Scanning
Hello Richard
I've just switched to scanning at 1600 rather than 2400, so to be honest I don't know. When I printed a large print last time, (about 35 by 30) I interpolated from 2400. Would probably do so again, but haven't tested how a 1600 scan would look. It is easy enough to test by scanning a segment of the picture and comparing printed onto A4.
Jon
I've just switched to scanning at 1600 rather than 2400, so to be honest I don't know. When I printed a large print last time, (about 35 by 30) I interpolated from 2400. Would probably do so again, but haven't tested how a 1600 scan would look. It is easy enough to test by scanning a segment of the picture and comparing printed onto A4.
Jon
Jon Brock
Scanning
Hi
I was directed to your site from Tim Parkin's blog. I enjoyed looking at your images and I notice you scan at 1600ppi but still print up to 40x30". Do you just interpolate the image as you would a digital file and does this give a better result than scanning at a higher resolution?
Thanks in advance!
Richard
www.richarddowner.co.uk
I was directed to your site from Tim Parkin's blog. I enjoyed looking at your images and I notice you scan at 1600ppi but still print up to 40x30". Do you just interpolate the image as you would a digital file and does this give a better result than scanning at a higher resolution?
Thanks in advance!
Richard
www.richarddowner.co.uk
Richard Downer
Reply
Hello Mark
Thanks for getting in touch. Experience through use and testing and speaking to other photographers is the answer.
You can test the boundaries of any film or sensor if you want by running a series of shots of a mid grey object in the same light, bracketed in 1/3rd stop increments. I did this on my D2X to test the boundaries. There you can see the point at which the object turns black or white.
In the case of Velvia 50, its response is well known by landscape photographers and it is often discussed when they get together . My experience, confirmed by others, is that +1.7 stops gets you white with some detail. +2 is completely white.
Velvia has 4 stops. ( +1.7 to -2.3 is 4 stops). With velvia the mid point isn't quite at the mid point between white and black, its slightly towards the right hand side of a line. In otherwords, there is slightly more dynamic range in the shadows then the highlights.
Hope that helps.
Ps I used to religiously record all my exposure settings on each sheet and then transfer it to a book afterwards. I don't bother now because I found I never did anything with it anyway. I try to remember what I metered off and then when I see the results I can judge if I got it right or, say, 1/2 stop under/over. If its wrong, I can then work out what I should have metered off (still happens from time to time!).
Best regards, Jon
Thanks for getting in touch. Experience through use and testing and speaking to other photographers is the answer.
You can test the boundaries of any film or sensor if you want by running a series of shots of a mid grey object in the same light, bracketed in 1/3rd stop increments. I did this on my D2X to test the boundaries. There you can see the point at which the object turns black or white.
In the case of Velvia 50, its response is well known by landscape photographers and it is often discussed when they get together . My experience, confirmed by others, is that +1.7 stops gets you white with some detail. +2 is completely white.
Velvia has 4 stops. ( +1.7 to -2.3 is 4 stops). With velvia the mid point isn't quite at the mid point between white and black, its slightly towards the right hand side of a line. In otherwords, there is slightly more dynamic range in the shadows then the highlights.
Hope that helps.
Ps I used to religiously record all my exposure settings on each sheet and then transfer it to a book afterwards. I don't bother now because I found I never did anything with it anyway. I try to remember what I metered off and then when I see the results I can judge if I got it right or, say, 1/2 stop under/over. If its wrong, I can then work out what I should have metered off (still happens from time to time!).
Best regards, Jon
Film and Exposure
Hi Jon,
I stumbled across your website the other day and was very impressed with the information you have published in your Viewpoints section regarding exposure. I found your explanations very concise and the steps you describe for metering very practical.
I am a recent convert to the 617 format, and having only prior used a DSLR, the learning curve has been quite steep. I am currently practicing using the zone system to hone my exposure skills, and have used some of your techniques which are working well.
In your articles you talk about the dynamic range of Velvia 50, and you state that you use four stops between black and white (-2.3 to +1.7). Just for clarification, when you say four stops, I?ve made the assumption that this does not include the mid-tone, because wouldn?t this mean the film actually has five stops of dynamic range?
I am also interested how you arrived at such precise boundaries for the dynamic range of the film. Most of the books I have read seem to suggest using two stops either side of the mid-tone, so given that your boundaries are very specific I?m just wondering if you determined these by trial and error or maybe analysing characteristic curves etc?
Another thing I am curious about is how you record the settings you used for each of your shots. I?ve tried using an exposure record which I produced using Excel, but completing one on location takes a long time and blows around if it?s windy.
Any advice or tips gratefully received.
Many thanks,
Mark.
I stumbled across your website the other day and was very impressed with the information you have published in your Viewpoints section regarding exposure. I found your explanations very concise and the steps you describe for metering very practical.
I am a recent convert to the 617 format, and having only prior used a DSLR, the learning curve has been quite steep. I am currently practicing using the zone system to hone my exposure skills, and have used some of your techniques which are working well.
In your articles you talk about the dynamic range of Velvia 50, and you state that you use four stops between black and white (-2.3 to +1.7). Just for clarification, when you say four stops, I?ve made the assumption that this does not include the mid-tone, because wouldn?t this mean the film actually has five stops of dynamic range?
I am also interested how you arrived at such precise boundaries for the dynamic range of the film. Most of the books I have read seem to suggest using two stops either side of the mid-tone, so given that your boundaries are very specific I?m just wondering if you determined these by trial and error or maybe analysing characteristic curves etc?
Another thing I am curious about is how you record the settings you used for each of your shots. I?ve tried using an exposure record which I produced using Excel, but completing one on location takes a long time and blows around if it?s windy.
Any advice or tips gratefully received.
Many thanks,
Mark.
Mark Collins
hi
Hi Jon
Just got DVS for Christmas and saw your work (great). I am based near Scarborough and shoot panoramic 617 (www.peterleemingphotography.com) if you are interested in swapping links that would be great. Maybe see you at Saltwick! Pete
Just got DVS for Christmas and saw your work (great). I am based near Scarborough and shoot panoramic 617 (www.peterleemingphotography.com) if you are interested in swapping links that would be great. Maybe see you at Saltwick! Pete
Peter Leeming
DVS images
Have just received this book i nthe post, and this is a note to say how much I enjoy your images. Both are exquisite things, and very satisfying. Lines, grain, colours, and shapes in River Rocks are something else again! I love it!
Hazel Coffey
comments and possible meetup
Hi Jon,
I've found your site whilst looking through the Ligt and Land gallery and noticed that you were in Yorkshire (I also noticed that you have some absoluteley fabulous shots too!). I was wondering if you might be interested meeting up with a couple of other large format folks in Yorkshire for a weekend tripd to the moors/dales/wherever.
I'm only just learning about LF (as evidenced in my blog at http://blog.timparkin.co.uk) and would love to have some like minded company whilst out and about.
Congrats on getting some pictures in the DV&S book too!
I've found your site whilst looking through the Ligt and Land gallery and noticed that you were in Yorkshire (I also noticed that you have some absoluteley fabulous shots too!). I was wondering if you might be interested meeting up with a couple of other large format folks in Yorkshire for a weekend tripd to the moors/dales/wherever.
I'm only just learning about LF (as evidenced in my blog at http://blog.timparkin.co.uk) and would love to have some like minded company whilst out and about.
Congrats on getting some pictures in the DV&S book too!
Tim Parkin
Dust
Richard
Its on the viewpoints section of my website.
I always use quickload - LF is a pain without, so dust is never a problem. The beauty of quickload is that there is no dust. Dust on the negative when scanning is eliminated by something called digital ice technology in the scanner which uses infrared to detect and remove dust and scratches. It is also easy enough to clone out the dust spots on photoshop.
Its on the viewpoints section of my website.
I always use quickload - LF is a pain without, so dust is never a problem. The beauty of quickload is that there is no dust. Dust on the negative when scanning is eliminated by something called digital ice technology in the scanner which uses infrared to detect and remove dust and scratches. It is also easy enough to clone out the dust spots on photoshop.
Jon Brock
YOUR HELP APPRECIATED
Thankyou for your help Jon, much appreciated, I am presently studying a book called the view camera by steve simmonds, and along with your help/information you have kindly shared, and the link you have pointed to there is a wealth of information for me to study, I may also check out the the other book you told me about.
I am finding the bits on the movements in my book pretty hard going/hard to understand but i will persevere.
I can't find your movement article but will look again monday for yours and have a look round the other links.
I think that handling the camera will make it easier to understand (hopefully!) so I may take you up on your offer if that is ok.
I bet your looking forward to the autumn colours, I know I am, I'm booking a week off to go round the peak district with my tiny digital negative!! (10d SLR)
PS- On LF, If you don't use quickload film, can dust/hair be a great problem on negatives, I heard some quickloads can fail on you. Maybe the scans show everything up.
Thanks,
Richard.
I am finding the bits on the movements in my book pretty hard going/hard to understand but i will persevere.
I can't find your movement article but will look again monday for yours and have a look round the other links.
I think that handling the camera will make it easier to understand (hopefully!) so I may take you up on your offer if that is ok.
I bet your looking forward to the autumn colours, I know I am, I'm booking a week off to go round the peak district with my tiny digital negative!! (10d SLR)
PS- On LF, If you don't use quickload film, can dust/hair be a great problem on negatives, I heard some quickloads can fail on you. Maybe the scans show everything up.
Thanks,
Richard.
RICHARD CLOW
Focusing Large Format Cameras
Richard,
I'll try to answer your questions; but understanding focusing a LF camera is a bit involved.
1) Focus
Each field camera has different amounts and types of movements so you need to check; in particular not all have rear tilt. To gain front to back focus on a typical landscape photograph, you need to either tilt the lens forward, or tilt the rear/back backwards; or both! This moves the plane of focus so that both the forground bottom and background top can be in focus, reducing the extent you need to stop down the lens to gain sharpness. I tend to stop down to around f22 which is about the sweet spot of many of my lens and to give a margin of error, but it is possible to have a sharp picture front to back virtually wide open.
The amount of movement needed is fairly small on both a 90 (wide angle) and 150 (standard) lens and most field cameras can handle it.
There is one caveat; in this focusing scenario, anything that is top of picture foreground (e.g. very close tree branch or wall) will be likely to be out of focus - if you compose such a picture using movements to focus will not work; you will have to rely on depth of field (which is the same as a 90mm or 150mm lens on 35mm formats i.e not as great as a 28mm lens). You quickly come to realise that these situation pose challenges for large format. In such situations I will stop down to f33 1/3 (about the final point where defraction takes over on 5by4) and check focus very carefully on the screen. Similarly I check that the middle of the picture is sharp - it is possible to have a focusing hole, with movements, with the top and bottom sharp and the middle soft; again stopping down a bit usually solves this.
2) LF lenses are slower than 35mm; most shots are taken on about f16 to f32, so the corresponding shutter speeds are slower. You wont be able to freeze sports action using LF! In practice I find that in normal light shutter speeds are in the 1/30 to 1 sec range which is enough to blur large amounts of movement. Either I will wait for the movement to stop or use it as an integral part of the picture. In low light, exposures can head to the 4-20 second range; further complicated by reciprocity failure on film which further increases the exposure time required. I got used to it.
Hope that helps. Ansel Adams's book 'The Camera' is a really good starting point and explains the basics well.
I'll try to answer your questions; but understanding focusing a LF camera is a bit involved.
1) Focus
Each field camera has different amounts and types of movements so you need to check; in particular not all have rear tilt. To gain front to back focus on a typical landscape photograph, you need to either tilt the lens forward, or tilt the rear/back backwards; or both! This moves the plane of focus so that both the forground bottom and background top can be in focus, reducing the extent you need to stop down the lens to gain sharpness. I tend to stop down to around f22 which is about the sweet spot of many of my lens and to give a margin of error, but it is possible to have a sharp picture front to back virtually wide open.
The amount of movement needed is fairly small on both a 90 (wide angle) and 150 (standard) lens and most field cameras can handle it.
There is one caveat; in this focusing scenario, anything that is top of picture foreground (e.g. very close tree branch or wall) will be likely to be out of focus - if you compose such a picture using movements to focus will not work; you will have to rely on depth of field (which is the same as a 90mm or 150mm lens on 35mm formats i.e not as great as a 28mm lens). You quickly come to realise that these situation pose challenges for large format. In such situations I will stop down to f33 1/3 (about the final point where defraction takes over on 5by4) and check focus very carefully on the screen. Similarly I check that the middle of the picture is sharp - it is possible to have a focusing hole, with movements, with the top and bottom sharp and the middle soft; again stopping down a bit usually solves this.
2) LF lenses are slower than 35mm; most shots are taken on about f16 to f32, so the corresponding shutter speeds are slower. You wont be able to freeze sports action using LF! In practice I find that in normal light shutter speeds are in the 1/30 to 1 sec range which is enough to blur large amounts of movement. Either I will wait for the movement to stop or use it as an integral part of the picture. In low light, exposures can head to the 4-20 second range; further complicated by reciprocity failure on film which further increases the exposure time required. I got used to it.
Hope that helps. Ansel Adams's book 'The Camera' is a really good starting point and explains the basics well.
Jon Brock
LARGE FORMAT PHOTOGRAPHY
Jon,
I spoke to you a couple of weeks ago about maybe taking the plunge from DSLR to Large format, (from sheffield), got a couple of questions that would hopefully help me more to decide whether to buy a camera.
When I take pictures of Landscapes with my DSLR I focus using the hyperfocal distance as i aim to get close things in focus to infinity, (to be honest I do take a few pictures with different lens movements to make sure I've got the focus I want), (10d + 17-40L), my question is with a field camera, (not a monorail), would I usually get enough movement to get near things to infinity in sharp focus.
My other question is if you are shooting landscapes with vegetation and sky interest with LF and maybe using F32 ore more etc, would you have overly long exposure times, (I do not know how long typical exposures are, seconds, minutes?), is it a fact of life with LF that unless there is no wind or very little wind that things that move in the wind, vegetation/flowers/clouds will always be consigned to a blur?
This does not bother me too much as there are lots of landscapes that don't move, it's just that one of the reasons LF appeals to me is the size of the negative and the sharpness that can still be obtained with big enlargements.
Thanks for your time Jon, (Hope you enjoyed the advanced LF workshop).
Richard.
I spoke to you a couple of weeks ago about maybe taking the plunge from DSLR to Large format, (from sheffield), got a couple of questions that would hopefully help me more to decide whether to buy a camera.
When I take pictures of Landscapes with my DSLR I focus using the hyperfocal distance as i aim to get close things in focus to infinity, (to be honest I do take a few pictures with different lens movements to make sure I've got the focus I want), (10d + 17-40L), my question is with a field camera, (not a monorail), would I usually get enough movement to get near things to infinity in sharp focus.
My other question is if you are shooting landscapes with vegetation and sky interest with LF and maybe using F32 ore more etc, would you have overly long exposure times, (I do not know how long typical exposures are, seconds, minutes?), is it a fact of life with LF that unless there is no wind or very little wind that things that move in the wind, vegetation/flowers/clouds will always be consigned to a blur?
This does not bother me too much as there are lots of landscapes that don't move, it's just that one of the reasons LF appeals to me is the size of the negative and the sharpness that can still be obtained with big enlargements.
Thanks for your time Jon, (Hope you enjoyed the advanced LF workshop).
Richard.
RICHARD CLOW
Scanning
Hello Ross,
I saw a few guys coming back from the Ullapool trip when I was in Glencoe in Febuary. Sounds like you had a great time.
It took me a while as well to get scanning working how I wanted it - and I still keep adjusting the workflow, but I'll have a go. Monitor calibration is really important - without it, you will find that when you come to print out you get results that bear no resemblance to the screen.
Using Silverfast, (I think a version comes with the V750? - I upgraded to Studio version), once the slide is positioned, i tend to hit the automattic button just to see the result. What I will then do is go into the levels and curves tabs and adjust. I turn off the automatic colour adjustment and set the white point and black points so that they are outside the histogram, not clipping. I may also adjust the shadow part of the curve (especially with velvia) to bring up the shadows. I scan in 48bit (creating a 16 bit TIFF file).
The result is a file that lacks a bit of contrast. I can then adjust the image in photoshop, adjusting the levels and usally adding a slight S curve to regain/increase contrast (the curves tool). I will put the slide on a light box, whilst I am doing this, so that I have a reference. I will probably increase the saturation a bit as well. Usually I find the colours to be pretty close to the slide. But if not I will adjust the colour balance. (The old Velvia 50 has magenta and slight red shift so its easy to add these if necessary).
Velvia 50 can be hard to scan, especially in the shadows. Hence I tend to lift up the shadows to make sure I get what detail I can and then restore the contrast in photoshop. I've just started experimenting with scanning as a raw file and using silverfast HDR to convert later but not got far with this yet. Hope that helps?
I saw a few guys coming back from the Ullapool trip when I was in Glencoe in Febuary. Sounds like you had a great time.
It took me a while as well to get scanning working how I wanted it - and I still keep adjusting the workflow, but I'll have a go. Monitor calibration is really important - without it, you will find that when you come to print out you get results that bear no resemblance to the screen.
Using Silverfast, (I think a version comes with the V750? - I upgraded to Studio version), once the slide is positioned, i tend to hit the automattic button just to see the result. What I will then do is go into the levels and curves tabs and adjust. I turn off the automatic colour adjustment and set the white point and black points so that they are outside the histogram, not clipping. I may also adjust the shadow part of the curve (especially with velvia) to bring up the shadows. I scan in 48bit (creating a 16 bit TIFF file).
The result is a file that lacks a bit of contrast. I can then adjust the image in photoshop, adjusting the levels and usally adding a slight S curve to regain/increase contrast (the curves tool). I will put the slide on a light box, whilst I am doing this, so that I have a reference. I will probably increase the saturation a bit as well. Usually I find the colours to be pretty close to the slide. But if not I will adjust the colour balance. (The old Velvia 50 has magenta and slight red shift so its easy to add these if necessary).
Velvia 50 can be hard to scan, especially in the shadows. Hence I tend to lift up the shadows to make sure I get what detail I can and then restore the contrast in photoshop. I've just started experimenting with scanning as a raw file and using silverfast HDR to convert later but not got far with this yet. Hope that helps?
Jon Brock
Scanning
Hello. I have been enjoying the viewpoints section on your website - and your images on the light and land website and on your own site. I am from Yorkshire too and went on a light and land leading lights tour this year with David Ward. I am interested in trying to scan images on to a website. I was wondering if you would be able to give me any information on scanning. I have recently brought an Epson v750 to help scan my medium format images however I am struggling to reproduce the colour of Velvia 50. I am new to photoshop and to scanning. You mention that you scan in Silverfast using low contrast - how do you do this ? Do I need a Vevia 50 IT8 sheet ? How beneficial is Monitor calibration - I have a basic monitor calibration and scanning calibration program (MonacoEZcolor) which came with the scanner. So far I have spent 2 weeks with little decent results. If you have the time to reply I would be very grateful for any help, many thanks, Ross Brown.
Ross Brown
Elsha
No sorry but glad you like my images.
Jon Brock
Wondering if?
Hi,
I heard through the grapevine you might be the Jon I knew from college. We where in Eugene OR and friends through Katy Dahlberg. You promised to take me to the Oscars if you ever went. Jon I hope this is you. If not sorry. Your pictures are beautiful!!!!!!
I heard through the grapevine you might be the Jon I knew from college. We where in Eugene OR and friends through Katy Dahlberg. You promised to take me to the Oscars if you ever went. Jon I hope this is you. If not sorry. Your pictures are beautiful!!!!!!
Elsha
Large Format Photography
First thing is that you will definitely need to use a tripod; large format is too cumbersome to do anything otherwise. Using a large format camera is fiddley , but I guess you won't really know how practical it is until you try it. Each camera is different with the controls in different places so you may be able to find one that suits you.
I learned with help from David Ward/Joe Cornish at light and land ( http://www.lightandland.co.uk/default.aspx). You could always give David a call and ask his advice - I know they were running one day workshops for new large format users earlier in the year - a great way to learn because they have a selection of spare cameras to use.
As to buying - you have two choices. I bought some second hand gear on ebay - started out with a wista dx and a 150 (=50mm) lens. They are pretty easy to sell again second hand. Alternatively you can buy starter gear new from Robert White and then sell if it doesn't work out . http://www.robertwhite.co.uk/wista.htm#Label01.
Other good sources are Teamwork in London (new) and Ffordes (second hand) where I got my Technikardan.
There are a few extras you will need to get including a quickload holder, some quickload film and some way of metering (if you don't already have a spot meter). You can use a tee-shirt for a dark cloth (very effective, just doesn't look stylish!). A focussing loupe helps to get accurate focusing. Depending on which manfrotto tripod you have, you may also find your tripod is not stable enough in wind. Mine wasn't.
The V700 is great for scanning LF - I scan at 2400 dpi and get more pixels and quality than I can deal with and can easily print very sharp prints at 30x20" and beyond. I have to down-sample the images to print. The quality is good but it is the experience as much as anything that I enjoy. I also use digital.
I learned with help from David Ward/Joe Cornish at light and land ( http://www.lightandland.co.uk/default.aspx). You could always give David a call and ask his advice - I know they were running one day workshops for new large format users earlier in the year - a great way to learn because they have a selection of spare cameras to use.
As to buying - you have two choices. I bought some second hand gear on ebay - started out with a wista dx and a 150 (=50mm) lens. They are pretty easy to sell again second hand. Alternatively you can buy starter gear new from Robert White and then sell if it doesn't work out . http://www.robertwhite.co.uk/wista.htm#Label01.
Other good sources are Teamwork in London (new) and Ffordes (second hand) where I got my Technikardan.
There are a few extras you will need to get including a quickload holder, some quickload film and some way of metering (if you don't already have a spot meter). You can use a tee-shirt for a dark cloth (very effective, just doesn't look stylish!). A focussing loupe helps to get accurate focusing. Depending on which manfrotto tripod you have, you may also find your tripod is not stable enough in wind. Mine wasn't.
The V700 is great for scanning LF - I scan at 2400 dpi and get more pixels and quality than I can deal with and can easily print very sharp prints at 30x20" and beyond. I have to down-sample the images to print. The quality is good but it is the experience as much as anything that I enjoy. I also use digital.
Jon Brock
LARGE FORMAT PHOTOGRAPHY
Jon,
I would be so so grateful if you were able to assist me or point me in the direction of someone who can.
My interest is landscape photography, (I have a canon 10d, 17-40L lens and 0.3/0.6/0.9 Lee soft graduation filters, cable release, (used with mirror lockup to avoid mirror vibration), manfrotto tripod and an Epson 2100 printer.(I use photoshop to interpolate up to A3 when I need it but Im still not convinced with the quality compared to it printed 10x6 inch with no interpolation)
I am striving for big sharp prints A3 and well beyond which has led me to seriously look at Large format 5" x 4" as I also take my pictures that way, slow and deliberate and I like taking dramatic photos of the peak district full of highlight and shadow and prepared to get up early/do a lot of walking for my shots.
I have no experience at all of large format, only Digital SLR, so now I am interested in really learning photography!
Some kind of hands on with the equipment or if I am able to watch someone would be fantastic.Short of buying a view camera and all the equipment I do not know anyone who owns these cameras nearby, (I live in sheffield near meadowhall, I do though have a car. None of the local camera shops stock secondhand large format and I do not know anyone else with LF so I can't have a play!
The other reason it would be more important to me to try first is that I have a hand disability, I have a thum for my right hand and a small left hand so I just want to know if I can use the focus controls/ tilts/and processes involved on a monorail/view camera.
Tripod work suits me better but i can handhold the DSLR ok.
Do you live in Sheffield or nearby, or do you know of somone in the area who I might be able to get advice from? I can also travel in my car so transport is not a problem.
It would also be great to talk with like minded individual(s)and see print quality for myself, digital capture against film capture scanned.
Thankyou for your time.
Yours faithfully,
Richard Clow
PS - I wondered if the epson v700 would do large format justice short of going down the drumscanner route, it sounds as though you are happy with it.
I would be so so grateful if you were able to assist me or point me in the direction of someone who can.
My interest is landscape photography, (I have a canon 10d, 17-40L lens and 0.3/0.6/0.9 Lee soft graduation filters, cable release, (used with mirror lockup to avoid mirror vibration), manfrotto tripod and an Epson 2100 printer.(I use photoshop to interpolate up to A3 when I need it but Im still not convinced with the quality compared to it printed 10x6 inch with no interpolation)
I am striving for big sharp prints A3 and well beyond which has led me to seriously look at Large format 5" x 4" as I also take my pictures that way, slow and deliberate and I like taking dramatic photos of the peak district full of highlight and shadow and prepared to get up early/do a lot of walking for my shots.
I have no experience at all of large format, only Digital SLR, so now I am interested in really learning photography!
Some kind of hands on with the equipment or if I am able to watch someone would be fantastic.Short of buying a view camera and all the equipment I do not know anyone who owns these cameras nearby, (I live in sheffield near meadowhall, I do though have a car. None of the local camera shops stock secondhand large format and I do not know anyone else with LF so I can't have a play!
The other reason it would be more important to me to try first is that I have a hand disability, I have a thum for my right hand and a small left hand so I just want to know if I can use the focus controls/ tilts/and processes involved on a monorail/view camera.
Tripod work suits me better but i can handhold the DSLR ok.
Do you live in Sheffield or nearby, or do you know of somone in the area who I might be able to get advice from? I can also travel in my car so transport is not a problem.
It would also be great to talk with like minded individual(s)and see print quality for myself, digital capture against film capture scanned.
Thankyou for your time.
Yours faithfully,
Richard Clow
PS - I wondered if the epson v700 would do large format justice short of going down the drumscanner route, it sounds as though you are happy with it.
RICHARD CLOW
Congratulations Jon...
....on setting up such a wonderful site. I checked it out a while back but never got chance to tell you how good it was. Where does the time go?
Speak to you soon, hopefully see you soon too!
Andrew
Speak to you soon, hopefully see you soon too!
Andrew
Andrew
Autumn river
Hi you do not know me but I heard alot about you ,thanks to your dad. We have a common interest in art especially on Thursdays when more talk is done than paint to canvas. We often discussed the relationship between art and photoghaphy relating to composition, colour, light etc .Chris has autumn river on his wall , Its ashame the pc does not the true depth of image . I to like landscape and appreciate the lengths taken to capture the image that is first portraid in the mind eye before the picture or moment is processed. Both artist and photographer must learn from each other, I see you have learnt from your dad ?? Really like your work especially the one Chris showed me of a valley with frost on one side and sun capturing the other side with haze rising from the bottom .Was it Lakedistrict or Scotland ? It was amazing anyway so much detail sorry about poor description.I wish you every sucess , you have a fan hear . Rob
ROB