thom_bennett

<p>No need to cut the 12" down. Get a 6" extension and the rail caps and you are in business. Sinar is very modular:<br>

http://www.sinar.ch/en/catalog/cameras/sinar-p2/sinar-p2-accessories/5-rail-extension-615<br>

http://www.sinar.ch/en/catalog/cameras/sinar-p2/sinar-p2-accessories/8-rail-cap<br>

http://www.sinar.ch/en/catalog/cameras/sinar-p2/sinar-p2-accessories/9-rail-cap-2</p>

 

<p>The great thing about View Camera magazine is that it is showcasing the diversity of work being done with view cameras and has done so for over 20 years. You may not like "that stunned woman who has things exploding from her hair" but, the fact of the matter is, the photographer who took that picture chose to use a view camera to do it rather than a digital camera or even a smaller format film camera. Quite frankly, it could very easily be a magazine of rocks and trees but Steve searches out people who utilize large format cameras in their work and I, for one, applaud him for doing so. </p>

<p>I would recommend shooting film and having a drum scan made. The ultimate in quality unless you have access to a medium format digital back (i.e. Leaf, PhaseOne, etc.). The DSLR's have an anti-aliasing filter that the medium format digital backs do not have. I use a Leaf on a 4x5 to photograph paintings all the time but I am a staff photographer and we have the volume to justify owning the Leaf. If I were doing a one-off job like yours I would shoot film and drum scan. My 2 cents. Good luck!</p>

<p>gear rack was $39.00.</p>

<p>Cole,<br>

About a year ago we sent our P2 to Sinar for refurbishing. Some of the gearing was sticky, small parts were missing, etc. With parts and labor it came to just under $350; $187.50 was labor (2.5 hrs. x $75) and the rest was for parts. A bargain, in my opinion. It came back working like a brand new camera. Hope this info helps.</p>

 

<p>May,<br /> We have two photographers sharing a 16'x30' space; one station is dedicated to strictly tabletop items (no larger than 18" tall or wide) and the other station is for larger tabletop items as well as products that need to be photographed on the floor such as tables, etc. We use the Pocket Wizards and couldn't do it any other way. We also have a floor to ceiling piece of black felt to separate the areas. As others have noted, it is nice to have someone to talk to and to bounce ideas off of. Your 30'x60' space should be ideal. Good luck!</p>

<p>Check this out: http://assistingavedon.typepad.com/</p>

<p>Nathan, You are correct in most of your theory about his lighting. In her book, <strong>Avedon at Work in the American West</strong> Laura Wilson goes into great detail about working with Avedon during his trips out West. It would be well worth the investment if you want to know how he worked; she was his primary location/subject scout for that project. There are a lot of "behind-the-scenes" photos in the book and tons of info about his working methods. The basic answer to your question is that he photographed his subjects in the shade against a white backdrop so the open sky was his primary light source; large and diffuse. One of his two assistants handled a reflector to bounce light back onto the subject while the other cocked the shutter and loaded the film holders. There are actually highlights in the eyes but they are large and diffuse. He used an 8x10 Deardorff. Other responders are correct in that his processing printing was exquisite. I saw the American West work a few years ago; the prints were huge (some as large as 50"x60") and they shimmered. Good luck with your project!</p>

<p>I second the Horseman. Very well built and reasonably priced.</p>

<p>Sorry, I thought the Canon rep meant all Canon digital AF cameras. I stand corrected.</p>

<p>from a Canon rep: Metering moves w/focus point in spot and partial. He also told me that it is better to compose and then focus, moving your focus points to the relevant point in the actual scene.</p>

<p>Very impressive work; the detail is stunning. Think of the logistics of getting an 8x10 and film around Iraq. Thanks for sharing that.</p>

<p>Thanks for the answers so far. Michael, I found most of them online and PBS although I hadn't come across the C.E. Watkins. The Jock Sturges is new: http://www.amadelio.org/. Jim, I did a search on Amazon and they had most of the films I was already familiar with but I did find one on Art Sinsabaugh and one on Shelby Lee Adams. Nik, I have seen "Manufactured Landscapes;" forgot to mention Burtynsky's name in my original list. Robert, that looks like a great film and it is already on my list. I did come across a new one about Julius Schulman: http://www.juliusshulmanfilm.com/. </p>

<p>I am looking for documentaries about large format view camera photographers and their work. I've found them on Ansel Adams, Edward Weston, Paul Strand, Richard Avedon, Jock Sturges and Sally Mann. Any others out there? Titles and where to find them, please. Thanks! </p>

<p>Einstein used a #2 pencil.</p>

<p>Nice work! I think the answer has already been covered but I would say get these pieces out of the cubelite, pull your lights more around to the front, up higher and angled down and use a large piece of foamcore behind the camera to kick some light into the front of the pieces. Very tough pieces to photograph since they are so reflective but you've made them look quite good.</p>

<p>Very elegant solution. I've done something similar but with the strobe between the white 4x6 foamcore and the diffusion material. The light is bounced off the foamcore and then travels through the diffusion material. Probably takes up more space than what you are doing but still gives a nice diffused light. I use a standard reflector, though.</p>

<p>Anne,<br>

After looking at your work and the work you would be attempting I would surmise that you only need to add one light modifier to your current lighting setup. That would be a grid for the background. Good luck!</p>

<p>http://www.pyke-eye.com/main.html</p>

<p>http://gigapansystems.com/home.html<br>

In the far right corner is Jerry Spagnoli. See if you can find him and his Deardorff next to Annie Liebovitz!<br>

Check out the photo he made that day: http://www.jerryspagnoli.com/</p>

<p>Look under Portfolio - 01 Blind Prom. Very interesting subject and execution.</p>

<p>Look at this work: http://www.sarahwilsonphotography.com/</p>

Thanks again. I was hoping for an M6 Classic w/28mm to ride along with my M4-2 w/50mm. I'll check into the M6 TTL even

though the shutter speed dial goes the "wrong" way.

Thanks for your answers (and the clarification on 0.58x!) I was hoping that the classic M6 offered this option. Is this

something that can be retrofitted? I wear glasses and like wide lenses and, from what I've read, this seems the ideal finder

for me.

What camera bodies did Leica offer the .058 finder on?

 

Thanks!