Nick Carver Photography Blog

Photography Tips, Tutorials, & Videos

CONTACT NICK

New Work: First Sunset of 2013

Sunset at Heisler Park - Laguna Beach, CASunset at Heisler Park, Laguna Beach, CA
Shen-Hao HZX 4x5-IIa with Nikkor SW 90mm f/4.5
Fuji Provia 100F, 1/4 at f/25 - Lee 2-Stop Split ND
Click Image for Larger Version

Seems to be a tradition around these parts that the first sunset of a new year is quite stunning. Not sure why. Maybe it's just Mother Nature ringing it in the best way she knows how. It's her way of soothing the aching heads of hungover party goers all around Orange County. One of the most amazing sunsets I've ever seen was on a New Year's Day several years ago.

Shen-Hao HZX-45IIaThe first sunset of 2013 was no exception. We had a great cloud cover to pick up the sunset light. And so with my large format camera in hand, I visited the local beach at Heisler Park to photograph it.

Photographing the beach with a large format camera is no easy task, as I've said before. It takes 5+ minutes to set up a single shot on this type of camera. If a wave comes in and sinks your tripod, you practically have to start over. It's about finding the perfect spot where the water will come up close enough to look interesting in the photo without ever actually touching the tripod legs. And that's not to mention the quickly changing light, which is difficult to keep up with.

But luckily, I've made enough mistakes to know what not to do on this night, so things went off without a hitch. I managed to fire off a couple horizontal compositions and a couple vertical compositions, the best 2 of which you see here.

I made both images with my Shen-Hao HZX-45IIa camera and a Nikkor SW 90mm f/4.5 lens (that's a wide angle on this type of camera). I used Fuji Provia 100F film because I had a bunch of it on hand and it's a little cheaper than my favorite film, Fuji Velvia. Provia is a little less saturated than Velvia, but it still managed to record some decent color. Plus I think it actually worked out for the best here because Provia has a warmer color balance to it than Velvia 100. Velvia 100 is very blue compared to Provia - can be great for mountain scenes, but not so much for beach sunsets like this.

I used a Lee 2-stop split ND filter on both of these photos so as to preserve color in both the sky and foreground.

Sunset at Heisler Park - Laguna Beach, CASunset at Heisler Park, Laguna Beach, CA
Shen-Hao HZX 4x5-IIa with Nikkor SW 90mm f/4.5
Fuji Provia 100F, 1/4 at f/22 - Lee 2-Stop Split ND
Click Image for Larger Version

Corona Del Mar in B&W

It's been my dream for years to shoot 6x17 panoramas. 6x17 is a film format in which the negative measures 6cm tall by 17cm wide. It's a huge negative. Almost 7" wide! This means ultra-high detail and resolution in a beautiful wide format. Scanned at high resolution, you're looking 300+ megapixels.

Arch Rock, Corona Del Mar, CAArch Rock at Little Corona, CA
Shen-Hao HZX 4x5-IIa with Nikkor SW 90mm f/4.5
Ilford Delta 100, 18" at f/45 - 3-Stop Split ND & 3-stop full-field ND
Click Image for Larger Version

The only problem is that dedicated 6x17 cameras are heavy, rare, and ultra expensive. The gold-standard Fuji GX617 camera with one lens runs about $4,000...used. But man oh man would I love to shoot some true panoramas. No stitching digital files, no Photoshop, just good, pure panorama negatives.

But good news for me. Shen-Hao makes an attachment for their 4x5 field cameras that converts the standard 4x5 back into a 6x17 roll film back, just like the Fuji but for only $600 or so. I get to use my current large format lenses and I can even use camera movements like rise, shift, and tilt - something the Fuji can't do. That means I can keep vertical trees looking vertical and control distortion in a way only large format cameras can.

So I bought it last year as a Christmas gift to myself.

I'll be honest, the thing is difficult to use. There are a lot of things you can forget to do. It's all manual, it's slow, it's heavy. No fun for hiking and there's lots of room for error. But with some practice, I've become very adept at using it. And I'm addicted. I've been shooting 6x17 like crazy - black and white, color, beaches, forests...it's just plain fun.

For my first attempt at some serious 6x17 work, I went down to the local beach "Little Corona Del Mar." There's a great archway off the coast that I figured would be good practice. I decided to shoot B&W partly because I thought it would look good, but largely because it's cheap and I could develop the results that night.

I started with a horizontal pano. A simple composition with soft water and carefully placed rocks. Then as the night wrapped up, I tried a vertical pano that would highlight the distance between the near rocks and the far archway.

But other than that, I'll let the pictures tell their own story. Please click each for a larger version.

Arch Rock, Little Corona Del Mar, CAArch Rock at Little Corona, CA
Shen-Hao HZX 4x5-IIa with Nikkor W 150mm f/5.6
Ilford Delta 100, 8" at f/32 - 2-Stop Split ND & Polarizer
Click Image for Larger Version

And all in all, I'm pretty happy with the results. It was a first attempt, so they're not perfect, but I think it's the start of a long love affair with 6x17.

New Work: Fall Color and Bishop Creek

Fall Color and Bishop Creek - Bishop, CA

Shen-Hao HZX 4x5-IIa with Nikkor W 150mm f/5.6 
Fuji Velvia 100, 1 minute at f/25 - Polarizer and 81C Warming Filter
Click Image for Larger Version

As has become somewhat of a tradition for me as of late, I took a trip to Bishop last autumn to catch the fall color. I'd been the previous year and was treated to a very impressive show of leaves along Highway 168 into the mountains. North Lake and Lake Sabrina were stunning with good water levels and vibrant colors on their banks. So with my fruitful trip in 2011 under my belt, I hoped my 2012 excursion would be just as rewarding. 

Although the colors weren't nearly as vibrant and the lakes were miserably low, the trip turned out to be rewarding on an entirely different level. That's because I decided to shoot 4x5 film exclusively on this trip. I'd just recently acquired my first ever large format view camera, a couple of lenses, and a few hundred dollars worth of film and I was itching it try out the new format in "the wild." I'd already gotten comfortable with the basic operation of this camera back in my stomping grounds - the beaches of Orange County - but this would be my first jaunt into mountainous terrain.

I shot a total of 36 pictures over the 3-day period, which is a lot for 4x5 work. I'm still breaking my old digital habits of shooting fat and fast. Plus, at $5.00 per picture (including processing), those 36 frames cost me $180.

Shen-Hao HZX 45-IIa 4x5 view cameraBut coming home with only 36 pictures instead of a more typical digital crop of 300 hundred photos didn't leave me feeling like I missed out on anything. In fact, it was quite the opposite. Having to restrict my shots and knowing that each photo cost me five bucks forced me to slow down and really think out every composition. I exposed 7 frames on the first sunrise instead of 50. I didn't waste shutter clicks on sloppy compositions and less-than-perfect moments in the light. More time between shots gave me a chance to absorb the scenery and light and really appreciate it with my eyes instead of through my viewfinder.

One of my primary grumbles about shooting with a DSLR is that at the end of a trip, I ironically felt like I had been absent for the very photos I took. It was like I wasn't there for that sunrise during which I took 50 photos. The mental image pictures in my mind were faded or not there. It's a really weird phenomenon and it took me some time to come to a reasonable theory on how I could possibly feel like I didn't even see a gorgeous sunrise that I'd photographed for over an hour.

My theory is that I spent so much time with my eye pressed up against a viewfinder, taking every damn picture I could so that I wouldn't miss the perfect moment, that I forgot to look around and just soak it all in with my eyes. I was so busy making digital images that I neglected to make sufficient mental images.

But that wasn't the case on this trip. With my view camera, I take maybe 10-15 minutes setting up the shot and metering the scene, then I step away from my camera and look past it in the same direction of the lens, waiting for the right moment with the cable release in my hand. The majority of my time isn't spent with one eye closed looking through a viewfinder. For the most part, I'm standing next to my tripod and camera just waiting. Waiting and looking around, soaking in the scenery and light with my eyes.

For the first time in a long time, my mental image pictures are more solid and real than the photos themselves. It's a nice feeling.

The photo at top is one of the "keepers" from this trip. I made this picture at the tail end of the sunset in a shaded valley between two mountain peaks. The creek you see is Bishop Creek as it leads away from South Lake.

This particular location just a few yards from the road had a nice spread of aspens at peak color along the banks. I pre-visualized an image similar to what you see above with the creek cascading along the foreground and the fiery leaves at the top of the composition. The only difference in my head was that the creek would be rushing towards the camera, dropping down a few levels in the boulders for a good eye trail into the trees. Unfortunately, though, I couldn't find an angle where the creek flowed towards me with strong color in the background. The best color could only come from shooting downstream.

It's not my first choice to have the water flowing away from the camera, but sometimes you just have to take what mother nature gives you.

I positioned my camera on a islet in the creek bridged by a fallen tree. With my 150mm lens (equivalent to about 50mm in full-frame DSLR terms) and camera leveled, I raised the film standard just a bit to include more of the creek. For those of you scratching your heads at that last sentence, let me explain.

On view cameras like this, you don't often tilt the camera up or down to change the framing. Especially in scenes with vertical objects - like trees - it's best to keep the back of the camera (the film standard) perfectly vertical. This keeps the trees looking vertical. On a regular DSLR camera, to include more creek, I'd need to tilt the camera down, but that would make the trees "bend" towards the edges. It's the same effect that makes buildings look like they're falling backwards when photographed at an upward angle.

If you want to keep the film plane vertical, the only way you can include more foreground is to literally raise the film up while keeping the lens stationary. It would be like if you could slide the back of your DSLR camera up on some rails while keeping the lens exactly where it is.

Why up? After all, I want more of the creek at the bottom of the frame. Well that's because the image records on film upside down. So the creek is at the top and the trees are at the bottom. To include more creek, I need to slide the film plane up.

So once I had the camera adjusted and focused, it was time to add any necessary filters. I used a circular polarizer on my Lee system to reduce reflections in the water, and since this was taken in the shade of a valley, I used an 81C warming filter to combat the natural blue tone of the shade. An 81C warming filter is just a piece of plastic resin with a light orange tint to it. This causes the light coming through the lens to shift towards the orange end of the color spectrum. Shade is naturally blue, so without this filter, this shady scene would have looked too "cool." The 81C cancelled out the blue tone in the shade so that the fall colors rendered accurately on film.

Digital cameras have white balance to deal with these color casts. But film is "locked in" to a certain color balance - hence the necessity for warming filters.

All that was left now was metering using my handheld spot meter, factoring in the loss of light from the filters, cocking the shutter, setting the aperture, sliding in the film, removing the dark slide, and clicking the cable release. The exposure was at an aperture of f/25 at 1 minute (timed with a stopwatch on the "bulb" setting).