But then you can run into issues of having the easel out of the focal plane, which requires an enlarger with its own movements. You can stop down, but then diffraction can become a problem.
entering the MF world
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But then you can run into issues of having the easel out of the focal plane, which requires an enlarger with its own movements. You can stop down, but then diffraction can become a problem.
Nicely said.
It is the photographer who really screws up the photograph, not the innocent LF camera or format.
Of course the photographer. Large format cameras do not have all the interlocks and protections that 35mm and medium format cameras have to keep the photographer from screwing up.
4x5 is a freaking wonderous experience as you advance in photography - sure, plenty of complexities to screw things up, but like any skill, learn from your mistakes.
I have no hatred for Photoshop - just a lot of love. For what it does, it's superb and it gave me a career that led me back into commercial shooting. It's a tool and a very advanced & capable tool. I've seen art created in PS that's as affecting as any painting or photo. It's just not how I want to make art, but I spend hours every day with it making a living. Beats the hell outta digging ditches or sitting in some corporate cubicle. There's an endless amount of consumer marketing work that PS and computers make more engaging, and another tool to bring a marketing concept or metaphor to life is welcome to me. I just don't think it replaces camera movements...
Speaking of, a few folks have expressed their disdain of tilt lenses on 35 or MF - I'd like to hear more detail, as I've never owned one. I feel there's a massive, gaping hole in the photo market for shooting commercial product on digital cameras with full movements, but in a sub $2k (minus glass) price point. Not every commercial client can afford a shooter with a $60k full-on digital setup. Where's the mid-level view camera for shooting reasonable focal lengths with movements digitally (vs. those DSLR view adapters that mean stitching dozens of tiny bits together?) I know this is the analog forum, but it'll be analog shooters who develop a product like that.
I have no hatred for Photoshop - just a lot of love. For what it does, it's superb and it gave me a career that led me back into commercial shooting. It's a tool and a very advanced & capable tool. I've seen art created in PS that's as affecting as any painting or photo. It's just not how I want to make art, but I spend hours every day with it making a living. Beats the hell outta digging ditches or sitting in some corporate cubicle. There's an endless amount of consumer marketing work that PS and computers make more engaging, and another tool to bring a marketing concept or metaphor to life is welcome to me. I just don't think it replaces camera movements...
Speaking of, a few folks have expressed their disdain of tilt lenses on 35 or MF - I'd like to hear more detail, as I've never owned one. I feel there's a massive, gaping hole in the photo market for shooting commercial product on digital cameras with full movements, but in a sub $2k (minus glass) price point. Not every commercial client can afford a shooter with a $60k full-on digital setup. Where's the mid-level view camera for shooting reasonable focal lengths with movements digitally (vs. those DSLR view adapters that mean stitching dozens of tiny bits together?) I know this is the analog forum, but it'll be analog shooters who develop a product like that.
As a good LF photographer, we do not need any of the interlocks or protection for the camera. I have the interlocking cable on my Sinar between shutter and film back. But I it is troublesome to install and use it.
The 35mm and MF are not designed for all the camera movements. So it is very costly to get all the advanced gears.
The best way is to get a 4x5 camera with 60mm film back. The only issue is the bulk and weight. But if your main focus is architecture, they do not matter much. LF is designed to have all the camera movements.
But again, MF to LF is not easy. If you just can't move to LF, then you'll have to find some way to achieve your goal.
The best way is to get a 4x5 camera with 60mm film back. The only issue is the bulk and weight. But if your main focus is architecture, they do not matter much. LF is designed to have all the camera movements.
But again, MF to LF is not easy. If you just can't move to LF, then you'll have to find some way to achieve your goal.
We don't need no stinkin' interlocks and no damned protection!
I own two shift (not tilt) 35mm lenses, the nikon 35/3.5, 35/2.8. The latter is very good and effective, but if I was shooting architecture i would not use such a small format. Also the shift amount is a bit limited.
I've only read unreserved praise about the Canon TS (tilt shift) lenses, though. They are supposed to be the best Canon lenses ever.
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