robert_landis

Beautiful shots! What film/ chemistry was used? Were these developed in a commercial lab or by yourself? How were

they scanned, and at what mb or resolution?

 

Thanks, and keep up the great work.

Thanks to all so far!

I am shooting with a Rolleiflex 2.8 E2, and am using a Nikon D7000 in spot metering mode as my light meter ( and test shots). I have shot

some landscapes in wooded areas (using Ilford B &W) and meter the darker areas ( ie tree branches) to expose for those, as opposed to getting too much

sky and too little of the darker details in the woods. The exposures have been good using that method.

BUT- I am tired of carrying the digital camera around to use as a light meter. Will any of the models available ( ie Sekonic 308s or similar

Polaris) be sufficient? How do I meter the darker areas with those kind of light meters (whether it's landscape or portraits) so as to expose

for the details and not get a roll of film back overexposed with light and no details? I don't want to spend $$ and time for poorly exposed film.

Thanks so much for any help.

I just started using mine (got it on eBay a few years ago) and the Rolleifix is great. I would be nervous about attaching directly to the

tripod without it, for fear of bending the metal body. The Rolleifix is well designed and solid. You can get them on eBay- keep watching

there is a wide range of prices so you don't have to go for the first one you see. I would also recommend a cable to trigger the shutter.

If you get the pistol grip you can disassemble it (there are screws) and use the Rolleifix from that, as well.

<p>Thanks so much for all the great responses so far!</p>

Hi all,

I am using my Rolleiflex 2.8 TLR. I shot one roll of Ilford Delta 400 outside in shade and it looked great. ( I believe it was f4, 250 - used an

external meter).

Now I am going to order some more film. I would like some suggestions based on everyone's experience. It seems like ( based on my

Web shopping) that ISO 100 or ISO 400 are the usual options in 120 film. (Fujifilm, Tri X, and Ilford) My concern with ISO 100 film is that

the max shutter speed is 1/500 on the camera, and I'm concerned I'll run out of "room". At present I'm not using a tripod, (waiting to get

appropriate Rolleiflex adapter), so I don't want to drop below 1/60.

So, to simplify, any recs on film and ISO?

 

Thanks in advance.

PS what a camera!

<p>Thanks again. You're really making me think. ( That's a good thing!) I can't articulate necessarily why I like certain things, but I know I like them. Maybe the format is not as relevant? ( How relevant is the format?) Could any of these or other photographer/artists make photographs with varied cameras and still have us take one look and recognize the work?<br>

I know the detail will be better in MF or 8x10. I know that by adjusting the aperture and the focal length you can adjust the "background detail"/bokeh. But, there must be a reason why anybody uses what they do. Why haul around a larger camera with film when a DLSR will give you a great image?<br>

I guess part of my question relates to the art of photography- how does someone take a seemingly random shot at a summer beach and make a image that is almost profound as opposed to a snapshot? I know it is about both subject/ content and framing, balance, lines that draw your eye, etc. How does one make a portrait that becomes more than that- a haunting image that you never forget? In Robert Adams case- a picture of an isolated empty lot that represents the changing of the West?<br>

Sorry to be philosophical here, but I am really trying to understand this stuff.</p>

<p>Thanks so far.<br>

As far as examples, three come to mind. I believe Robert Adams used a 5 X 7 camera ( I think) for his "The New West" series. I'm not sure what focal length and what that translates to in a 35mm lens. Another would be Martin Parr- I believe his earlier work ( again - I think) was a medium format but it seems like those are almost "street photos" even though they were MF with flash. i don't think they were as thought out as Adams or Soth, but more spontaneous.<br>

An example with a 8 X 10 would be Alec Soth- specifically his portraits which are not head shots, but full length.<br>

I really appreciate your input.<br>

I realize we're just speaking about equipment, and not framing, vision, etc.</p>

Hi all, thanks for your input.

 

I am drawn to photo's I see which are made in other formats from DSLR, such as MF, and 5 x 7. I don't have the time or resources to get

into using film or very expensive cameras. (I am using a D7000 with 35 1.8, and 50 1.4 at present, waiting for a ?D600).

Is it just a matter of cropping correctly to get a 5 x7 appearance or a MF appearance? Does a MF or view camera with an 80 mm lens

give the same view as a DSLR? How could I create a 5 x7, etc. appearing image with a DSLR?

 

Thanks again for clarifying. My question may reveal the gaps in my knowledge- I welcome any wisdom you have to offer.

<p>I wouldn't go hunting with Dick Cheney. You might get shot.</p>

<p>Also highly reommended is the documentary "War Photographer" about James Nachtway. It is really interesting to hear him discuss his work, and to see how he thinks while he is working.</p>

<p>It seems like digital Leica cameras of any sort (M9, X1, etc.) are just not available. They are backordered, not in stock, etc. I can't imagine there are that many people who want a $7000 body along with a $4000 lens. What's the deal? <br>

It's like trying to buy a Wii Christmas eve at 4:00 pm. (only a much more expensive toy)</p>

<p>Hi,<br>

I have a very basic question. When you go out to shoot photographs, do you keep your camera set to one "film" mode, priority, etc? When shooting film, obviously you put in your film and started shooting. However, with a digital camera you can change settings easily and relatively quickly. For instance, even if you are out shooting the settings B and W with say aperture priority you might see an amazing color scene which requires changing your frame of mind and going on a tangent, thus switching to color, shutter priority, etc. (and taking time up moving dials, etc)<br>

So- do you stick with one conceptual mindset, or go into attention deficit mode and one minute it's Robert Frank, then it's Eggleston? ( or, am I just not experienced or focused enough yet to pick a direction and stick with it?)<br>

Thanks for your input; and I have no ego here to bruise so please let me know what your opinions are on how to best conceptualize one's photographic outing, without missing out on nice shots of either color or B&W. </p>

<p>On a really busy corner in a city like NYC people are moving fast, sometimes gaze averted and are guarded and closed to what's around them. Someone shooting would pass in and out of their visual and physical space quickly; they don't miss a beat. They keep on moving, propelled by the humanity behind them and pulled by the people ahead. <br>

A photographer would only be one of the many things encountered on a minute to minute basis. It would take something or someone really special to disrupt the "zone" they occupy.</p>

<p>John Gaylon's post- I think it is the parts to a pipe organ.</p>

<p>I would do it- the negative word of mouth if you don't would cost you a lot more down the road.</p>

<p> ? Boulder</p>

<p>Thanks for the replies so far. I was being facetious when I mentioned going to B & H and trying out equipment to pick one out of a series (especially since I'm not a pro and based on my experience the people I've dealt with there know the gear VERY well.) That would be pretty absurd, in my opinion. And, Shun is correct-Sundays at B & H are very busy. There is a line at the door BEFORE it opens.</p>

<p>Hi,<br>

I am considering buying either a 17-55 or 24-70 and a D300s. After reading a lot of posts and reviews, I am wondering if one should worry about getting a "bad lens". I have read of spots/material in the rear element on the 24-70, grinding, etc. Also, I have read about people getting a body with focusing issues as well. (maybe I'm reading too much)<br>

Are these issues a concern, are they rare, and how diligent does one have to be when getting new equipment? Also, are any potential issues obvious, even to a non-professional? I can't see standing at the counter at B and H and saying- "lets try another one- this one feels tight".<br>

When you buy lenses and bodies should you assume right out of the box there should be perfection? (one would think-right?)<br>

Thanks,</p>

<p>Rob L.</p>

<p>Great question! I have an addition to the question; I have an inner room with no light - is ventilation an issue? And, how does the red light fit in, how and when is it used, etc. I know this is rock bottom basic stuff, but the thought of watching the magic happen intrigues me, if it is not so complicated I'm ready to take the plunge. I send stuff to A & I now, but saving money and gaining control would be great.</p>

This camera belongs in a museum (The Museum of Modern Art?)

 

I could take it there personally so as to ensure the safest delivery. Just email me and we can work out the details.

 

All seriousness- buy a used one and treasure this for the next 1000 years - it is a work of art.

See nytimes.com

I am not an art historian or such. I was first drawn to art and photography in part because I found the photographs of Diane Arbus powerful and compelling. I don't even have a book of her's but I still remember many of the photos she made.

 

She had a very strong artistic vision, in my opinion.

Forgive my lack of knowledge, but....

 

What is it like to get going with a film scanner? Is it just a

matter of loading up the software, plugging into a USB port

and "away we go"? IE- load up the film or slides, click a few times

and viola?

(I have Windows XP pro with 60 GB, 2.6 Ghz chip, 512 mb ram)

 

Or is it a possible entry into a computer black hole with hours of

tech support, frustration, etc? I was thinking along the lines of

Dual scan IV or similar.

 

Thanks for your help.

Why is it that many of the cameras for sell on Ebay state "only a

few rolls" or "ten rolls shot" as far as the previous use of the

camera? Who buys a great camera, shoots ten rolls, then puts it up

for sale?