Discover the advantages of shooting 4×5 film over 120 film for panoramic photography, including cost savings and convenience.
4×5 vs 120 Film for Panoramas: Cost & Convenience Comparison
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The Art of Pre-Visualization in Landscape Photography
In this article, I share the previsualization technique that guides me to where I need to set up the camera.
Adapting to Change: Shooting 120 Film in Hasselblad A24 Magazines
This article reviews two rolls of 120 film shot in succession in Hasselblad A12 and A24 film magazines with a 501CM camera and CF 135 lens and Vario-Tube.
Pinhole Photography: 4×5 Field Camera Pin-tography
In this article, I share my approach to crafting images with a 4×5 field camera with interchangeable pinholes attached to a dedicated lens board.
The Cutting Room Floor: A Creative Exploration Story
This article explores the rationale behind utilizing high-megapixel cameras or merging multiple images of a scene to produce a high-megapixel composite.
Shading and Enhancing: The Matte Box Advantage
I discovered that a matte box, typically used with DSLR and video cameras, can also be an excellent accessory for other camera types, like panoramic and large-format cameras.
Film and Digital with Iconic Hasselblad Cameras
Discover how to balance between film and digital photography using two unique Hasselblad cameras from the V system. Explore the intricate dance between classic and contemporary methods in capturing artistic expression.
Infrared Photography Part 3: Fujifilm X-E2
In My Return to Infrared Photography Part 1 and Part 2 articles, I write about my experiences and workflow using the Sigma SD1 Merrill (SD1M) as an infrared (IR) camera.
Shedding Light on Filter Factors: A Guide to Optimizing Exposure in Photography
This article explores filter factors, explaining their function and presenting three distinct methods for calculation.
ALPA CAMERAS
ALPA has become my preferred medium format system in the digital age due to its precision, durability, lightweight design, and versatility. It performs admirably in studio settings with a digital back and in outdoor landscapes with film or digital capture.
Considering the expenses associated with digital backs, lenses, and other accessories, the ALPA system is undoubtedly a high-end investment. Even in the secondary market, ALPA equipment commands significant prices, with certain lenses being particularly rare and challenging to find. Nonetheless, transitioning to the ALPA system was the ideal choice for me, as I was transitioning from primarily using Hasselblad and 4×5″ film cameras to medium format digital. I started with my first ALPA body, the MAX, in 2012, and I have no regrets and would gladly reinvest in the ALPA system if faced with the same circumstances.
How To Use The Zone System In Photography
Even though the Zone System is over 80 years-old, it is still relevant today whether shooting modern films or digital capture. This article is for photographers wanting to learn more about the Zone System for their particular workflow. We will look at how the Zone System works with a classic film-to-darkroom workflow, and a hybrid film-to-digital workflow. If you are strictly a digital photographer, you will find a better understanding of what the Zone System can offer you as well.
Shooting a Rolleiflex with Studio Flash and Rolleinars
In this fast-changing age of digital photography, one ingredient missing is a full frame square format camera or digital back. Yes, you can always crop off for a square, but this is not the same as looking through a dedicated square format camera’s viewfinder and being able to achieve full-resolution files. So, what does a photographer preferring the square format do? My option has always been to shoot square format film cameras.
Infrared Photography Part 2: Sigma SD1M
In Part 1 of this discussion, I explained my current foray into digital infrared (IR) photography and used the Sigma SD1M as my camera of choice. My reasons for choosing the SD1M are the user-friendly removal of the IR blocking filter, and the fact that I currently use the SD1M in my color art photography work. I like the Foveon sensor of the SD1M very much and if you want to use a Foveon sensor, you will have to use a Sigma camera.
Infrared Photography Part 1: Sigma SD1M
I first tried infrared (IR) photography back in the mid-1990s with a Nikon F3 camera and lenses and the now discontinued Kodak High-Speed Infrared film (Kodak HIE). It was more difficult to shoot IR film when compared to my recent tryout with IR digital because: (1) the film had to be loaded and unloaded in total darkness which made reloading out in the field difficult and (2), you had to wait for the film to be processed to see the results.