charles_freeland

<p>Do "sky-scapes" count? If so, have a look at a remarkable book, 'The Last Cosmology' by Kikuji Kawada (2015). A true visionary. For some unusual photographs of trees and forests, seek out 'Spirit of Forest', by Kiyonaga Yasuo (2007), a large format landscape photographer who does much alteration of his images, giving them a ghostly look. While I do admire many of the famous photographers listed by other posts, these two Japanese photographers are my current favourites.</p>

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<p>Congratulations, Arthur, on getting your exhibition up and creatively framed. <br>

I, too, have had solo shows here in Bangkok. Smaller number of pictures, though, usually less than 20 - 24. Framing got to be an expense, so I devised reusable frames. Plexiglass mounts were used for one exhibition, which did not even require a matting job. Just put the print between the plexiglass sheets, cut to the same size as the prints, clip, and mount on the wall. When the exhibition was over, took the prints from the plexiglass mounts, and put them away. I can usually sell a few to help defer costs, but making money was never the object. It can be a pleasant experience, seeing your photos up where others can see them, as well. You sometimes get interesting feedback or meet new people who visit your exhibition. But, what to do with framed prints once the exhibitions are over? This became a problem: storage. In any event, it was worth when I did it but I haven't been doing it much since. <br>

WIsh I could see your exhibition.<br>

Good luck,<br>

CF</p>

<p>Bravo! I enjoyed your slideshow.<br>

I use a similar kit. Quite like architectural photos in black and white. And for film users, hybrid processing offers interesting choices for processing and applications. Digital scans allow for digital printing and sharing on the internet, while darkroom prints are also possible, and the results may be better than digital.<br>

Ever try a 21mm for architectural photos? I tried a 21mm Zeiss Biogon, 4.5. Good results.<br>

Keep up the good work.</p>

 

<p>I'm a CO native and recently visited these areas. I would certainly agree that you're planning on way way too much driving for a long weekend trip. Driving time from Denver to Sand Dunes is a half-day trip. And from the Dunes to Mesa Verde is another long haul. Mesa Verde to Denver should take about eight hours driving time. We spent 2 full days in Mesa Verde seeing the sights and didn't begin to see everything. The park is quite large and you'll have to visit the ruins with scheduled guided tours. Tours can be arranged in Cortez, which is where most of the motels and such are located. If you're camping in the park, you may need a reservation because of the crowds. All of these arrangements and tours and such take time. And Monument Valley, too? Forget that. For an enjoyable weekend, I'd say go to the Sand Dunes and see the area around it. You'll have more time for photography and relaxation. I wouldn't be surprised to encounter crowds at these locations at this time of year, especially Mesa Verde. Sunset and sunrise colours at the Sand Dunes should be good and night photography as well given that there's no city lights to interfere. I wish you safe driving and hope you don't encounter too much weekend traffic jams. Colorado highways are getting quite crowded these days. <br>

Good luck</p>

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<p>Hi, Joe. Can't imagine carrying both a big digi slr outfit + a 6x7 outfit into the 'field'. Not unless you enjoy back problems and aching shoulders. I use Mamiya 7ii for my travel camera and use if for architecture and landscape and just about anything else I can get away with, so l'll speak about the virtues of that camera and let others chime in about the virtues of the Pentax system. First, the Mamiya is still in production so you can get a new system. I carry two bodies and three lenses, the 50, the 65 and the 80. I sometimes think of getting the 150 but that would be another 1 pound or so of weight and I don't know how much use it would get. The 65 seems about the best all 'round lens. Results are superb, but I also have a Hasselblad set and I sometimes prefer the look of the Zeiss lenses. Mamiya is so easy to use. I have no trouble metering. A reliable camera. I've carried my set-up across three continents and haven't had a lick of trouble (knock on wood). Eats a lot of film, though, which is why I carry two bodies. In low light, using it hand-held is a cinch, even down to 1/15th or an 1/8th of a second. You do not require a tripod with this system. In fact, the reason I adopted the Mamiya over the Hasselblad was so that I could leave the tripod at home. This is what I do for 90% of my travel photos, although I do reach for the tripod when I'm doing photo work at dawn or twilight. Mamiya, being a rangefinder, is not so easy to use with graduated neutral density filters and polarizers. It can be done. There's a special apparatus one can purchase for the polarizers. I carry these filters, but unless the conditions really demand it, I don't use them. Pentax would be easier in that regard. But the Pentax is heavy compared to the Mamiya and probably would require a tripod if you're shooting much below 1/125th per second shutter speed. Lots of mirror slap. So, for me, preferring rangefinders for their light weight, easy operation, and good low light results, I like the Mamiya. Best would be to carry the Mamiya and the Hasselblad, but I don't travel with a porter or a golf cart which is what would be required for the weight. Happy New Year.</p>

<p>Congratulations on your recent acquisitions.  This is the first time I've seen an Exacta 6x6.  Looking forward to reading your comments about using this camera.  What lenses do you have with this?    <br>

Charles</p>

<p>I've lived in Thailand for 25+ years and have used medium format cameras for the whole time. What Ingemar Lampa said about 'bold men's heads' (sic) just isn't so. There's a lot of good, clean equipment available here in Bangkok. I would agree that you might find better prices in the US, especially now that so many photographers there are abandoning film cameras for digital. I know a good shop here in Bangkok that has a good used Mamiya 7 + 50mm lens + viewfinder for sale. I was just looking at it the other day. Looks like it's had very little use, so condition is excellent. I'm not sure about the price, but I think it's reasonable. There were also a few Hasselblads on their shelves for sale. Rolleiflex cameras tend to have high prices because they are sought after by local collectors. The shop I've been referring to is highly recommended: Photo Gallery, Silom Complex, Bangkok. (No web site). They also carry a full range of medium format film. They can also arrange for the processing of all film types. Overall, though, I'd still recommend getting your camera in the US if that's where you are.</p>

<p>Thanks to all those who responded;<br>

From the reports, it looks as though this is yet another case of there being a rule on the books with little or no enforcement on the ground. I'm not traveling with a tour, so I contacted the European manager of the small inn where I'll be staying in Kathmandu. She said she'd not heard of anyone being searched or bothered at the airport over cameras. Nepalese are searched in an effort to curtail smuggling but not foreign tourists. When I saw the regulation, I thought it best to check on travelers' experiences. Thanks again, Charles</p>

<p>Greetings;<br>

I'm planning a 25-day trip to Nepal in November 2011. Checking on the Nepalese customs regulations, I learned that there are well-defined limitations placed on the amounts of cameras and films one is allowed to carry into Nepal. The regulations say that a traveler is limited to "one still camera and 15 rolls of film." As I would like to carry 2 medium format camera bodies and 3 lenses, plus about 50 - 60 rolls of 120 film (both color and b&w), I would clearly be in violation of the regulation. But, it seems that 120 film is difficult to find in Kathmandu these days, and 15 rolls of 120 film for a 25-day trip seems too little. I suppose that I'll have to anticipate the distinct possibility of having to pay customs duties, fees, or to make customs declarations on arrival if this regulation is being enforced. Another thread recently posted on this forum has outlined the experiences of a fellow photographer who ran afoul of such a regulation whilst visiting Peru. I would like to know if anyone visiting this forum has any current travel experience pertinent to the Nepalese regulations and enforcement thereof. <br>

Many thanks, Charles Freeland</p>

<p>Hi, Jon;<br>

I'd recommend a Sekonic l-508 or the Sekonic L-308S. I have used both for a long time now. Both have reflective and incident meter capabilities, but the former offers a spot meter and has a zoom viewfinder, plus it can make averages obtained from three different meter readings. The latter has an incident bulb but obtains reflective readings by just pointing the whole meter at the subject. I'll take the former when using transparency film and want pinpoint accuracy, and the latter when I'm using other manual cameras for street photography and want something quick and lightweight.<br>

Charles</p>

<p>Looks like a high risk, high reward venture. Anyone know the 'ins-and-outs' of operating a flying machine like that? Anything goes wrong, he could really be gone. Looks like he travels about with a supporting crew. "Thanks to Nat'l Geographic," no doubt. Breathtaking images and a good-hearted guy. The secret to all of this, of course, is that he does it for the love of it and gives his whole heart to it. Thanks for posting this link.</p>

<p>I think your posted shots look pretty good for a first outing. I'd like to encourage you. The Mamiya 7ii is also my travel companion and I have much to say in praise of it. What lens were you using for these shots? Did you use a tripod for the low-light situations? I often use a handheld light meter when shooting transparency films. This allows me to fine tune the exposure settings and eliminates the need for a lot of 'bracketing'. But, I have found the on-board meter in the Mamiya to be reliable and easy to use. My only complaint is that the electronic shutter release can sometimes fire before you're ready so one must be careful about how much pressure one applies when taking meter readings and then composing in the 'AEL' mode. Enjoy the new system and happy shooting!<br>

Charles</p>

<p>Thanks for this link. The IPA site is a discovery for me. And the C-B video is also interesting. Imagine a time when in order to "blend in" on the street, a photographer would go about in a full suit and tie! Paris in those post-war years, with its street food vendors and fruit stalls, reminds me of present-day Bangkok. While I do like good street photography, I'm not sure I'm in accord with C-B when he dismisses "abstract photography" as "academic", as in "academic painting." </p>

<p>Another reason to "keep it light" is the possibility of having to pay fees for 'overweight' carry-on bags. It's been recently reported on the major news networks that some airlines will begin charging such fees. I've read that some airlines may be weighing carry-on luggage and charging fees for anything deemed 'too heavy'. I don't know if this is in fact a reality or just something that is being predicted. Better to check allowable carry-on weight limits with your airline before packing up too much -- or prepare to be charged fees.</p>

<p>Koudelka? His book 'Chaos'? He uses Linholf 6x12, I believe.</p>

<p>Koudelka? His book 'Chaos'? He uses Linholf 6x12, I believe.</p>

<p>Thanks for the tips, Q.G. de Bakker, regarding mirror lock-up with the mutar. I've never had an owner's manual for it, so was not informed about that technique. Anyway, I did find in my experience that opening up at least 1 and often times 1.5 stops was about right for most of my exposures. I was using a Sekonic 508 meter, the spot mode, in most cases, for interior work in Thai Buddhist temples. In those days, I was generally shooting Fuji transparency film and some 100 ISO black and white. Maybe it's time to set up the mutar and try again! </p>

<p>Thanks for the link. Good photographs. I live in Thailand and can understand what the photographer is talking about when he says in the interview that accompanies the photos that we're now experiencing an age of cultural genocide. Interesting choice of cameras on his part. Helps to have an assistant along with you to help re-load the film. </p>

<p>Like you, I, too, wanted some perspective control for architectural photography using my Hasselblad 503cw. I bought a used mutar. I already had a 40mm wide, which, when mounted onto the mutar, makes it roughly equivalent to a 60mm lens. At the time, 5 years or so ago, there didn't seem any alternative except changing camera systems and going for a 4x5. Since the used price for the mutar wasn't as high as changing systems, I decided to give it a try. It worked out OK, with acceptable results, but it is a quirky set-up to handle. In the first place, it couples between the lens and the body, so it overrides the lens and body shutters. As a result, the mutar has two shutter releases built into a single, complex cable. As I practiced with it, I found that you have to listen carefully to insure that both shutters work properly. If they don't, you get blank, unexposed films. Secondly, because it is mounted between the lens and the body, you have to be careful about mounting it. I was afraid whilst working in the field that something would go wrong and that the whole body would lock up and my photo day would be quickly ended. That never happened to me. The mutar also overrides the mirror lock-up, which I thought to be a disadvantage. Moreover, it requires an additional 1.5 stops of exposure. But, it is compact, and easily carried in my bag. The additional lens of the mutar did not seem to degrade image quality and overall results were acceptable. I didn't notice the distortion that Kevin mentioned. It was helpful to have this lens, but I must say I really haven't used it enough to justify its expense. Perhaps the reason for this is the aforementioned operational quirks. Now, with perspective control available on computer photo software available, I think I might go that route instead of investing in the mutar.</p>

<p>There's a Hasselblad screw-on filter for that lens. Pricey: about $300+/- -- used. At least that's where it was priced a couple of years ago when I bought mine. Have to be careful using a polarizer with such a wide-angle lens for landscapes. </p>

<p>Hasselblads are a bit too cumbersome for street photo work. But they do perhaps have one advantage. If you use the waist level finder, you don't have to put the camera up to your face to take a photo. This can sometimes be effective where discretion is required. But, the shutter is loud, so I doubt you'd really be able to fade into the crowd when using it. I'd second the recommendation for using a small rangefinder. I find the DSLRs to be really obnoxious looking for street work, and they really attract a lot of unwanted attention to themselves.</p>

<p>Interesting series of photos. I use the same kit, but I've been photographing modern Bangkok, where I live, and ancient and historical sites, especially religious sites, with my cameras. I changed from using a Hasselblad to the Mamiya because the latter works quite well without requiring a tripod. Like you, I also like C-41 film, but prefer B&W and wet-lab printing overall.<br>

Keep up the good work. If your pictures show "the future" of our cities, I don't think I want to be around much longer. Things don't look quite that bad in BKK.</p>

<p>You've got it right, Louis. And I do enjoy your pictures. Hope you make many more before you go.</p>

<p>I've been using Hasselblad and Mamiya 7ii systems for most of my landscape photography. But I also use a Horseman 612 panoramic camera, which really delivers the goods when it comes to breathtaking photos. It has interchangeable lenses and backs, so one could use 6x9 or 6x12 formats. I like the 90mm lens with that camera, which is about as wide as a Hassy 50mm. It is also light weight and therefore can be handheld. This is one reason I now prefer the Mamiya 7ii system. On many many occasions, I've found that tripods are either prohibited, as in archaeological sites, or that using a tripod is clumsy and unnecessary. Most recently, when photographing in Canyon de Chelly, it was so windy that a tripod was impractical. Consider a system that can be handheld and yet still capable of delivering good results. </p>

<p>I was just in some of these sites in May of this year. In my experience, best time at Bandelier is in the morning. We took the loop trail with one of those Ranger-guided tours, which I would recommend. After the tour, I stuck around from some crowd-free photos. I toured Taos Pueblo in the afternoon, from about 2 till they close at 5 or so. Be advised they charge $10 per camera in there, and that's in addition to the gate charge. The afternoon light shines on the surrounding mountains and the late afternoon colors were lovely. But there may be lots of people there in August. There weren't so many people there in May, and the small run-off stream that passes through the Pueblo was full, making it an interesting part of any view of the Pueblo. I also went to San Francisco de Assisi in the morning, which was very nice. It had rained in the night, so there was a freshness in the morning light that made for good photography. Second time, I returned to see it in the afternoon light, but it was so windy on that day and the light so washed out that I didn't even take my camera out of the bag. Didn't stop at the other places on your list. Try Chaco Canyon, early morn or afternoons. Long, tough drive in there, though. Personally, I preferred the late afternoon light in those areas. The earth colors turn golden. But that was in the spring when the average daily temps were only in the 70s. <br>

Happy trails</p>