|p h o t o l a b o r a t o r y . c o m|
|archived from 2004 photolab gallery|
|Flash/Macro: Night Trains, Flash Bulbs and a 2002 Head|
|February 23 to April 3, 2004|
I've been a large format, view camera photographer since 1973. In the 90's I began to realize that I sometimes wanted to get off the tripod, but
still wanted to shoot in 4x5. This led me to acquire several Speed Graphic press cameras and become something of a fan of these old workhorses. What I didn't expect
was that they would lead me to some new and different directions in my other photography.
Well, time to buy more equipment.
Some of these
images use time exposures. Tests showed that with
Add to this a flash to freeze the action or the
streak of a passing headlight and you begin to have some interesting possibilities. One of these images even uses a combination of time exposure and synchronized flash, see if you can spot it and
figure out how it was done. Another uses the light from the headlight of a passing train. And look for a shadow cast by the moon.
Maybe I was being a bit obsessive, but I saved all the used bulbs.
Now this presented its own technical problems. Shooting distances would be short and depth of field limited. A Rodenstock depth of
field calculator allowed me to get the most out of this, 3.0 cm at f128. For the short shooting distances, I rented a Rodenstock 180mm f5.6 Apo Macro Sironar from
Calumet in San
Francisco. Lighting and composition
presented their own problems, but the solutions were rather simple. The results are here for you to see.
I began to think that the Macro lens would be useful to have handy in my
regular kit of equipment, its focal length fit right between my 150 and
210mm lenses, and I would always be able to move in as close as I would want, so I bought one. It has become my most used lens.
It was time for a trip to the machine shop.
I took the head home and was looking at it when a small composition presented itself to me. Well, here was something to do with my new macro lens. In fact, it proved to be a lot of something to do with the new lens. A couple of months and five 100 sheet boxes of Tri-X later, I was ready to put my car back together.
It shone like a giant multifaceted jewel.
Edward Weston used to eat the vegetables that he photographed. He ate his photographs. I get to drive mine.
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