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PostPosted: Thu Feb 12, 2009 8:20 pm 
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Das Kapital
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Joined: Thu May 11, 2006 4:03 pm
Posts: 6780
Location: Victoria BC
Camera: Canon 60D, Fuji XP20, odd film cameras
Lens: Tokina 11-16, Canon 17-55
Inspiration: The stuff out there.
OK to edit my images: Yes
I'm going to have to be more careful with my large format colour work. I finally got around to developing about a year's worth of colour (20 sheets - half C41, half Provia E6) and frankly I've disappointed myself. Each box of 10 sheets cost $32 + tax, and the processing and shipping to the lab was about $50 or $60 total... so I spent about $120 for 20 shots.

A couple of them are *okay* but nothing like my best stuff from the DSLR. I need to figure out how to effectively use this medium or whether or not its worth continuing to use colour in it.

I'll scan them up and post some soon (takes awhile to get through these sheets). Part of the problem, I think, was that I was heavily interested in pinhole photography and wanted to try some pinhole colour. Bad idea. Expensive blurry images that are poorly composed. Ah well.

On the bright side I just bought a 6x7 roll film back so I can explore colour with the view camera that way at considerably less expense (about $10 to $15 for each roll of 10 shots).

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PostPosted: Thu Feb 12, 2009 9:07 pm 
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aka TomTucketPhoto

Joined: Sat Nov 24, 2007 5:18 pm
Posts: 888
Location: London Ontario
Camera: One that goes click
Lens: The really long one that makes up for other short things in my life :(
Favorite Type: Fashion, Portrait, Editorial
Inspiration: complete ego!
That's the reason for me not being able to get into film, the learning curve is just to expensive. I really want to get a MF film for my wedding stuff (creative/posed) but that will have to wait till I have all the equipment I need like a better main body, more lights, wireless triggers.....

But I have been mesmerized by the work of Jose Villa and the look of his images. He is 100% film and the texture and colours are just amazing.

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PostPosted: Thu Feb 12, 2009 9:09 pm 
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Das Kapital
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Joined: Thu May 11, 2006 4:03 pm
Posts: 6780
Location: Victoria BC
Camera: Canon 60D, Fuji XP20, odd film cameras
Lens: Tokina 11-16, Canon 17-55
Inspiration: The stuff out there.
OK to edit my images: Yes
Here's one example. I like this area and the photo has some meaning to me (since I can't revisit it - I can look at this and sort of imagine I'm there), but it's really not that great.

Image

However, I can always resort to the large format photographer's crutch and show some resolution when I get a boring image... here's a 100% crop from just below center (above the stick) of the 1200DPI scan:

Image

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The meaning of life is simple: we exist to use our senses and consciousness to appreciate a universe that might otherwise go unappreciated in its eons of vast silence.

http://visualfiction.org/


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PostPosted: Fri Feb 13, 2009 1:14 am 
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The Lone Rangefinder
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Joined: Sun May 07, 2006 10:38 pm
Posts: 5687
Location: Virginia
Let me suggest adopting the dslr as a proofing medium. When I shoot LF slide, I pretty much do that routinely. It's not only for very accurate scene metering, but it also helps just to get to see the scene lensed down to 2D, so to speak... and to give yourself something to look at when you get home and decide whether to develop.

Overall I don't think $10-20 is that much per shot at all. Then again, I am not going all Winogrand out in the street; I shoot very little overall. And when I get home, if I cannot remember one important shot in my holders or in my rolls then I simply will not develop it. It just gets set aside for a few days and if I still can't remember an important shot then out it goes. That decision is particularly easy if I have dslr proofs that don't thrill me.

I have had a few situations in which the dslr shot won out... I got no film satisfaction at all in Iceland. I bought the D700 with that trip in mind and it came through. Nothing great but I honestly didn't get a single decent frame on film and didn't bother to develop it.

Hey look, nothing at all wrong with admitting to yourself that you're not feeling LF at the moment, we all have our seasons. Use whatever makes you productive and don't apologize for it!

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"The brick walls are there for a reason. The brick walls are not there to keep us out; the brick walls are there to give us a chance to show how badly we want something. The brick walls are there to stop the people who don't want it badly enough. They are there to stop the other people." -Randy Pausch, October 23, 1960 – July 25, 2008


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PostPosted: Sun Feb 15, 2009 3:12 pm 
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Film Shooter
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Joined: Mon Oct 16, 2006 10:35 am
Posts: 1046
Location: Freiburg, Germany
Hi walter, I think, quite like Keith, we all have made simlar experiences. I sometimes get carriedaway by the mood of a certain situation or simply by experimenting with new equipment. Then, with a little reflection and afterthought, I realize, that all the shots only had a meaning during the process of actually photographing. One could perhaps see it philosophically "the journey is the reward"... and then, simply forget about the goal. I cannot even imagine how much money I have dumped that way. It is certainly an expensive way to gain experience and learn to be more focused.

René

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PostPosted: Mon Feb 23, 2009 11:14 pm 
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Large Format Fomite
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Joined: Sun Jun 25, 2006 8:14 am
Posts: 3634
Location: Erdschweinhöhle
Camera: Canon 7D, 8x10 and 4x5 view cameras, Hasselblad, Noblex
Lens: Zeiss, Schneider, Noblar, Canon
Favorite Type: Landscape, Cityscape, Architecture
Inspiration: Van Gogh
My feeling about view camera work, and to a lesser degree film work in general, is that I only use it when I'm pretty confident in advance that I can get a great shot out of it. That doesn't mean I always will, but it means that I'm willing to lug a camera somewhere and not shoot anything at all. I think large format works best for me when I know a subject / site well, and I can keep going back to it, again and again. Some examples for me are the cemetery in Cambridge, some of the waterfront views of Boston, and some of the lighthouse scenes from Cape Ann. I knew how these places looked under good conditions and bad conditions, and I went there knowing in advance what the picture I wanted would look like.

I'm the same way now, even moreso with the constraints of a hard job, fewer subjects, a baby, and no color film lab near me. I've been scouting out some sites in the area for months without shooting (though without much time to shoot either). But what I'm not going to do anymore is take a sort of experimental subject and try to squeeze wine out of it.

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"Put de lime in de coconut, and drink 'em both up." -Harry Nilsson


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