drew bedo

<p>There are several threads on this camera on Large Format Photography DOT Com<br>

Several responses are from "Hugo" at Chamonix.</p>

<p>Phillip:</p>

<p>Did any of this thread help you decide?<br>

What have you decided . . .what are you doing in photography now?</p>

<p>FWIW: I have a "Sinar Booster-1" probe and film casset holder for it, that I am willing to lsell. This model is designed to plug into a Minolta autometer IV. The casset fits into any 4x6 back like a film holder and holds the spot meter probe at the film plane.<br>

PM me if interested.</p>

<p>For non-critical work (photography other than serious macro or scientific imaging) I work out the extension factor for each lens ahead of time. The 210 mm (8.25 inch) needs ~1/4 stop extra exposure for every inch of extension beyond infinity. The 150mm ( 6 inch) needs ~1/3 stop extra exposure for every inch of extension beyond infinity.<br>

I bring along a length of cloth measuring tape to measure from the focal plane to the lens board . . .and do it in my head. This works in the field for me.<br>

If you want to split hairs, you can get into this subject pretty deep. Sometimes there is a real need to get it exactly right out to several decimal places. I try not to do that type of photography.</p>

<p>Cheers</p>

<p>What am I missing?<br>

What is the point of putting a lens designed in the mid -19 century on a state-of-the -art DSLR?<br>

The Petzval design was a breakthrough when it was introduced in the decade before the Civil War in the USA. Every design that followed after that was an attempt to improve on that. Today we can design a lens system to produce any amount of sharpness and Bokeh—from a laser cut pinhole to the latest low-dispersion multi-coated wide-range zoom.</p>

<p>Whats up over on the other LF forum.info?<br>

I haven't ben able to log on since last week. Anybody know?</p>

<p>Why not creat a panoramic back that can mount to a 4x5 camera as a DIY project.</p>

<p>The Holga would just serve as the film magazine on the back of the camera?</p>

<p>All responders above have it right.</p>

<p>Photography is, for me, a journey. I have had many cameras and lenses—and will have many more in the future. Each kit was good for some eason, be it some technical aspect or light weight, or a different format . . .just whatever. </p>

<p>The single most important thing is to access your creative vision and make images with whatever equipment you have. Let your creative process (the <em>gear you use</em>) grow as your creative vision evolves.<br>

The Holga-Lomo path is a real possability as it is a relativly inexpensive way to jump into medium format, pinhole or panoramic photography. Point-N-Shoot digital will allow you to explore lighting and posing options with immediate feed-back and no processing cost. Vintage 35mm gear will give you access to a wide variety of optics . . .at a relativly low cost for most of it in these times . . .and the darkroom equipment is low too.</p>

<p>What is the old Nike ad slogan? <strong><em>"JUST DO IT!"</em></strong><br>

Then tell us where you are and post some images here.</p>

<p>Cheers</p>

<p> </p>

<p>Large format aerial cameras were made in the past. All were rigid. Most were roll film. They come up on ebay gfrom time to time.</p>

<p>Today, I would think that something from Fotoman or one of thge MF pnoramic outfits would do the job.</p>

<p>When the Wanderlust TravelWide comes out it would also be a possability.</p>

<p> </p>

<p>I am sorry. I did not read the title carefully. I do not do ANY areal photography.</p>

<p>In dwefense, the body of the OP does not refer to aerial photograpohy.</p>

<p>Apologies,</p>

<p>Drew bedo</p>

<p>My 8x10 Kodak 2D lives in a LowePro Super Trekker AW back pack. My 4x5 Zone VI kit is packed into a LowePro Magnum 35 shoulder bag. I did not do extensive research and analyses to choose them. Both bags were bought used (years apart) because of their high quality and low cost. Each was a deal I couldn’t pass up . . .Like they do in a sports draft: "The best athlete available at the time."<br>

I am now transitioning my 4x5 gear into PhotoBackpacker protective boxes . . .which is working out.</p>

<p>When I have to walk any distance away from the car, all of it goes with me on a heavy duty luggage dolly that folds. I am in the process of converting a golf bag cart to carry the camera bag and a tripod together. This may or may not be a terrific idea!<br>

When we were ounger (1995) my wife and I went to the Grand Canyon. I had a Speed Graphic (and six film holders, dark cloth, meter and all that) in a converted Jan-Sport book bag type back pack. The Tilt-All tripod got tied to the back of that.</p>

<p>Worked for day hikes.</p>

<p><a href="http://www.artsyhome.com">www.artsyhome.com</a> (do a search using "Drew Bedo")<br>

also try: www.drewbedo.com<br>

Search on Yahoo and/or Google using "Drew Bedo" </p>

<p>I use my 210mm Fujinon 5.6 on my Zone VI and on my 8x10 Kodak 2D as well 9with an adapter board).</p>

<p>Seems to work ok on the 2D. Only use rear movement on the 2D. Works for me.</p>

<p>I understand the discussion about wide angle and coverage, yet it begs the question . . .why?</p>

<p>The only reasons to use an enlarging lens on a LF camera that make any sense are:</p>

<ul>

<li>You get the lens for almost nothing.</li>

<li>The lens is a high quality, high specification name brand.</li>

<li>You know that you will not use movements (Fotoman, Graflex or similar camera).</li>

<li>You are just getting into LF on a tattered shoe string budget and want to spend what money you do have on FILM.</li>

</ul>

<p>If this is your case, (no money, no movements and give-away lens) then an enlarging lens may be made to work for a while.<br>

I would instead recommend that you get a lens formulated for LF imaging.</p>

<p>The only reasons to use an enlarging lens on a LF camera that make any sense are:</p>

<ul>

<li>You get the lens for almost nothing.</li>

<li>The lens is a high quality, high specification name brand.</li>

<li>You know that you will not use movements (Fotoman, Graflex or similar camera).</li>

<li>You are just getting into LF on a tattered shoe string budget and want to spend what money you do have on FILM.</li>

</ul>

<p>If this is your case, (no money, no movements and give-away lens) then an enlarging lens may be made to work for a while.<br>

I would instead recommend that you get a lens formulated for LF imaging.</p>

<p>The negatives shown in the video were made with the camera obscura built into his Chicago studio, also shown in the video.<br>

The really nice looking giant Derdorff-on-a- trailer is a CGI rendering of what he might build if he can get a foreign-aid sized grant from . . . someone.<br>

I cannot imagine that this project will move out of the studio.</p>

<p>My experience has been that many of the Soviet era lenses perform well optically . . .much better than the camera bodies they were made for. If you can get past the retro-look and brand stigma, they can work well.</p>

<p>Dunno about fradulant labeling.</p>

<p><strong>Drew Bedo Shows Fine Art Photography Fall 2013</strong><br>

<strong> </strong><br>

Although he is legally blind, visual artist Drew Bedo creates fine art photographic images using traditional films in antique and vintage view cameras.<br>

Four of Bedo’s images have been selected for inclusion in the <strong>Shared Visions 2013-2014 Exhibition</strong> in the Eye Care Center at Marshall B. Ketchum University’s College of Optometry in Fullerton California. This multi-media art show will be on display through August of 2014.</p>

<p>More of Bedo’s work may be viewed at <a href="http://www.quietlightphoto.com">www.quietlightphoto.com</a> <br>

And at <a href="http://www.artsyhome.com">www.artsyhome.com</a></p>

<p>For more information the <strong>Shared Visions Exhibition</strong>,contact DR. Arlene Kaye at: <a href="mailto:akaye@ketchum.edu" target="_blank">akaye@ketchum.edu</a></p>

<p>Do some outside reading. Adams "wrote the book"—literally, three of them. Also check the material by Fred Picker. His newsletters and other printed material comes up on e-bay from time to time. There are others. When you have done some reading, go out and shoot. Nothing beats learning from your mistakes too. Look at a lot of images done by others. Early on I joined a local club that critiqued prints each month. This helpd me develop the ability to withstand negative remarks without becoming defensive , and learn how others see my work.</p>

<p>All of this will enrich and facilitate your experience with any course of study in photography.</p>