Large Format Photography

How’s this for an example of the evolution of photography. On the left is an image taken with a Sinar 8 X 10 studio view camera and on the right is an iPhone 8.  

I used to love shooting with my Sinar. I had an 8 X 10 model that also had a 4 X 5 back that I could switch to when shooting “small” format. With the 8 X 10 the standard lens was a 300mm and for the 4 X 5 I used 3 lenses, a 210mm short telephoto, 150mm normal, and a 90mm wide angle. The controls on a Sinar are so precise it is like using a medical device. Photographing with a view camera makes you use different switches and gears in your head. The image is upside down and reversed and you hold a dark cloth over your head to see the image and focus. A small lupe is held up to the ground glass for focusing. Quite different to the autofocus cameras of today. The sheets of film were loaded in complete darkness into the film holders. The film had notches that had to go into the correct corner to ensure the film was loaded properly. When I started in the studio we had hot lights so I had to deal with long exposures and I had to use gels to correct the lights to the film color balance. Later I switched to Broncolor studio lights which made life a lot easier. Shooting large format cameras in the studio is a lot of work. High end product work is difficult but can be creatively and financially rewarding. I do miss the old days of photography. I have so much knowledge from this era that has little use today. I would love to shoot or teach how to use Sinar cameras but there seems to be little demand for this kind of work. Not every aspect of film photography was the best especially when considering the cost, quality and time when compared with the digital workflow but I still miss those days. 

Think Tank Photo Bag Collection

Yes, I like Think Tank Photo bags.

When you have lots of equipment you end up with lots of bags. It’s not that I’m buying the wrong bags it’s just that different situations call for different combinations of equipment. Sometimes I’m shooting with Leica and sometimes the Nikons are needed. Sometimes prime lenses, sometimes I prefer zooms. And when I use my studio strobes lots of support gear is needed. 

In the photo above starting at the top I have a Think Tank Photo Lens Changer 3. This is most often used when shooting on location with my Nikon equipment and I have an assistant. The assistant will carry the second body and have up to 3 extra lenses or small accessories. This bag has turned out to be more useful than I originally thought it would be used. Going clockwise the next bag is a Think Tank Photo Retrospective 5 in sandstone. This is my go to bag when I am shooting my film Leicas. Usually I carry 2 bodies, a couple of lenses, and accessories. Nice and compact bag and very durable. Below this bag is my newest bag. It is a Think Tank Photo Turnstyle 20. It is great when I only want to carry one Nikon and 2 lenses and a flash. It is more compact in person than it looks in the photo. It is a real winner. The next bag is a Think Tank Photo Streetwalker HardDrive backpack. This handles the off road shoots and is handy as a small travel bag. To the left of the Streetwalker is the Think Tank Photo International Roller Bag. This is my oldest Think Tank bag and is my most used. The International would be my desert island bag because it is so versatile and it carry’s lots of equipment. Above the International is the Think Tank Photo Retrospective 7 in sandstone. This has become my catch all bag. You will often see it loaded with gaffer tape, clamps and other accessories. I love the thick straps on the Retrospective bags. The bag in the center is a Think Tank Photo Urban Disguise 50. This bag pretty much only gets used when I need to travel light and only carry 2 Nikons and 2 lenses or when I want to take all of my Nikon strobes and batteries. My equipment gets shuffled from bag to bag a lot and with all of the wear and tear my Think Tank bags never have let me down. The parts that really impress me are the seams and the zippers. They are so well made and are reinforced to stand up to lots of abuse. Even with all of the travel I just wipe them off occasionally and they still look like new. 

Think Tank Photo bags are everywhere because they are probably the most popular bags on the market. Take you equipment to a well stocked dealer and you will leave with a bag that will fit your equipment. They have so many models, one will certainly fit you equipment and budget.  

Desire is not enough

The world is bursting at the seams with men and women wanting to be photographers. Do a search on how to be a photographer and the list of advice is endless. Watch this video. Buy this book. Buy that camera. 10 items that every pro should have in her bag. Do what you love.  

But want it is not enough. You have to get out there and do the actual work. I’m a believer in being a pro before you do your first paying job. That means doing the best work that can be done every time you turn your camera to the on position. But in the rush to go from hey this is fun to I love photography, many people are not honest with themselves about their level of expertise. I see it over and over. There is too much of a rush to get from iPhone to paying gig. I see so many photographers touting their talent to teach photography seminars because they have been a “photographer” for three whole years. Now is that full time for three whole years or some weddings for three years. Sorry for the snark but when I attended school I remember the professors saying that the had to have a minimum 25 years just to apply for the position. Being knowledgeable about an art and making a living at said art is two very different things. 

I remember a photo shoot around 2000 that still influences my outlook on my photography and my personal life to this day. I was assigned to photograph a college graduation at a church. I loaded up my equipment and arrived at the appointed time. My first duty was to locate the individual that requested the work to get done and find out the details. I was anxious to know how many graduates there were so I could plan how to best change flash batteries and after how many graduates I was going to have to change my hard drives ( this was in the days before flash cards ). I was surprised and a little relieved to find out I only had to take a few photos of the guests and the speakers. The requester had hired a soldier that “wanted to be a pro” to take the shots of the graduates receiving their diplomas. Talk about easy overtime for me. A quick look at the event program listed about 300 graduates. Remember I was instructed not to take any photos of them giving out of the diplomas so not to throw the the other photographer off by having the graduates looking at me and waiting for the flash to go off. So the ceremony starts and the first thing is that I see that the other photographer is shooting film. I was shooting digital but this was before the price of digital cameras had come down and they were to expensive for most people. Quick math shows that 9 rolls of 36 exposure film would be needed. Easy enough. Ok, the ceremony starts then they start handing out the diplomas. I have a reserved seat at the front so I get comfortable for awhile. I notice the film photographer take about 30 shots and rewind his film. The students are broken into groups so he has just enough time to reload. The next group of students walk across the stage and no photos. The film photographer is having a problem with his camera. I start to focus on him. Has his camera broken? Nope. Upon closer observation I see that he could not get the next roll of film loaded. From my experience with film I immediately saw what he was doing wrong. In his care to load the camera he was pulling the film leader too far into the camera. Auto load film cameras had a mark that you pulled the leader to and you just layed the film to this mark and closed the back and the camera grabbed the film and advanced to the first frame and you were ready. The photographer was trying to be extra careful and pull the film past its loading mark and the camera was miss-loading. The students were walking up, waiting for a flash that never occurred, and walking off the stage. Watching this photographer try to load his camera was the most painful thing I have ever watched a photographer try to do. I was getting uncomfortable just watching him. He never got the camera loaded and only the first few students had photos of receiving their diplomas. 

Its easy to take the shot when there is nobody looking. You can fake it til you make it, but your probably going to disappoint someone or do permanent harm to your career. Often in business many people tell you the work is okay, but feel it is less than expected and never hire you again. This often goes back to inexperience and quite frankly your work is not as good as it should be. Practice and get as good as you can, but realize that just because you want it, it just might not be your calling.

Tenba Tools Reload Battery Pouch

These days I'm carrying two Leica's on my travels. I shoot with a Leica M(240) and a Leica M10. Shooting with two cameras allows me to leave the 50mm on one camera and the 35mm on the other. I seem to have the wrong lens on all the time. Back in the days of film I used to shoot with a black M6 loaded with black and white film and a chrome M6 loaded with Kodachrome. Shooting with two cameras has always been my operating procedure. 

Tenba Reload Battery 2 Pouch

With digital the need for spare batteries is a must have. Unfortunately the Leica's take two different size batteries. Since the batteries always seem to migrate to the bottom of my bag and unless you check them close when changing batteries it is easy to try to put the wrong battery in a camera. I have found a battery pouch that solves my problem. It is called the Reload Battery Pouch by Tenba. I think they are designed for the standard size batteries that Nikon and Canon use but they are perfect for the M series Leica's. I have purchased two pouches and use one for the M(240) and one for the M10. The batteries fit perfectly. The are made of nylon and have velcro on the front to keep the cover closed. On the back there is a velcro strap to attach the pouch to a belt or the camera bag strap. There are also "D" rings for attaching to an optional lanyard. The Reload battery pouches come in single and double battery sizes. Nice and sturdy workmanship and they are only about $12 each so the don't break the bank. As I was searching for a case for my batteries I came across companies that made similar cases made out of leather. Kinda nice looking but no way was I going to pay $75 for leather. 

Tenba Reload Battery 2 Pouch

I have color coded the pouches for easier identification and that makes choosing the correct pouch when I want to travel light with just a camera and batteries easier. I highly recommend these little pouches. 

Tenba Reload Battery 2 Pouch

Ona Bag Review - Ona Brixton

Well I guess one Ona Bag just wasn't enough. After purchasing a Prince Street messenger bag and being completely satisfied I went looking for a reason to get another Ona Bag. Mission accomplished, I just picked up a Brixton Bag.

The Brixton by Ona Bags

Ona's Brixton bag is a step up from their Prince Street that I already own and love. The leather Brixton comes in Antique Cognac, Black, and Dark Truffle. The standard colors are Smoke, Black, Field Tan, and Black Nylon. The specifications are below:

• Exterior dimensions: 13.5"L X 10.5"H X 5"D
• Interior dimensions: 13"L X 9"H X 5"D
• Weight: 4.1 lbs

Ona Bags Brixton (back) and Ona Bags Prince Street (front)

Brixton on left, Prince Street on the right

I have included photos of the Prince Street and the Brixton side by side to give you some idea of the size difference. The Brixton is just a little taller and wider. 

Brixton end pocket

The end pocket on the Brixton is larger than on the Prince Street. Large enough for an iPhone 7, which fits comfortably in the pocket. 

The back is as beautiful as the front. Notice the lump on the back flap, there is a magnet to keep the back closed. The carry handle is a loop that is attached to the center of the back. On the Prince Street it is a detachable strap that goes the length of the bag.

Detail of the back.

The bottom of the bag has lots of stitching for durability and is very well padded.

You can put a lot of gear inside of the bag. Multiple cameras and lenses. There are also plenty of pockets for accessories.

The computer section is designed for a 13" MacBook. It has padding all of the way around. This is my iPad Pro 9.7".

Adjustable brass snaps to keep the cover secure. No plastic, only strong brass. They are easily operated with one hand.

Brass receiver for the snap.

Large front pockets for the extras. The are deep and really hold lots.

Ear flaps to keep out the elements.

The shoulder pad can be adjusted for fit. These take a little while to break in, then they mold to your shoulder.

Just look at the room. Two bodies and four lenses and room for more.

Ona has done it again. A bag that can carry all of your gear but still has a small footprint. The leather Brixton sells for about $440. A little expensive but it is a fair price for a bag with this much room and plenty of padding. Highly recommended.

match Technical Beep Soft Touch Review

I always use a soft touch release when I shoot with digital or film Leica's. I like the feel and I find that slower shutter speeds are possible.

Beep

BEEP-O-L Black

The BEEP is going to be attached to my Leica M10. Match Technical makes various sizes and styles of soft touch releases. The BEEP O model has a convex top that has a matt finish. The BOOP O has a concave top. They also come in threads that are long or short. The O in the name is for the O-ring that is attached just below the top. The O-ring compresses when you attach it to give a nice tight, secure fit. 

O-S: with short thread for Leica M-E, M9 Monochrom, M240, M246, M262

O-L: with long thread for the Leica M3, M4, M6, M7, M8, M9, M10

I really like the look and feel of the Beep. It has a nice soft touch and makes for a smooth release. They have other gizmos for Leica's that I should look in to. Highly Recomended.

Edward Weston at The Bowers Museum

Whenever I get a chance to see the work of Edward Weston my calendar gets an entry added. He is one of my favorite photographers and one of the all time greatest photographers. There is a nice show of his work currently at the Bowers Museum in Santa Ana, California. It is a large show, around fifty photographs. The beauty of his Pepper image never ceases to amaze me. It was a multi-hour exposure because it was shot with an 8 X 10 camera at a very small aperture. It is one of the most famous image in the history of photography. Weston was friends with Ansel Adams and had a very lively correspondence over the years. I would love to go back in time and listen to them talk about art. 

STARK BEAUTY: THE PHOTOGRAPHY OF EDWARD WESTON runs through September 17, 2017 so you had better hurry. Unfortunately I have no images from the exhibit, photography was not allowed. Upon close inspection I noticed that a number of the prints had handling or processing blemishes. Don't let this lessen the enjoyment of the show. I have seen a lot of damaged Weston prints over the years. I wish I had purchased a PEPPER print in high school when I had the chance. It would make a nice retirement nest egg!

Birding - Leica 8 x 42 Binoculars

Yes, I have interests other than photography. I also love to go Birding. My current list is 412 different species of birds. Not a large list by any means but even though my count is not that high I make up with enthusiasm. Birding can be a lonely adventure but is more fun with other enthusiasts. I have met some great people over the years when taking a break from staring up into trees. 

I started Birding in my early teens with a pair of Bushnell 7 x 35 binoculars. They were kinda in focus in the center and the sharpness fell off quite a bit on the edges. They did the job and got me started on a path that I enjoy to this day. One thing that I have never done is take photos of the birds. I have always keep photography separate. Birds are so fascinating, I can watch their behavior for hours. Wherever I travel to for my photography I try to make some time to go Birding.  

I purchased a pair of Leica Trinovid 7 x 35 BA binoculars in the mid 80's as new old stock. They were great binoculars. The rubber armored finish makes them rugged but they are small and light so that they are easy to carry everywhere. I'm a big owl fan and it is with these that I have seen all of the owls on my life list. I have taken them to the beach, to marshes, country fields, deserts, and high up in the mountains.

Being an optical connoisseur the choice of Leica binoculars was an easy choice. Leica has been making binoculars since 1907, long before the introduction of their line of cameras. I have tried other peoples binoculars over the years, and yes some are very good, I have chosen to stay with my Leicas. 

About 10 years ago I decided to treat myself with a new pair of binoculars. I tried the big 3 and was happy with all of them but I decided to stay with Leica's. Something about their glass that just speaks to me. I also like the finish on the new models. My old Trinovids were getting slick from years of wear. I chose the Leica 8 x 42 Ultravid model. Leica binoculars are an investment that lasts a lifetime and I plan on passing mine on down to my daughter.  

Leica 8 x 42 Ultravid and 7 x 35 Trinovid

Maybe someday I will teach a birding workshop. I love talking about Birding and with my photography background there would be some great possibilities for an educational and fun time. 

Photo Stamps

The Postal Services is always issuing commemorative and. special edition stamps. Back in 2002 the United States Postal Service introduced some stamps that had some appeal to photographers. It was called the Masters of American Photography.

Stamps honoring Photographers

The photographers are mostly Documentary and Fine Art photographers. Included are the following: Albert Southworth and Josiah Hawes, Timothy O'Sullivan, Carleton Watkins, Gertrude Kasebier, Lewis Hine, Alvin Langdon Coburn, Edward Steichen, Alfred Stieglitz, Man Ray, Edward Weston, James VanDerZee, Dorothea Lange, Walker Evans, W. Eugene Smith, Paul Strand, Ansel Adams, Imogen Cunningham, Andre Kertesz, Garry Winogrand, and Minor White.

Pretty impressive list. Although he is not American I would have include Robert Frank because of his work "The Americans".

Chris Killip's 'In Flagrante' At the Getty Museum

Now Then: Chris Killip and the Making of In Flagrante

May 23–August 13, 2017

GETTY CENTER, LOS ANGLES, CALIFORNIA

Although there is no connection to Leica's the exhibit of Chris Killips work at the Getty is a must see. It is some excellent documentary work of England in the early 1980's.Much of the work was done with a large format camera which is quite an achievement. Lots of strong composition and a viewpoint that tells a story. Both qualities sadly missing in much of todays photography. 

This image is so strong, nothing extra and nothing missing.

Graphic but actually says something. So many photographers today find the graphic in an image and stop there. You have to have something to say.

Perfect image. Subject looking off the image and horse mimicking the gesture in the opposite direction.

Classic image. I just admire how Killip built this image in layers.

You can just feel the cold and the solitude.

Get into the action. So often the image is taken from behind the spectators.

If you really want to learn photography looking at proof sheets is one of the best teachers you can get. Seeing how a photographer works a scene and later edits the images is pure gold. Seeing the misses next to the final image is so educational.