Subject preference

[Bill Burk]

I think the format and subject matter are intertwined in a different way.

In my experience here a lot of members are either primarily artistic, or primarily engineers. Obviously a tremendous crossover though.

The whole right side/left side brain thing.

The artistic types are often more people types and use systems that allow them to shoot people easily.

The engineering types like the process, tinkering and working with larger formats and often hate photographing people.

So we get engineering types shooting quietly with a large format camera pointed at subjects that don't talk and move, and we get the artsy fartsy people persons shooting easily moveable cameras at subject that do move and talk.

And both types are here on APUG, which is very cool.

Interesting division, I agree it has a lot to do with it but wonder if the division isn't art/engineer... but social/shy.

I've proved I'm not an engineer. But I consider myself shy. And I am an Ansel Adams loving landscape photographer. He's not taking any more pictures, neither is Henri Cartier-Bresson. They missed a few spots, and I am going back for touch-up.

[Bill Burk]

If I'm shooting something where people or items move in the frame, I can't see where they are in the frame, ten seconds later when I'm ready to expose film.

Those are the parts that made sheet film completely useless for me, and nothing but a waste of time. Besides, I get almost comparable quality from 120 compared to 4x5 ...

This is where rangefinders come in handy.

[Michael R 1974]

This is where rangefinders come in handy.

Like the 70mm Graflex Combat Graphic

[Thomas Bertilsson]

This is where rangefinders come in handy.

Do they work well when it's dark? I've never used one, so am curious.

[Bill Burk]

Do they work well when it's dark? I've never used one, so am curious.

See my Tiki Room shot in the galleries... You only need a point of light to see two points to bring together.

[Brian C. Miller]

If I'm shooting something where people or items move in the frame, I can't see where they are in the frame, ten seconds later when I'm ready to expose film.

Those are the parts that made sheet film completely useless for me, and nothing but a waste of time. Besides, I get almost comparable quality from 120 compared to 4x5 that I really don't see the point. Just a bunch of frustration in setting it up, and time lost - and for what? A lot more money spent per picture, and a very small advantage in image quality...

Any of the cameras with a coupled rangefinder will do. While the rangefinder on my Super Graphic is missing the little yellow square piece, the range dial works just fine, and I can guestimate a good focal point along with some depth of field. (Of course I can only get good DOF in the daylight)

[Greg Davis]

Interesting division, I agree it has a lot to do with it but wonder if the division isn't art/engineer... but social/shy.

I've proved I'm not an engineer. But I consider myself shy. And I am an Ansel Adams loving landscape photographer. He's not taking any more pictures, neither is Henri Cartier-Bresson. They missed a few spots, and I am going back for touch-up.

Perhaps, but Adams was anything but shy. By contrast, Alec Soth is very shy. Both shoot/shot 8x10, but in very different ways.