paul_kent2

<p>Following Kerry's suggestion I just looked at the Gura Uinta. For anyone familiar with F-Stop products it will look very familiar. Worth comparing both manufacturers. Good for consumer choice, but what a tough business!</p>

 

<p>Like everything photographic, all backpacks are a compromise.<br /><br />For travel, work near a car, or around the city there must be hundreds of options, recognizing that this is the majority of the market. However for active use on the trail I have yet to see a backpack with the comfort and weight bearing capability of a proper backpacking backpack. The, e.g., F-Stop and Think Tank products are superb. However, they don’t yet have the torso length variations, quality padded waist belts, and good back airflow/cooling that you can get from any major backpacking manufacturer. Compare Lowepro/F-Stop/Think Tank etc. with what you can get from Gregory/Osprey/Arcteryx/Deuter/etc. Despite owning many, I am moving away from photo backpacks and towards backpacking packs with good access, combined with clips/belts/holsters for ready camera availability. In their defense, adding a tripod to a photo backpack is usually easy, while rigging a tripod on a backpacking pack can be difficult.<br /><br />Are there any photo backpacks that rival smaller-sized backpacking packs? <br /><br /></p>

1. Tripods are some of the longest lived pieces of photographic equipment. Try not to skimp.

 

 

2. You did not mention the tripod head you will be using. This is an additional area where you can save weight. No need to have an overbuilt head for a light tripod. At the same time, do not get a poor head or your photographic trip will be frustrating.

 

 

3. If you routinely backpack but also shoot roadside or studio, you will likely end up with at least two good quality tripods and matching heads. Plan for this. I have a no longer in production lightweight Gitzo and small RRS head for long hikes, plus a larger Gitzo and RRS BH55 for macro, long lens work, and for bad weather events.

<p>One to five minutes. If you don't walk off the edge, you'll be fine.</p>

<p>This <a href="http://landscapephotographyblogger.com/events-releases/new-release-and-contest-colorado-river-from-dead-horse-point/">Philip Hyde original</a> was shot in the early morning.</p>

 

<p>Every year you can find a fall colour thread at http://www.naturephotographers.net/imagecritique/bbs.cgi?a=vf22 <br>

For low elevation stream shots, the next couple of weeks should be good, unless a significant weather event occurs. Water levels are low. Overnight showers tonight might help a little.<br>

The high elevation colour in the Park was at peak a few days ago and will rapidly disappear.</p>

 

<p>Two photographers strangely missing from the previous posts:</p>

<ol>

<li>Philip Hyde</li>

<li>Peter Dombrovskis</li>

</ol>

<p>Their images still speak and have much to teach the careful viewer.<br>

An excellent presentation by Joe Cornish on Peter Dombrovskis is at Tim Parkin's blog http://www.timparkin.co.uk/blog/joe-cornish-discusses-peter-dombrovskis</p>

<p>1. Get or borrow the Bill Campbell and Nye Simmons book "The Smoky Mountains Photographer's Guide", ISBN 0974552607. This book has a comprehensive breakdown of the classic photo locations in the park. http://www.amazon.com/Smoky-Mountains-Photographers-Guide/dp/0974552607<br>

2. Follow status at http://www.naturephotographers.net/imagecritique/bbs.cgi?a=vf22 Happily the leaves are still here, but heading in to November the situation will change.<br>

3. The "what to shoot in GSMNP?" question has been asked numerous times on photo.net and NPN so be sure to search the archives.</p>

 

<p><em>In general</em> I would pick mid October. Something is usually shootable then whether an early or late year. The first week of November can be a little bare in an early year. Remember that you can always head up the Blue Ridge or go to Big South Fork if the Smokies are very late.<br>

[This year the region is 6+ inches over typical rainfall so there are lots of healthy green leaves on the trees. However we haven't had many of the cool clear days needed for good color yet so predicting the display is a gamble.]</p>

 

<p>What Jeff wrote - the dof is wedge shaped. My point about practicing is that you will quickly learn the tilt needed for the scenes you typically photograph.</p>

<p>My guess would be that you used far too much tilt, placing the wedge of sharp focus too parallel with the ground. The tops of the trees are out of focus suggesting this. You could also have stopped down more. In field conditions I rarely need more than a few (2-4) degrees tilt, only using more for particularly sharp perspectives or close focusing. You can practise common landscape conditions at home using objects on a coffee table for your close objects and a far wall to represent infinity. When using large format I often double check my focus before changing locations, carefully louping the ground glass. On digital I carefully review the shots paying particular attention to corners and any objects likely to be close to the edge of the region of sharpness (e.g. particularly tall trees, nearby rocks).</p>

<p>The Yellow Borders publishing company currently has a small "special issue" magazine completely full of photos from their rights assigning "Your Shot" web gallery. According to the submission terms, there would be no need to pay any fees for the entire content of that magazine or for any other commercial use. The simple fact that the publication exists proves that there is value in those images.</p>

 

<p>To see the light beam the light must reflect off something and enter the camera. In the case of the typical Antelope Canyon shot you link to this is achieved courtesy dust/sand that is in the air. If the canyons are dry enough or there is enough wind, the beams are readily visible. The remainder of the time the beams are given a professional help by throwing sand into the air.</p>

<p>FYI There is a good feature on caves in the Tennessee/Alabama/Georgia region in the June edition of National Geographic shot by Stephen Alvarez. There are two videos on the site, the second of which has video of one of the shoots. Interestingly he was using only Peli cases and... skill.<br>

http://ngm.nationalgeographic.com/2009/06/tag-caves/jenkins-text</p>

<p> </p>

<p>1. Listening too much to the "1 shot 1 piece of film" crowd and not shooting enough when the light/subject/composition is superb. Factor the opportunity cost and do not be afraid to rip film.<br>

2. Not listening enough to the "1 shot 1 piece of film" crowd and wasting film on everyday shots. Factor the opportunity cost and do not rip film unnecessarily.<br>

3. Dropping Quickload holders in sand. For the record, this kills them by jamming the mechanism. (You can heal them by vacuuming or taking them apart.)</p>

 

<p>Yes you can use a QL holder on a Tachihara.</p>

<p>I think film flatness issues are mostly found on the internet. I've never had a shot obviously damaged by flatness problems. Perhaps I've lost a little resolution here and there, but it really is minor.</p>

 

<p>Hi Gordon<br /> <br /> To send film to the lab you need to unload your film holders and put them in a lightproof box like the one unexposed film ships in. These cardboard boxes are basically three overlapping "lids" that when put together are completely lightproof. There is an illustrated guide by Paul Butzi that I recommend http://www.butzi.net/articles/filmload.htm<br /> <br /> You can get an empty box from any lab - they will be glad for the business. Since all this loading and unloading of film takes time, the Fuji quickload system might become attractive to you. Paul Butzi's site has other articles including one on the different film holders. When traveling I tend to use quickload but closer to the office I use film holders. You can get quite fast at loading and unloading the holders in a changing bag or darkened bathroom, but it is definitely a pain at the end of a long work day.<br /> <br /> The Tachihara takes Linhof Technika compatible boards. Any generic clone board will do, just make sure it has the right size hole for the shutter in your lens. A starter 150mm lens is probably in a size 0 shutter, but do check.<br /> <br /> I use a color lab for most of my work, so can't really advise on the best home developing method. I think a big issue to think through is how much time you want to spend working with the film yourself. You can gain control and save money doing all the B&W yourself but it will cost you time.<br /> <br /> Good luck!<br /></p>

<p>I hope that one day Google will add simulated shadows and sunrise/moonrise features to Google Earth. Then coordinate transformation problems will be a thing of the past. Hopefully they are reading.</p>

This gear can deliver stunning results. Try to find someone who can follow you through your entire workflow step by step. If

you have a pro lab nearby, they should be able to comment on the sharpness of the negs before doing any reprinting or

rescanning. Since you are a student, someone at school should have the experience to check. If the neg is officially

sharp then your digital workflow is somehow at fault. If the neg is not as sharp as expected, either you are focusing

incorrectly, stopping down far too much, or your camera and lensholders are somehow out of alignment.

<p>Ian,<br /> <br /> There isn't much to see without a complete disassembly. The solenoid looks to be a regular "push pin" type. It is not a typical R/C servo.<br>

<br /> The cable releases that come with the kit have been converted: instead of a regular manual plunger release at the non-lens end there is a threaded fitting. This screws into the case of the receiver lined up with the solenoid. I think this is the trick to making your own remote release: find a way of solidly connecting or adapting a regular plunger release cable to a fitting lined up with your solenoid or servo.</p>

<p>I own and use a "Kenlock Radio Remote Control". This is a 27Hz wireless system consisting of a small handheld transmitter and a receiver box around the size of two boxes of cigarettes. The receiver has a solenoid screw socket for a cable release. Some telescoping aerials are provided for increased range. The receiver with aerials connected is quite unwieldly compared with modern radio remotes for digital. The solenoid action is quite violent, so careful taping/velcroing is required to place it away from an LF rig. It easily fires a copal shutter. Conventional and bulb settings are available. An electric connection can be used to toggle a tape recorder(!). Range is similar to a cheap radio controlled toy - easily 25m. Unfortunately the signal is very susceptible to being blocked by buildings and vegetation.</p>

<p>These remote kits occasionally turn up on the auction site. Prices vary wildly. Mine has the original box and instructions. I would guess they were made in the 1970s to early 1980s. There must be other similar products from the same era but unfortunately I don't know of any.</p>

<p>If you are capable with simple electronics a "not working" kit might be very useful for parts. The most valuable components of this remote are the solenoid, cable release connection, and supplied cables. When mine eventually breaks I will remove these parts and rig a connection to e.g. a pocket wizard system.</p>

<p>It will be interesting to see what Peter Karbe and co at Leica have managed with the S2 SLR lenses.</p>

 

This probably isn't the answer you are looking for, but it definitely will work. Use the same recipe that you did out West:

spend enough time in the landscape to find out what you love, then shoot it.

<p>

<p >Looking over the pictures I took this year, your timing should be about right. However we haven't had winter or the spring rains to judge yet. A week earlier might be preferable, but one week on location will give you the time to adjust based on conditions. My advice would be to keep an eye on the South Eastern Nature Photographers forum for the appearance of the Spring 2009 thread: http://www.naturephotographers.net/imagecritique/bbs.cgi?a=vf22 </p>

<br />

</p>

<p>Sad news for those considering an M1 scanner: unfortunately Microtek is withdrawing from "selling a portfolio of consumer and professional scanners" in the North American market. They aim to collaborate with OEMs in the future. A press release states that support operations will continue.<br /> <a href="http://artixscanm1.com/">http://artixscanm1.com/</a><br /> Press release: <a href="http://www.noydcom.com/press_release/microtek/new_focus/">http://www.noydcom.com/press_release/microtek/new_focus/</a><br /> (Apologies if I missed a previous announcement here)</p>