear Neil

<p>

I a certain you will get even more opinions on studio lighting than

you will on almost any other subject. Obviously, there is no one

right answer and much depends on what you are trying to accomplish.

Another point is how subject specific you want to be-sometimes the

setup for one type of photography will not translate to other subject

matters. Most every strobe has 'modeling' lights to give you

knowledge of what the end result will look like. I happen to use

Balcar Minibloc strobes and one of their Prisma light boxes when I

shoot people. I have also been thinking aobut power pack based

lighting. Maybe that brand is not suitable for your uses. Other

brands to investigate might be Broncolor and Speedotron among

others. Recently, I have been investigating a light table. Also,

you might want to look into using light panels to adjust, modify and

reflect your light onto subjects. Others might recommend tungsten

lights which have their proponents.

<p>

If you have a large professional camera store nearby, you might want

to invest some time in seeing what they are selling and

recommending. My Calumet store in Chicago has a studio where they

can give demos so a buyer will see the differences and similarities

between brands and types of lighting.

<p>

Good luck! There is no wrong decision, but try to keep in mind how

you want to grow and expand your lighting system. You don't want to

start down one road and find you are replicating purchases if your

system does not expand as you grow in your photography.

<p>

Regards,

<p>

John

Dear David

<p>

That was good advice about trying transfers first on 4x5 images. A

couple hints. If you are doing transfers to paper, you want to

use 'hot press' papers-I believe the name of the paper I use most

often in Arches. Make certain you have soaked and moistened the

paper. I only wait about 7 to 10 seconds to begin the transfer and I

always use a roller to even the pressure placing the negative to the

paper. Some suggest that you wait at least 5 minutes before you peel

the negative off the paper and other recommend that you might

consider peeling it off while immersed in water. I remember having a

couple sites which talk about transfers, but unfortunately they are

on my work computer-try searching on Google to see what sites you

might find. Also, there are several good books published about

Polaroid transfers.

<p>

They are neat images and I really enjoy doing them. Good luck on

yours.

<p>

Regards,

<p>

John Bailey

Dear Neil

<p>

I absolutely love using my binocular/hood. Yes things are right side

up, but there is reversal-c'est la guerre! I really wish I could

have the same for my P2 8x10-guess I am going to have to think upside

down again. The hood allows for easy viewing, learning movements and

you can easily see the whole GG. I wear glasses and a loop and dark

cloth are a bit difficult for me to adjust my own eyes easily. If I

have to do critical focusing, I can always pull off the hood and do

it directly. It unlocks without effort and as long as you are well

supported it will not move the camera. Go with the reflex hood along

with the binocular attachment, provided price is not an object.

<p>

Congratulations on moving to a terrific camera. You should enjoy

years of use and many wonderful images.

<p>

Regards,

<p>

John

Neil

<p>

I also shoot a P2 and use a Manfrotto 3051. It is great and the

ability to 'one hand' the legs is helpful. Goes down to 18" when the

legs are spread if I recall. Get the Bogen/Manfrotto catalogue (try

your local Calumet store) and it gives specs, weight limits and

similar data. Also, I am lusting after one of the heavy duty Gitzo

carbon fiber tripods. Supposedly, it will carry 26 pounds.

<p>

I would be interested in hearing your success with the 3263-does that

use a quick release head? I am searching for a better head than my

3047 which at times can be wobbly.

<p>

Regards,

<p>

John Bailey

Dear David

<p>

Sinar has a series of four books under Creative Large Format and

their People Photography book might be of help. Regardless of which

camera you use to shoot the images, this gives some tips and examples

that are most interesting.

<p>

I, too, am trying to make all of my photos look to be more than

merely snapshots. One of the things I am trying is to have the face

in focus and through tilts and swings and depth of field, have other

portions of the photo in lesser focus. Also, I find that sometimes

going to a Polaroid transfer gives me the 'artistic' view I seek.

<p>

Good shooting and best of luck

<p>

Regards,

<p>

John Bailey

Jim: That was very funny, I started laughing out loud with that one!

Nice touch!

<p>

Vty

<p>

John

Roberto

<p>

If you have the time and access to a car, try the Leadville area and

then drive over the continental divide into Aspen. I have many great

images from the trees, river and scenery by going this route. Also,

before you get into Aspen, there is a ghost town called Lincoln. If

you happen to stay in Aspen (many, many hotels), there are the

Pyramid Peaks and some interesting high country lakes outside of town

which you will probably want to visit. You can then route back to

Denver via Glenwood Springs and Vail, catching some of the canyons

along the way.

<p>

Good shooting!

<p>

John

Dear Jim

<p>

Look on the 'home page' of this forum under 'Travels' and you will

see that Q.-Tuan Luong has posted an article about shooting in

national parks and on public lands. I live next to the Indiana Dunes

National Lakeshore and have my regular encounters with rangers who do

not understand that more than one camera or accessory does not

necessarily constitute a commercial endeavour! Read the article,

review the links and pay attention to the one published by the

National Park Service which covers the real rules of photographing in

national parks.

<p>

Often the rangers and other employees think they are doing good, but

do not understand what the rules say. The intent seems to be to

regulate the big production types of photo shoots where there are

lots of crew, perhaps wandering into restricted areas and potentially

damaging the park whether intentionally or otherwise. This forum had

a lengthy discussion of an incident where damage may or may not have

occured last year. Maybe they have just encountered too

many 'figure' photographers using those areas and they believe they

are upholding the public morals.

<p>

My advice is not to lie or be deceptive. Perhaps, print out the

rules and carry them in your bag-I do. As long as you are in public

areas where anyone is allowed to walk at reasonable times when the

areas are open to visitors, you have the right to photograph provided

you are not interfering with other park visitors. This is true even

if you are selling the images later. What they do not want is the

impression that such and such park or park employee is seemingly

endorsing a product.

<p>

I would be pleased to hear other observations and discuss this

further.

<p>

John Bailey

Dear Sandy

<p>

I am not a lawyer, nor an expert, but from my real estate experience

I do not see where you would have too many issues. Unless a home

clearly shows the street address (where you might be inviting others

to go to the home) or unless you are showing the owner's name on say

a mailbox, I think you are probably entitled to 'fair use'. If I

recall, it is similar to shooting a crowd or urban sidewalk shot

where there are numerous people, but no one person is specifically

the subject of the image. Also, I presume you are not using the

photo to make fun, ridicule or embarrass the home owner.

<p>

I remember a building in Dallas in the mid 80's where the architect

posted a sign saying that taking photos was illegal and against their

claim of copyright. I can't imagine their being able to perfect a

claim if the shot had been taken from a city sidewalk or street.

Sometimes, I think narrow minded people cause more attention than if

they did not pursue objections.

<p>

Regards,

<p>

John Bailey

<p>

PS Tell us when the book is published so I can look for it at the

bookstore!

Dear Paul

<p>

Yes, I appreciate your perspective, but think of it this way: you are

now down to one film holder! And you can relax if you forget the

changing bag at home!!!

<p>

Actually, on the way home I stopped at Calumet Chicago, but they were

pretty low on stock and did not have Tmax today. My guess is that

there may be few fireworks that will end up on the EPP that they sold

in the last couple days which was also fairly low in stock!

<p>

Good shooting

<p>

Regards,

<p>

John Bailey

Congratulations on your fine efforts-I wish you many years and many

locations for enjoying your hobby, craft and accomplishments!

<p>

Regards,

<p>

John Bailey

Pardon me, I noticed I spelled Santa Fe wrong in two places in my

prior post.

<p>

John Bailey

Bruce

<p>

As another flatlander from Indiana, I am not used to the difference

in quality of light one sees in New Mexico and the West. I just got

back from NM (and a special thank you to all the recommendations and

suggestions from the LF community when I posted a question recently

about NM!) and it is a different world of light. Not having been

there in a few years, I immediately noticed the quality of light and

the saturation even at mid day-let alone during early morning and

late afternoon. I was shooting color in Sante Fe, so a polarizing

filter was important. After this recent experience, my

recommendation would be to take several filters (assuming you have

them, can borrow them or can afford them). When you get there, your

filtering decisions might change.

<p>

Enjoy Canyon De Chelly and where ever else you end up. By the way, I

understand Sante Fe is having a photo event July 7 to July 15-sounds

like a good reason for me to return!

<p>

Regards,

<p>

John Bailey

Last minute, limited time trip to the Albuquerque, Sante Fe and Gallup vicinities. Any advice on where I should concentrate to get the most out of my time and not be wandering aimlessly! What should I leave until I have more time and what should I look for and spend time shooting this coming weekend?

<p>

Thanks,

<p>

John Bailey

Dear Peter

<p>

I presume you already own a LF system and want to expand your

horizons into people or portrait photography. You are undoubtedly

competent with the various means of swings, tilts, focusing, depth of

field, but may not have used them with people.

<p>

I have the Sinar People Photography book-not to mention all the

others in the series. Also, I have tons of other photography books.

My guess is that you would enjoy the book, but it might not satisfy

you for what I sense you might be seeking. The sections of the book

are as follow:

<p>

People and their images

People and the camera

The tools

From the lens to the image

Image composition

Portfolios

Appendix

<p>

I happen to use this book and all my other books like I use

cookbooks. I try not to exactly follow recipies, but rather, I look

at how the end dish looks, what ingredients might be used and the

general difficulty of a particular meal. I have more fun when

I 'wing it'. The analogy holds true for people photography with LF.

I am sure you are not want to merely replicate someone's photo, but

rather bring your own ideas and vision. So, I would recommend using

any photo book that gives you lighting set ups, sketches of the scene

and other hints. Also, you might want to check other web sites that

focus on shooting people and models. Many give info on shoots and

seminars in your area where you might see how they approach a scene.

Whether it is 35mm, Medium Format or LF, the principals hold true, it

is merely the time to focus and snap the images.

<p>

I have been using my camera for people and often shoot Polaroid

transfers. That way, the model and I see the images quickly and they

are fun ways to be creative (and the focusing is forgiving) That way

the subject can also take an image home with them-not a possibility

when you are shooting regular film. Often that gesture helps

overcome the longer time it takes me to set a scene.

<p>

Hope this is in some small way helpful. Please advise if I missed

your point.

<p>

Regards,

<p>

John Bailey

Did you get the double sheet or single sheet film (the single sheet

being the latest version)? In a conversation with Kodak yesterday,

they said they were about to begin shipping the single sheet Tmax

(the irony is that the B&W is shipping first since they weren't even

certain they were going to make B&W in the single sheet readyload

when the new products were announced). From what I have heard the

Polaroid filmhold will work well-whether or not for exact precision

work obviously will be up to your requirements and your eye. As to

putting it in a traditional film holder, the Kodak web site shows how

to remove the clips and paper for development so it might be possible

to do so for reloading. Since single sheet readyloads are a rare

commodity until the supply lines fill, you may want to try to sell it

to another user and buy what you were originally seeking.

<p>

Good luck

<p>

John Bailey

Steve-thank you very much for a thoughtful and well written note

about your recent issue. I appreciate all you have done for LF

through your own efforts and through your excellent magazine. In

hindsight, I am certain lots of people (knowing what they know now)

would have done things differently to avoid this situation from ever

occuring, but I do not believe you did anything improper, wrong or

imprudent. I respect you even more as result of this letter.

<p>

Tuan-you have handled this situation with dignity and fairness.

Maybe now, we can turn to other matters.

<p>

Regards,

<p>

John Bailey

Welcome Sandy-As to your question about LF and women-maybe the

question should be are there more women shooting in studio and

controlled situations versus how many women shooting landscapes and

outdoor shots? Might be interesting to take a poll to learn the

number, ages, sex and experience of those using this forum.

<p>

Weight has been a factor for all of us, as is the bulk of the

equipment and time required to set up a photograph, not to mention

the expense. Yet, the results are what keep drawing us back. Each

photo teaches me so much that I want to then apply to the next image

I take-a nice compulsion if you ask me!!!

<p>

As for safety-please always be aware of your surroundings. I am

certain you are savvy, bright and aware, but sometimes a reminder of

what to remember is helpful (and I need to remember these things

myself just as much as anyone else does). Being safe is just as

necessary even if you are walking alone in the wilderness to get to a

wonderful location-pay attention to the trail and your footing so you

don't fall and injure yourself, make certain others know where you

are headed and when you are supposed to return, be cautious in bad

weather (especially lightening storms) and take the rudiments of

first aid and water just in case. In urban situations many of the

same precautions hold true. As for crowds and/or wierdos, I often

fake shooting with another camera which allows them their moment of

performance and soon they tire. The binocular viewers are a sound

alternative to a dark cloth. Just keep your bags zipped and

intertwine the straps or wrap them around a tripod leg or maybe use a

bunge cord to slow anyone down who covets your equipment more than

you. If you can take a companion along, all the better. For me,

sometimes taking a moment to let someone look through the camera

creates new friends and allies who look out for you afterwards. But

most of all whether you are in a city or in a wilderness, if that

little voice goes off and says something isn't right then pack up and

come back the next day or the next time or sometimes never-tomorrow

for me is always a better solution.

<p>

Regards,

<p>

John Bailey

Ebay recently had an auction for a 6x17 adapter back that looked like

an interesting accessory. I believe this was for 5X7 cameras. Here

is the link of that closed auction:

<p>

http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?

ViewItem&item=1222986999&r=0&t=0&showTutorial=0&ed=985760813&indexURL=

0&rd=1