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  1. #101
    NedL's Avatar
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    Quote Originally Posted by Vaughn View Post
    I am more of a 'finder' than a 'waiter'. I do have trees I go back to and check on the light, but mostly I just wander about looking at the light, and when a composition moves me, I set up the camera....
    Me too, mostly because the one's I'm waiting for never seem to happen again. There is one place I walk where the evening sunlight can slant through the oaks in a certain way. The one time I saw it I did not have a camera with me. I walk there almost every week, usually in late afternoon or early evening, for more than 10 years, but I've never seen it since.

    Vaughn, here's what I'm curious about: When you go out to the redwoods with your big camera, do you come home with exposures most of the time? Are there trips where you don't find the right light, and then don't try anyway?

  2. #102
    Vaughn's Avatar
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    Quote Originally Posted by NedL View Post
    ...Vaughn, here's what I'm curious about: When you go out to the redwoods with your big camera, do you come home with exposures most of the time? Are there trips where you don't find the right light, and then don't try anyway?
    Most of the time I expose a sheet or two, occasionally 6 to 8 sheets. I have learned to judge the conditions I will find fairly well. The redwoods I enjoy going to the most are 50 miles to the north...and occasionally 40 miles to the south. The main condition I am looking for is a windless day...often the calm before and after a storm. My exposures tend to be in the minutes. Along a creek, if there is no weather system bringing in some wind, one can expect relatively windless conditions around mid-day. The early morning down-canyon breezes decrease and the afternoon up-canyon breezes have not let started. I hit it right perhaps 2 out of three trips. That 1 trip out of three I will wander around with the 8x10 anyway...perhaps the wind will die down or I will find a way to use the movement of the ferns, etc. (see my signature!) never is it a wasted trip!

    When I was printing with silver gelatin paper, I use to also go for only foggy or overcast days -- there is plenty (but not too much) contrast to be found under the redwoods for that material. I was looking for light that I could express without drastically altering the range of values found. Sunny days would require a heavy hand in compensating development squishing up the highlight values -- reducing the separation between fine highlight values. Under cloudy/foggy conditions I find the time between 10am and 2pm to be the best light -- quite civilized...no waking before dawn stuff! It is like photographing under a very large soft-box. Sometimes the overcast will turn into rain -- oh well...still nice to be there.

    One of the reasons I started carbon printing was the very long scale possible in a carbon print -- hence the image I shared here of the waterfall with the direct sunlight light falling on the scene and with some deep shadow areas. Here was a process that allowed me to expose the negative and give either 'normal' or extended development when I found a range of 7 to 13 stops of light in a scene...and get those values to be readily reproduced in the print. Carbon printing opened up a whole new type of light to play with!
    Last edited by Vaughn; 01-16-2014 at 06:39 PM. Click to view previous post history.
    At least with LF landscape, a bad day of photography can still be a good day of exercise.

  3. #103
    Sirius Glass's Avatar
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    Quote Originally Posted by Bill Burk View Post
    What's your approach?
    I would have the camera in hand.
    Warning!! Handling a Hasselblad can be harmful to your financial well being!

    Nothing beats a great piece of glass!

    I leave the digital work for the urologists and proctologists.

  4. #104
    NedL's Avatar
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    Thanks!

    I understand this sentiment very well:
    Quote Originally Posted by Vaughn View Post
    Sometimes the overcast will turn into rain -- oh well...still nice to be there.

  5. #105
    Bill Burk's Avatar
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    Quote Originally Posted by Sirius Glass View Post
    I would have the camera in hand.
    For that tree I started this thread about... It was in my daypack and the tripod was in hand. Had to hump a bit of a hill. Steep, slippery (due to oak leaves)... And more dangerous on the way down (due to the same leaves)... But I was careful and happy. I'm sure I've got the shot.

    Lots of mistletoe.

  6. #106

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    Quote Originally Posted by Vaughn View Post
    No worries...It was not obvious.

    Sometimes one finds an image with-in an image. After taking the one of my boys (159mm lens on 8x10), I noticed the redwood off in the light in the far back left. I used a 19" lens for it (4x10). I was set-up about 15 to 20 feet above the ground on some fallen redwoods. Both are platinum prints.
    I remember seeing many of these when you had your show in Philadelphia last year. Wonderful sensitive atmospheric work. Thanks again for sharing.

  7. #107

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    And a few of mine.

    My approach is to wait until the tree speaks to me, and then try to make a photograph.

    Trees are my special joy.
    Attached Thumbnails Attached Thumbnails img1201_edited.jpg   img798_edited.jpg   img1149_edited.jpg   img911_edited.jpg   img1155_edited.jpg  


  8. #108

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    Quote Originally Posted by johara View Post
    And a few of mine.

    My approach is to wait until the tree speaks to me, and then try to make a photograph.

    Trees are my special joy.
    Your approach is to use a very special kind of film and developer match, that contrast is amazing

  9. #109

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    Thanks, Stone. It is TMAX (either flavor) with D-23.

    And at least one tree.

  10. #110
    Shawn Dougherty's Avatar
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    Quote Originally Posted by johara View Post
    And a few of mine.

    My approach is to wait until the tree speaks to me, and then try to make a photograph.

    Trees are my special joy.
    That is fine work, you obviously have a special rapport with the trees.



 

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