Quote Originally Posted by per volquartz View Post
OK, I know its not the usual way of doing things. However, my philosophy is that since we are photographing light as it is reflected off a subject matter the quality of that light is the most important element in the still life.

After setting the main light then arrange your still life within the compositional framework of what you see and feel. Then and only then set up the camera and fine tune your image.

While a foldable view cameras is easier to work with when photographing landscape, portraits and nudes it is not the ideal type of camera for close up still life photography.

For table top still life there is only one camera made if you want to be in complete control, without fumbling and leaving things to chance.
It is a Sinar P (or P2).

Finally, if you shoot very tight close ups and want utmost sharpness you either need to have a solid concrete floor in your studio (when using hot lights) or use high powered electronic flash.

Per Volquartz

Hello Per. Like your work.

Don't forget that for those of us who use natural night sometimes are forced to position the camera in relation to a window, with little possibility to maneuver around very much. In effect, this is a "main light" which has been placed by circumstance. By the way, the concrete floor is especially good advice in this case!

As you well pointed out, everyone has their own way of doing things. In my case —when using studio lighting, which is obviously positionable— I arrange my still life (subjects) before doing the lighting. To me, that is one of the main advantages of using studio lighting in the first place.

The Sinar P2 is certainly a fine camera. Whether or not it is the "only camera made for table top still life offering complete control, without fumbling and leaving things to chance", I don't know. I've never used one, but I'll take your word for it! Sinar has been around since 1947. I wonder if Edward Weston ever even saw one?



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