Panoramic Photos of Norway Shot on a Hasselblad XPan and Kodak Film

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DREW WILEY

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Well, if they had stitched, those sparkly crisp waterfall shots would have been a disaster. But as far as their complaint goes that every time they
tripped the shutter, they bled money, .... guess they've never shot 8x10 !
 
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Well, if they had stitched, those sparkly crisp waterfall shots would have been a disaster. But as far as their complaint goes that every time they
tripped the shutter, they bled money, .... guess they've never shot 8x10 !

They're driving an expensive Cadillac and they're complaining about the cost of gas?
 

Ron789

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Where do you see a Cadillac? I can't find it. I do read they lived out of a car, which may be their way to avoid the really high costs for lodging in Norway. Norway is a very expensive country... gas is approx. $5.73 / gallon.
 

Theo Sulphate

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It seems to me that one big advantage of a panoramic camera is that the light is consistent for the whole frame and the frame was exposed all at once, so there's no movement weirdness with people, cars, planes, etc. (*)

It seems that stitching multiple images (digital or otherwise) wouldn't be as good.

The relatively low cost of the film should be the least of their concerns.


(*)
I know the Widelux and other cameras move the lens, but that's a whole other aspect.
 

Sirius Glass

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They reminded me to use my panoramic camera for closeup subjects too.
 

thuggins

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Apart from the fact that the author sounds like an idiot, the guy has some nice shots. But one would expect some really spectacular images from Norway.

He does make an interesting point about the d!&!+@l "photographer" shooting thousands or tens of thousands of frames. I just got back from Pennsylvania where I shot my last 120 format rolls of Kodak VS (sad panda). One day I was on an overlook near Mt. Davis after two days of rain. There was a patchwork of clouds that were racing across the sky at more than 100mph; the cloud shadows were running over the ground so fast it looked like time lapse photography. Where the sun came thru was a solid Sunny 16, but a second later that spot would be in a dark shadow. A guy was there with an little APS sensor thingy on a tripod that was automatically snapping away about once a second or so. Hey said "Great view."; I sad "Tough light".

I stood there with my Olympus Chrome Six. Ikophot meter, and the last five frames of the most wonderful film ever made, watching the sky, gauging the movement of the clouds, following the shadows, trying to figure how each patch of blue would translate into light on the ground. His shutter clicked dozens, then hundreds of times. He said "I'm shooting RAW so I can fix all that in post processing" and I though that sounded like an interesting hobby and they should come up with a name for it.
 
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