Vision Landscapes

New Zealand is often thought of as simply a land of high mountains and misty fiords, often forgotten is that it's also an island nation. Being an island nation, New Zealand has many miles of coastline, and beaches. Perhaps, the most fascinating beach is on the South Island, home to a geologic treasure known as Moeraki Boulders. Moeraki Boulders is located 40km (25 miles) south of the coastal fishing town of Oamaru, 300km south (180 miles) of Christchurch, on SH1.

According to an ancient Maori legend, the boulders are gourds washed from the great voyaging canoe Arai Te Uru when it was wrecked at nearby Shag Point (Matakaea) some 1000 years ago, while searching for the precious stone of Te Wai Pounamu.

The more mundane explanation is that the boulders are septarian concretions that formed about 65 million years ago, and were raised from the seabed 15 million years ago. Crystallization of calcium and carbonates around charged particles in muddy undersea sediments gradually formed the boulders in a process taking as long as four million years.

The boulders each weigh several tons, measuring up to 10 feet (3 meters) in diameter. The boulders have a hollow interior.

Photo Experience

Moeraki Boulder's location on the south-east facing shore of the South Island makes this an ideal location for morning photography, with the boulders and nearby landforms bathed in a warm side light; by late afternoon the area can be in deep shadows.

For the complete article see: Moeraki Boulders at TraditionalPhotographer.NET

 
I'd like to start a new series here, to share the beauty of the island where I live. I don't know how many parts there will be to this series. There are a great many beaches here on the island; too many to cover all of them. In the State of Hawaii, all land to the high water mark is public property, with the state requiring public access through many hotel and residential areas. I will be using a variety of cameras, and I won't be visiting beaches in any particular order - whatever happens to strike my fancy.

Lanikai Beach

Lanikai Beach is located near the bedroom community of Lanikai, on the Windward side of the island. Entrance to this beach is through the exclusive community of Lanikai, just a few miles from the community of Kailua, via public access paths. This area is less than 10 miles from my home, making it a perfect place from which to start this series.

Here we have the Nā Mokulua islands with the rising sun in the background. The islands are a State bird sanctuary and only accessible by small boat; access is restricted. However, you can easily rent a canoe from nearby Kailua Beach for the short paddle over.

This image was taken on a Toyo 45AII camera, with a Schneider Symmar-S 135mm f5.6 lens on Fuji Velvia 50 film. A one stop (.3) split neutral density filter was used to holdback the sky and to keep the foreground from sinking into the shadows.

Next stop, Kahana Bay....

I recently found a need to replace the aging Toyo 45AII I've used for years. The Toyo is an excellent camera, however with the amount of travel I do by air, and the ever increasing limitations on carry-on luggage, I wanted something lighter, yet would still hold up to the rigors of long distance travel, and would be easy to setup and use. I considered the Toyo 45CF, a carbon fiber based camera, but rejected it because of its lack of movements on the rear plane; movements I feel are critical for landscape photography. I also considered the Ebony and Tachihara field cameras. However, once I saw a Chamonix 45-N1 on an Internet forum, I was captivated by its design and beauty.

The question in my mind was whether the camera would hold up for the long term. Chinese made products have a reputation for poor quality design and construction, which I find odd when you consider its long history and the exquisite artifacts created. Once I received the camera, I realized that this reputation is undeserved for this camera - a simple examination shows an attention to detail, in both construction and design, as well as several innovative and nice to have features. For example, the camera comes with a padded wrap, similar to a lens wrap, to protect the camera while in transit or storage; a nice to have feature, that the manufacturer could have easily omit. The camera comes across as having been produced by someone with a great love and appreciation for large format cameras.

The Chamonix range of cameras, named for a French ski resort, are produced in Haining City, Zhejiang Province, China by the Chamonix View Camera company. Originally designed by Yu Xiang, a mountaineering photographer, the company produces a variety of hand made field cameras, ranging in size from 4x5 to 20x24. Each camera is hand made and produced in batches - my camera was one of the second batch of 4x5 cameras produced. It is a testament to the quality and durability of the construction that the chief designer used the camera on an expedition to climb Mt. Everest last year. He also used a Chamonix 12x20 on that trip.

Initial Impressions

When I received the package, directly from the factory in China via EMS, I thought it was empty; the camera is that light. The camera came with no instruction manual, and being of the Phillips style of field camera, I was unfamiliar with its operation and setup. Soon, though, I had the camera open and setup - with more experience I will probably be able to setup the camera quickly.

As I began to look over the camera, it became apparent that the build of the camera is just superb. All the moving parts worked precisely and smoothly, without any hint of binding or jamming. The wood joints are carefully aligned and even, the finish smooth and pleasing. Even the camera wrap is carefully sewn, with extra padding where the camera sits.

One thing that is hard to quantify is how the various parts integrate with one another. This camera, with parts made of wood, aluminum and carbon fiber just fits together seamlessly.

Design and Build

The Chamonix 45-N1 is a triple extension wood field camera, available in either Walnut or Canadian Maple of the RH Phillips design. The Walnut version may also be ordered painted black. Unlike other wood field cameras, which have a hardwood base, the Chamonix has a carbon fiber base plate and sliding rails. This helps the camera maintain its stability while also keeping its weight low.

The knobs on the camera are large and easy to use. Focusing is via worm gear fine focus knob located on the rear of the camera; this makes it easier for the the photographer to focus from under the dark cloth.

Setting up and Using the Camera

Setting up the camera is very straight forward - simply loosen the two rear standard knobs and swing the rear standard up and lock it into place. The front standard is then lifted up and screwed into one of five holes on the rail. At first, trying to determine which hole to use took a little guessing - different focal length lenses may use different holes. After some use this becomes second nature, however, in the short term attaching a small bit of tape indicating lens to the rail makes setting up fast and accurate. Align the front standard with the lines on the rail to set it perpendicular to the rail. Then raise the front standard until the two dots on the standard match with the dots on the standard holder.

Once standards are locked down, set the lens board into place, using the two wheels locks rotated down to lock it into place. This completes the basic setup.

In the following sections, I'll look at the major components of the camera.

Front Standard

The front standard consists of two parts; the standard itself and the lens board holder.

In this image we see the front standard with a mounted lens - in this case a Nikkor 120mm f5.6 HM. The camera takes Linhof sized boards, however, I've settled on the Bromwell boards (available at B&H); they are much cheaper and work just as well. I have not tried the camera with either a top hat or recessed board, but see no reason why they won't work as well.

The Lens Board is held into place, using the two wheel locks at the top of the holder; you simply drop in the lens board, rotate the wheels down; fast and easy. At the bottom of the lens board holder assembly, are two small slide locks (partially visible in the image) that are used to lock the board into a vertical position. To tilt the lens, you simply slide them inwards, rotate the knobs on each side of the board and tilt.

On the bottom of the front standard, are two small dots, one on each side of the rail. They are used to align the front standard, setting it parallel on the camera. I've found the dots and lines on rail to be difficult to see in low light levels, however, a small flashlight takes care of that easily.

Note the sprit level - this one is removable, and is one of five on the camera.

Rear Standard

The next image shows the rear standard of the camera. You will notice that there are four spirit levels (the one on the left in the image is hidden). The level at the top of the back is used whenever the back is rotated in the portrait mode (vertically). These allow the film plane to be easily set to level, regardless of the surface the camera is setup on. I find these levels much easier to use than those built into most tripods.

In order to rotate the back, from landscape to portrait mode (horizontal to vertical), the two small tabs at the top right and left are pushed up. The back then lifts up slightly from its base, is rotated then put back into the back, with the two tabs pushed down. In the field, I've found this easier than using the rotating back that my Toyo has (rotating backs also add a lot of weight to the camera).

Notice the wheel at the top left (and right) hand side of the camera body. These are used to release the bellows, allowing it to be changed; for example, when switching to/from a bag bellows.

One question that keeps popping up on various Internet groups is whether the camera will take a roll film back. As you can see, in the following image, it does so quite easily. I've not found any issues while using it in the field in this manner.

For this image, I've attached a Horseman 6x12 back, naturally loaded with my favorite Fuji Velvia in 120 size. Note the ground glass next to the camera - quite simple and light weight in construction.

Ground Glass

Here we have a close-up of the ground glass. Notice the format markings on the ground glass. It is clearly marked for 6x4.5, 6x6, 6x7, 6x9 and 6x12 formats - all the major roll film formats. The ground glass is bright, and includes a fresnel.

There are four posts at each corner of the ground glass (only the top two are shown in this image). These posts hold the ground glass protector - constructed of carbon fiber - in place, in order to protect the glass. Some people have complained that the protector is hard to remove, but I've found if you slightly lift back the rear, as if you were inserting a film holder, the protector becomes quite easy to remove.

Focusing and Camera Bed

Unlike most field camera where the camera is focusing knobs are on the side rails of the body, the Chamonix uses a worm drive knob instead. This unique feature allows the user to focus the camera much more easily from under the dark cloth.

In the following image, I've shown how the camera back looks when using the swing mechanism. To swing the back, simply loosen the two swing knobs and set the back in the desired position. Again, we see how easy the major movements are to achieve with this camera.

The free sliding rails for swings, as well as for extending the bellows, is different than many field cameras, and may take some getting used to.

Technical Specifications

The technical specifications for the camera are as follows:

Likes

• Lightweight - under 4lbs.
• Ground Glass protector - made of carbon fiber, the ground glass protector is ingenuous in design.
• Ground Glass markings - the ground glass has markings for 6x4.5, 6x6, 6x7 and 6x12 roll film backs, and is bright and easy to focus with.
• Switching from landscape to portrait mode is quick and simple.
• Knobs on the camera are large and easily adjustable.
• There are 5 separate spirit levels on various spots on the camera, making a level setup quick and easy.

Dislikes

• Lack of accessories, such as a bag bellows, or matching film holders (see following section).
• Ground Glass protector is hard to remove - This feature was redesigned to be easier to remove, and will appear on the next batch of cameras (July 2008).
• The marks on the front standard that indicate when the lens place is centered is difficult to see when light levels are low. *
• The markings on the camera rail, used to center the front standard, as well as to measure bellows draw are difficult to see when light levels are low. *

* Note: I've since heard that upcoming models have been changed to fix these drawbacks.

Camera Accessories

A number of accessories are being introduced this year (2008), starting with a bag bellows in August, and Canadian Maple film holders, with carbon fiber darkslides around the end of the year (hopefully, Walnut holders as well).

Price and Availability

At the time of this writing, June 2008, the camera costs around US $800 including shipping from China. As indicated earlier, the camera is produced in batches, which currently looks to be twice a year. This means a 6 month wait at most. However, given the cost of the camera and quality of its construction, 6 months isn't too long to wait.

Conclusion

I've grown to thoroughly enjoy using this camera. Its light weight means that I now carry the camera to places, where before I shot with 35mm. I am eagerly looking forward to carrying this camera on my next major trip; to photograph the Blue Mountains of New South Wales, Australia later this year. Based upon my experience with the 45-N1, I'm now wondering if there may even be a larger Chamonix in my future.

For more images of this camera see: Traditional Photographer Technical Gallery

"There are no rules for good photographs, there are only good photographs." - Ansel Adams

In spite of this simple, if somewhat vague statement, it is well known that Ansel Adams was very meticulous in his approach and practice of landscape photography. This approach was rooted in his love and appreciation for the natural environment, as well as a strong technical knowledge of the materials he worked with. How then, do we learn from his example in order to make our photography better?

First, we need to understand what the ultimate goal of landscape photography really is. Landscape photography revolves around the single act of capturing the light on the land. Although nature provides us with an assortment of landforms and shapes, it is the nature and quality of light that gives these forms substance, imparts emotion and ultimately determines our vision of the land.

Secondly, we need to choose the necessary equipment to allow us to capture the light in the most effective manner possible. Some will argue that the choice of equipment is of no importance, that the final image is all that matters. However, as Ansel's example showed us, it is that choice of equipment that translates our vision of the scene onto film, and ultimately, the final print.

British landscape photographer David Ward writes in his book Landscape Within, "We all have the potential for individual expression, but to realize this as a visual art we need to develop not only our vision but also the means to communicate it". In order words, we need to learn to translate what we see and feel, given the equipment we work with, into an image the best represents our vision of it. In order to make this translation, I have developed a few practices that guide me along the way. Before getting into the practices I have developed, I should point out that I am a color landscape photographer, which means that all these points related to color.

  1. Be Prepared

Being in the right place at the right time is the essential element in landscape photography. Rarely will just showing up and wondering aimlessly produce any meaningful results. Instead, careful consideration needs to be given to what is encountered on location; the major landforms, and the way the light highlights or shadows them (subjected to seasonal and the weather variations).

The Internet, guide books, post cards (an often overlooked source), can all have their place in researching the area, and is a natural starting point in preparing. However, nothing substitutes for actually visiting and walking around the scene. Whenever possible, you should try to arrive well before the actual shoot is to begin.

Look for bold lines that may attract the eye, scan for juxtaposition between elements in the scene, such as rock and flowers, and seek out lakes, rivers and other water sources (elements that many people are attracted to). Pay attention to foreground elements, nothing whether they intrude into the scene or enhance the scene. Most importantly try to get a sense of what the subject will look like under varying lighting conditions. This is not the time to be photographing, rather it is time to be looking and observing.

  2. Understand your Environment

Equally important with being prepared is having an understanding of the environment where you will be working. Each environment – mountain, ocean, plains, desert, etc. – has its own unique elements, its own unique way of reacting to the light and each has its own window of opportunity, when the light is just right.

Recently, while doing a survey of Australian landscape photographers I found that the majority of those doing color landscapes seemed to have the same basic approach in their photography – bold lines, strong shapes, and vibrant colors. Since most of the mainland of Australia is harsh desert it only follows that successful images from there will reflect that environment. In this environment, the light comes quickly in the morning, and fades just as quickly in the evening, with strong directional elements. Those images that are most successful are those that successfully translate the light that is characteristic of this environment to film.

Understanding your environment will lead to choosing the most appropriate types of camera, filters and films to match the expected light. For example, for this image at Devils Marbles Conservation Area, I chose to use a panoramic format to emphasize the shapes of the rocks and their relationship to the horizon, on Fuji Velvia 50 to match the colors of the land, while using a warming filter to emphasize the warmth of the rising sun.

  3. Travel Light

Like as not, for most landscape photographers, air travel is an essential part of our business. With the enhanced security enacted after the events of 9/11/2001 and with the financial difficulties that have plagued all airlines, it is becoming more difficult for the photographer to carry all the necessary equipment. Therefore, sometimes hard decisions need to be made about equipment to carry. Consider the environment you are going to be photographing in, and carry only the essential equipment for that environment.

Whenever possible, hand carry all your camera equipment in a nondescript pack or case. If you must check your equipment, bury it deep in a nondescript bag surrounded by clothing. While convenient, wheeled luggage adds additional weight; weight which may cause you to exceed your allowance, resulting of extra charges, or worse, refusal to accept your bag. Choose a sturdy lightweight bag, with good straps that you can hand carry easily. Things to look for in a good lightweight bag include:

• Strong Materials used in its construction - ballistic (1050 denier being the best) and Cordura® nylon are the best. Beware of some of the cheaper 1060 denier bags being produced in third world countries. Note: denier is a measurement of weight, not strength.
• Quality Zippers - this is the most failure prone component of any bag. There are two basic types available on the market: chain and coil. Modern chain-type zipper teeth are made from injection molded resins, fused directly onto the zipper tape; they are incredibly strong. The best zippers (of both types) are manufactured by the YKK Group.
• Avoid leather bags. Leather looks, feels, and even smells nice. When wet, however, it is very susceptible to mold and mildew, and should be avoided when traveling in the more humid parts of the world. It is also much heavier than contemporary luggage materials such as high-denier nylon.

As an additional benefit, carrying a smaller kit when traveling helps to focus the mind, making us more acutely aware of what we can and can't photograph, given the restrictions a smaller kit places upon us.

  4. Photograph during the most attractive light of the day

The most impressive light of the day occurs just after sunrise and just before sunset, when the sun is within a few degrees of the horizon, a period of time known by landscape photographers as the "magic hour". During this period of time, the angle of the sun changes, and with it the color of the light, becoming warmer or cooler. The closer to the ends of the day, the warmer the light. At sunset, the light, as a result of human activity during the day, becomes more intense than at sunrise.

It's a challenge to make good use of the time outside of the "magic hours" as the sun is high and casts harsh shadows. Instead use the time you are not shooting to scout locations for afternoon or morning "magic" hour shots.

  5. Use side lighting

Light coming from the side can produce richer images as the light casts shadows that define shapes, creating stronger, more interesting designs, while enhancing texture.  The texture adds a tactile quality to the image, which adds a suggested physical connection to the subject.

This can be difficult light to photograph in, because of the extremes of contrast; areas of the image may contain washed out white highlights, or unrecognizable black shadows.

  6. Use a tripod

A tripod is one of the most essential pieces of kit that I own. Quite often the small apertures - for depth of field - used in landscape photography requires shooting at very slow shutter speeds. To understand why, the most commonly used film for landscapes, Fuji Velvia 50 rated at ISO 50, when used with a polarizing filter, which loses two stops of light, gives it an effective film speed of ISO 12. This translates into shutter speeds of 1/8 second or less; to slow to effectively hand hold. Using a tripod also helps you organize your composition, by forcing you to slow down the photographic process, and become a more thoughtful photographer.

Beware of some of the cheap tripods that are currently available on the market, they can be quite unstable under a load or in windy condition. While more expensive, the newer carbon fiber tripods are much lighter and sturdier than the traditional aluminum ones. Carbon fiber tripods make transporting a tripod much less of a chore; an important bonus for the photographer who needs to travel long distance or travel by air.

  7. Use a fine grained transparency film

For the most vibrant color and the sharpest images, use a fine grained transparency film. Many landscape photographers prefer Fuji Velvia 50 (so great was the outcry when Fuji discontinued the film that it was hurriedly reintroduced a year later).

Fuji Velvia 100 or Kodak VS100 films, while not as vibrant as Velvia 50, are excellent choices when the contrast level is high or to obtain better shadow detail. For more neutral colors, or for subjects needing to be pure white, try Fuji Astia 100F.

Many professional landscape photographers overexpose transparency film by 1/3 of a stop (exposing Fuji Velvia 50 at E.I. 40) in order to enhance the vibrancy of the film.

  8. Use filters sparingly

Perhaps the quickest way to destroy an image is to use too much, or the wrong kind of filtration; over filtration can destroy the subtle nuances and pastel tones of a scene. With that in mind, there are three basic types of filters that are most useful for landscape photographers; warming filters, polarizing filters and split neutral density filters (covered under a separate practice below).

  Warming filters

The human mind compensates for excessive coldness in a scene automatically, without our even realizing it. Film, on the other hand, records it as an excess of blue, making it necessary for the photographer to compensate for it. In order to compensate we use warming filters, which are designed as an 81-series filter (A through EF), or a Tiffen 812 filter. Warming filters allow the photographer to work in shadowed areas with soft light, countering the bluish cast associated with such light. They can also be used to make daylight seem warmer than it is, which many people find attractive.

Note that some photographers now suggest using Photoshop filters after shooting, rather than using warming filters. The results come across as amateurish, and show a lack of understanding of how warming filters respond to the spectrum of light in a scene. This is simply sloppy technique.

  Polarizing filters

Perhaps the most valuable and most overused filter in landscape photography is the polarizing filter. In nature, light can be both polarized and unpolarized. Light waves that travel in the same direction are said to be polarized. The amount that light is polarized manifests itself in the amount light that is reflected off an object; in other words, the amount of glare that is reflected. The more glare, the more unpolarized the light is. The surface of bodies of water, such as lakes and streams, create a great deal of glare. The polarizing filter also has the side effect of saturating colors; one of the reasons it is so often overused.

There are two basic types of polarizing filters available today, linear and circular. Both filters affect the light in the same way, however most modern SLR cameras - because of their TTL meters - require a circular polarizer, while older SLRs, Medium Format and Large Format cameras can use either type. In practice, this doesn't present much of a problem, as linear polarizing filters tend to be available by special order only.

  9. Use a split neutral density filter

The greatest handicap of transparency film is the limited range of contrast it can record. Often if we expose for the shadows, the highlights will be overexposed, while exposing for the highlights, causes the shadows to record as pure black areas. In order to overcome this limitation, we use a special type of filter known as a split neutral density filter.

Split neutral density filters generally are rectangular in design, made of either glass or plastic, with dark and clear halves. The dark half of the filter contains a neutral color dye which is designed to impede the transmission of light. The most common filters are one-stop (.3), two-stop (.6) or three-stop (.9) in strength, although some are manufactured in half-stops, such as 1 1/2 stop (.45) and 2 1/2 (.75) stops as well. The transition between the dyed and non-dyed areas can be either hard or soft; with soft grands the transition zone can be quite subtle.

  10. Don't stress over what you missed

Finally, don't stress about missing the "shot" - rejoice in just being there! Good landscape photography is rooted in a love for the land, which shouldn't be tied to the act of photographing it. I learned long ago that some of the best landscapes are those taken with the eyes, rather than with a camera. Remember, there's always tomorrow to try again after having "seen" where the best light occurs.

Finally

What has been presented here is a mixture of photographic vision and equipment choices. While vision is the element that will make or break an image, as photographers we need to choose the proper equipment to translate that vision onto film. American landscape photographer Jack Dykinga once remarked "Concentrate on equipment and you'll take technically good photographs. Concentrate on seeing the light's magic colors and your images will stir the soul."

A sad day for those of us who live in Hawaii. Aloha Airlines, which has served the islands for 61 years, is ceasing all flight operations effective Monday. This is due to extensive competition from mainland Mesa Airlines (operating as go!) and high fuel costs. The shutdown of Aloha's passenger operations will also affect about 1,900 employees.

http://www.msnbc.msn.com/id/23872335