Andrew McDougall Photography

Barkly Street: Sims Supermarket

2012-02-10T12:05:00.001+11:00


Sims Supermarket

The is the third photo of four I took last Sunday morning as part of the Barkly Street Series. This is unashamedly derivative of Geoffrey Crewdson's work in Beneath the Roses. I knew exactly the type of image I wanted. I used five bracketed exposures from +2 to-2 and processed them using Photomatix. I'm planning to return this weekend to use a 50mm lens and photo stitching to see if I can increase the level of detail and resolution.

Camera: Nikon D200
Lens: Nikkor 18-200 zoom @18mm; 1/30 - 15s at f/8

Coin Laundrette

2012-02-10T12:04:00.000+11:00

Barkly Street Footscray

2012-02-10T12:03:00.000+11:00

Alan Mance Motors

2012-02-10T12:01:00.000+11:00

McLeans Uniforms

2012-02-10T11:59:00.000+11:00

Retravision

2012-02-10T11:58:00.000+11:00

Buzz Barber

2012-02-10T11:56:00.000+11:00

Garage Automotive

2012-02-10T11:38:00.000+11:00

Lidias Hair Salon & Wigs

2012-02-10T11:33:00.000+11:00

Giuseppe Squatrito Mens Hairdresser and Barbers

2012-02-10T11:31:00.000+11:00

GM Manchester

2012-02-10T11:29:00.000+11:00

Sims Supermarket

2012-02-10T11:25:00.000+11:00

Teds Cycles

2012-02-10T11:15:00.000+11:00

Jim Wong Restaurant

2012-02-10T10:56:00.000+11:00

Nick Ciancio Sewing Machines

2012-02-09T16:49:00.000+11:00

Vince Varris Fruit & Vegetables

2012-02-09T16:44:00.000+11:00

M&N Coopers Jewellery

2012-02-09T16:42:00.000+11:00

M&N Coopers Jewellery

T Cavallaros & Sons

2012-02-09T16:39:00.000+11:00

T Cavallaro & Sons

Royal Hotel

2012-02-09T16:34:00.000+11:00

Royal Hotel

Yarraville Swim Centre

2012-02-09T16:31:00.000+11:00

Yarraville Swim Centre

2011-04-24T20:29:00.013+10:00

It's Easter and I’ve been working on some interior photography at home. I wanted to put into practice some of the techniques Scott Hargis’s Lighting Interiors e-book available from the Photography for Real Estate site. As well putting into practice some of Scott’s Techniques I also made a comparison of HDR versus using small flashes to photograph interiors.

Scott’s technique is to use a mix of bounced, bare bulb through a wide angle diffuser and umbrellas to modify his light. The first room I lit was a bedroom, using two flashes. The key light was a bounce flash at ¼ power above the camera on a wardrobe. A second fill flash bounced off the wardrobe was used to bring up the bed.

For the HDR shot, I switched the flashes off and took seven bracketed images from -3 to +3.

At first I preferred the HDR image using the Photomatrix Pro fusion auto processing option. However when I went back to the flash version turning up the Clarity slider it popped into life. The same went for the open plan living and dining room shot the next day. However, the ambient exposure was a bit tricky given the different levels of light into the two windows.

I balanced the key light on a door above the camera bouncing of the ceiling. I bounced the fill light off the wall opposite the stained glass window. I used a 43” shoot through umbrella to light the living room the right hand corner by the window.

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After I took the shot I walked the shutter speed up and down to get the windows to pop and increased the aperture 1/3 of a stop to tone down the flash. This along with Scott's advice on using a 24mm (16mm crop) lens were some of the most useful tips I picked up from the book. The HDR exposure was interesting given the different level of natural light in the two rooms.

Overall I felt the flash images came out on top for both rooms over the HDR. The HDR image do bring a warmth to the images that the flash cannot. But in the business of Real Estate the clarity of the flash image probably wins out. With flash there is more control over the light, however it is so simple to make the HDR image after the flash exposure that it is worth doing as an alternative.

2010-09-20T11:00:00.009+10:00

It's been a while since my last blog entry but I have not been completely idle on the photography front. Earlier this year I was trying to figure out how to light a sweep of wildflowers in the foreground of one of my West Gate bridge series. I figured out I would need some kind of off camera flash. But I was totally ignorant about how to go about lighting the scene until I stumbled across David Hobby's strobist.com blog.

What an eye opener. To cut a long story short, through Daves' blog I entered the wonderful world of strobism. Having being focussed on landscape and architectural photography I found my key for learning about portrait photography both on location and in the studio. Before long I found myself purchasing umbrellas, grids, radio triggers and additional flash units of eBay.

My first strobist brief was to create a series of black and white head-shots for Sam Muscat a local wedding and event MC. I approached this assignment by setting up a simple lighting plan of a key light shoot through umbrella at 45 degrees to the subject, and a piece of foamcore as a fill light.
To adds a bit of separation from the background, I turned a strobe with a grid on the background.

To add a touch of old Hollywood glamour to the shot I added a rim light.

Here's the final shot:

And here's the setup shot:

One of these days I'll get back to the West Gate and setup the lighting on the wild flowers...

New Zealand

2009-02-25T19:53:00.005+11:00

Since my last entry I've been away to New Zealand. The trip to NZ was a great success - 3 weeks touring the North Island revisiting locations from when I used to live in NZ over ten year ago - Auckland, Northland, Volcanic Plateau, Wanganui, Taranaki, East Cape and Coromandel. It was also an opportunity to apply the HDR and stitching techniques I'd developed in 2008.

As it turned out it was the last photograph from a location I'd never visited before that was the most satisfying from a personal point of view. It was the execution of a visualization based on images I'd seen of Cathedral Cove in postcards, books and the movie Prince Caspian. What particularly intrigued me about this location was the way other photographers had dealt with the exposure challenge of shooting Te Hoho Rock from either inside, or outside the cave.

Using conventional exposure techniques it is not possible to expose for both the inside of the cave and the rock - you either have to relegate the cave to a silhouette and expose for the rock, or step outside the cave and shoot the rock only. Using the HDR techniques I'd developed in 2008 I was able create an image that allowed both the rock and cave to be exposed as they appeared in reality.

Te Hoho Tock, Te Whanganui-a-Hei (Cathedral Cove)

In some ways the trip felt like a reconnaissance for a more extended trip. I'd like to return to the East Cape and spend more time photographing the churches and landscapes of this remote and dramatic region. The church at Raukokore provide an ideal subject for creating a large scale architectural photograph using stitching.

Raukokore Church (1894), Papatea Bay

Crepuscular Rays - HDR

2008-12-07T15:13:00.011+11:00

As mentioned in previous posts, I've been experimenting with stitched HDR images. A couple of weekends ago I was returning from a no-show sunrise at Stony Creek Backwash when the clouds split open revealing a Crepuscular Ray's over the city. Given the overcast sky and the bright rays of sunlight, there was no way I could correctly expose a single image:

crespuscular rays, stonycreek backwash - metered exposure

Recognisng the HDR image opportunity, I bracketed 9 shots at one stop intervals (-4, -3, -2, -1, 0, +1, +2, +3, +4) for each of the four frames in the sticth. Ideally I would have liked to bracket at 2 stop intervals but this is not possible with the D200. In the end I discarded all the images except for the -2, 0, +2 sequence. The next challenge was to tone map the image.

Using Michael Freeman's informative "Mastering HDR Photography" as a reference, I compared PhotoShop CS3's HDR functions with PhotoMatix and FDR tools. Although I admire much of the obviously HDR tone-mapped images that appear on Flickr, I was looking for a tool that gave me the most photo-realistic results. My other criteria for selecting a tool was usability. Of the three tools I found FDRTools the most intuitive program to use. I found PhotoShop's curves local tone mapping option to difficult to use and PhotoMatix' interface too complex. As it turned out after much experimentation, FDR tools also gave me the most photo-realistic results too.

crepuscular rays, stony creek backwash - hdr version

The workflow I followed for the image looked like this:

Capture

Four frame stitched image @f11 - bracketed -4, -3, -2, -1, 0, +1, +2, +3, +4 (36 shots in total)

Pre-processing

Process raw images in PS Camera Raw (White Balance as shot) - save as Tiff files.
Tone map each of the four frames in FDR tools - Compressor 7, Contrast 5, Smoothing 2.
Stitch using AutoPano Pro - save as PSD file.

Post-processing

Set white point using Levels.
Additional tone mapping with Shadows/Highlight.
Modify yellow and green tones with Selective Color.
Apply a lighter curve to foreground, masking out the sky with a Quick Selection.
Apply an Unsharp Mask for the midtones - 20%, 120 radius, 0 threshold.

Although not totally happy with the end result - the image still looks obviously HDR - I am pleased that I spent the time experimenting with the process. For larger stitched images (22 frames), bracketing five-nine images per frame may not be practical. But for smaller images and where the light dictates it, I'm looking forward to applying the technique in New Zealand in a fortnights time.

Large scale digital process

2008-12-01T20:27:00.009+11:00

The following is a summary of my current large scale digital process based on the Lake Mokoan trip and West Gate Bridge series. I expect this process to continue to evolve as I shoot in new locations, gain experience and refine my technique. The next iteration of this process is likely to occur when I visit New Zealand in December.

Capture

The essence of my current process is to capture up to 22 images in a two row panorama (with 50% overlap) that yields a large scale digital image of 20” x 60” @300dpi or 14 images for a 20” x 40” image. Although some of my images are considered full panorama’s at a ratio of 3:1, I am more interested in capturing images at 2:1 ratio (similar to widescreen cinema) which I consider as large scale digital photography rather then panoramic digital photography. I will have no hesitation in cropping a full 22 image capture to the 2:1 ratio if the composition is improved.

This is all captured with my sharpest prime lens, the inexpensive Nikkor 50mm 1.8 AFD. I liken the process to digital scanning of the subject with post-processing providing the final composition. What I do ensure during capture is the thirds rule for either the foreground or background by overlapping the image 50%. For example if the sky is the feature then the bottom of the vertical frame is on the horizon for the first row, I then overlap this by 50% for the foreground. I capture in RAW and save a basic JPEG which I use like a contact sheet for selecting images for full processing. As print is the final output medium, I always shoot Adobe RGB.

Refinements of this technique including HDR capture, which I am currently experimenting with and maximising the DoF by using Helicon focus for which I have not experimented with. I could also introduce a RSS nodal slider but as yet have had few problems with parallax due to the efficiency of the Autopano Pro algorithms.

Pre-Processing – Camera Raw, Autopano Pro

I liken the Pre-Processing stage to the development phase of a film negative. After being frustrated by CS3’s ability to manage multi-layer stitching I discovered Autopano Pro. One of the key features of Autpano is the ability to automatically detect images that are part of a Panorama and stitch those images into a large scale digital image. The software has an automatic color correction feature, which can be tuned manually. Autopano can also use bracketed pictures for a HDR (high dynamic range) workflow. The program supports many file formats, including raw files from Nikon’s and Canon’s. One of the main features of a View Camera is the ability of the tilt-shift to maintain perspective. After experimenting with taking multiple shots on a grain silo, I found that the Autopano Pro software was able to correct the verticals with minimal loss of detail. As you can see from the image below Autopano is not limited to horizontal stitching tasks.

grain silo, tallygaroopna, originally uploaded by Andrew McDougall.

When I first download the images I do I quick sort by separating out the jpegs and getting Autopano do an automatic sort of the images. I always separate each image with my hand over the lens. Once Autopano has detected the panos I am able to select suitable images for post-processing and discard the rest. I then separate out the NEF’s for post processing based on this sort. In Adobe Camera Raw, I will apply global color balance corrections if required and any exposure tweaks before saving the images as Tif files. As the rendering can take some time (30-60minutes), I will often set the rendering to batch process over night. Each rendered file is saved as a PSD file at up to 500MB ready for post processing in Photoshop.

Post-Processing – PhotoShop CS3

Following along with the film analogy, the post-processing stage is like the printing phase in the darkroom. Once the photos have been rendered in Autopano as 16 bit PSD files, I open them in Photoshop. At this stage my workflow is relatively simple, I select from the following techniques to post process the image:

Global corrections:

Fine tune the White Balance with Match Color – often unnecessary if corrected in Camera Raw, but always worth checking.
Set the White Point using levels – not required if image includes a bright background like a sky that requires local modification.
Adjust the contrast using Curves – as for setting the White Point.
Use Selective Coloring to bring out the color - the RAW capture will be flat when compared to the JPEG.
Use Hue/Saturation to increase the saturation – as for Selective Coloring
Experiment with Filters – worth a go

Local Corrections

As mentioned above, the contrast and white-point may need to be set locally when there is a sky involved especially at sunrise and sunset when the area around the sun is clipped (as it should be). I use a number of techniques to alter the contrast including:

Blending to images (either two shots exposed for the sky and foreground at time of capture or two shots processed at different exposures in Camera Raw – similar to pushing or pulling the negative in film development).
Using the Magic Wand to mask out the sky or foreground (this is quick but can also be laborious with fine detail and needs to be feathered)
The current technique I favour for complex horizons is duplicating the channel with the most contrast, choosing Image/Adjustments/Threshold and then applying the masks to either the Levels or Curves layer. The same mask can be inverted for the contrasting portion of the image. It is important to feather the selection (5px) for a smooth transition.

After working through the above techniques I save the file as a layered image so that I can always come back to it – funny how 24 hours later things look different!

Output – Print & Web

With the flattened PSD I choose Image/Shadow Highlight and check to see if this improves the image – I usually find that 10% for both the Shadows and Highlights is a great finish – though there are no hard and fast rules. I then duplicate the channel with the most contrast and follow the smart sharpening workflow to sharpen the image – I may also compare with Filter/Smart Sharpen at 100% 0.5px.

Finally I use Photoshop’s File/Script/Image Processor to create JPEG's at Quality 11 SRGB and RGB as well as SRGB quality 5 for the Web (sometimes this image may need to be tweaked further for the web). I will also create TIF file for printing if required.

Digital photography equipment

2008-12-01T20:08:00.007+11:00

The following is a inventory of my current equipment:

Camera

Nikon D200 – the Nikon 200 is good enough - (see Canon 5D Mark II discussion in blog below)
AF Nikkor 50mm 1.8 Lens – Nikon's cheapest and sharpest lens
MC-30 Cable Release – essential for taking sharp photos and bracketing for HDR.
1x 8GB Card – no need to switch cards in the middle of a shoot (cheap as chips too)

Tripod

Manfrotto Tripod 190 ProB - an entry level tripod that could be upgraded for added stability (but will do for now)
Manfrotto 141RC Head - basic pan and tilt head that seems to work (could upgrade to a pano head but hard to justify the cost at this time)

Accessories

Head torch – essential for early morning and twilight work
Level – I use a small carpenters level from the hardware store (a good habit picked up from levelling the Sinar)
Inverter – plugs into the car lighter socket and will charge camera batteries and laptop while on the road.
Spyder2 Express – simple and foolproof color management for the screen
300w Inverter - Plugs into the cigarette lighter socket for charging laptop and camera batteries on the road

Computer & Software

Laptop – I’d love to be a Mac user, but my work supply’s me with a Dual Core, 4GB Ram laptop running Windows XP.
Maxtor 1TB HDD – 1TB used to seem a lot, but by the time six images are processed and the working files including NEF’s are backed-up you’re looking at 25GB for a single shoot.
Printer – I still use my old trusty Canon SJ800 for proofing and send out to the labs for final prints.
Adobe Camera Raw 4.0 – Have considered upgrading to Nikon Capture but have yet to justify the expense.
PhotoShop CS3 – Still the default post-processing software.
Autopano Pro – Best of breed open source photo-stitcher.
FDR Tools - Easy to use photo realistic HDR image processor.

The beauty of this kit is that it all fits in one small backpack – including the laptop - no need for any specialist back pack, as I have a LowePro 170 AW shoulder bag that neatly fits into the backpack and protects the camera.

Large scale digital photography

2008-12-01T19:41:00.017+11:00

My objective has always been to produce quality large scale prints full of detail and high resolution – the question has always been which scale and by using what process? With conventional DSLR images, I was always frustrated by the lack of detail and resolution of the image when compared with large format film images. Over the winter I’ve reconsidered my whole approach to large scale photography.

I found with the Sinar that I was spending so much time setting up shots, that I was missing the light. Further, the logistics and cost of large format film photography made me reluctant to go out and experiment as freely as I do with digital. While some of this frustration may be put down to my inexperience with the medium, I believe the images from Lake Mokoan using stitching to produce large scale images is a compelling argument to switch to digital.

the belt of venus, lake mokoan, originally uploaded by Andrew McDougall.

Lake Mokoan is three hours north of Melbourne just out of Benalla on the Hume Highway. The man-made lake is a reservoir for the surrounding farming district developed in the 1970’s by merging two existing swamps. As a result of the rising lake levels, a forest of red gum trees was drowned. Today the drowned red gum forests stand like sentinels within and on the edge of the lake. In November 2008 I took photos at both sunset and sunrise at the same location. I used a large scale digital image stitching technique that I’d developed back in Melbourne using the West Gate Bridge as a subject.

saltwater lake, westgate park, originally uploaded by Andrew McDougall.

Without wanting to enter into the film vs digital debate, here is what makes sense for me when considering the two formats:

Cost – My initial outlay for the Nikon D200 was more than the cost of purchasing a second-hand Sinar. However, even a second hand set of LF lenses (90mm, 150mm, 210mm) is considerably more than the equivalent my set of digital lenses (18-200mm zoom and 50mm prime). With digital there is also an initial cost in purchasing a computer and software. Unless one is going to stick to the darkroom (and I never was), this cost is also shared with the large format film scanning workflow.

So although the outlay for the equipment is roughly the same, it is in the ongoing costs that digital is so efficient. With the cost of storage coming down all the time it is possible to purchase an 8GB compact card for less than $50 and 1TB HDD for less than $200. In contrast the price of large format film consumables is expensive:

Film: $75.20 for 10 sheets of Fuji Velvia 100 @$7.50 per sheet
Development - @6.60 per transparency
Scanning - 2040 PPI 16Bit 500MB @$25 per file

If every shot is bracketed (even the pros do this) at 1/3 stop then a single image costs the following:

3 x sheets @$7.50 = $23.50
2 x development @$6.60 = $13.20 (this is assuming that the 0EV shot is developed first and a bracketed exposure is developed second only if required)
1 x scan @$25 = $25
Total = $61.70

Considering that there are also shots that do not make it to the scanning stage, for each failed image there is the following cost:

3 x sheets @$7.50 = $23.50
2 x development @$6.60 = $6.60

Total = $30.10

At Mokoan I processed six images, assuming that I could have set-up the Sinar fast enough to capture the rapidly changing light, this would have cost me $370.20 for the developed images and at least another $180.60 for six rejected shots, assuming for every processed image there is a rejected image (in reality the ratio is likely to be higher – 3:20 images at sunset) - for a total of $550.80.

For a commercial photographer working on behalf of a client this may cost be justified. For a hobbyist, or semi professional these costs border on delusional to justify. This also assumes that the client is willing to wear the additional costs for the perceived increase in quality of the large format film image.

Time – On top of the costs above there is also the time to process the large format film image and the digital stitched image. The elapsed time of capturing the image, to develop, to scan and post process can run into weeks. While the capture of multiple digital images and the stitching time consuming, the lapsed time is only a fraction of the film camera. In addition there is also the logistics of buying the film, taking the film to the lab for development and scanning (may require repeat visits if bracketed images are required as well)

Flexibility – In landscape photography at twilight the light can change in an instant, the view camera is not flexible enough to be relocated – these two photos were taken within minutes of each other – there’s no way I could have setup the View Camera in such short time, focussed, loaded the film and bracket shots.

These two images were taken within minutes of each other:

sunrise and trees, lake mokoan, originally uploaded by Andrew McDougall.

first light, lake mokoan, originally uploaded by Andrew McDougall.

Quality – There’s no double that a well exposed and scanned 4x5 is a quality image, the degree of detail in the film image is superior. However, I believe the combination of a fixed focal length lens (Nikkor AF 50mm f1.8), mirror up, tripod, RAW and cable release can come close to matching the output of a scanned 4x5. A double layer stitched image of 12-22 exposures equates to a 500MB file which is roughly equivalent to a 4x5 scan. Both formats have limitations and compromises have to be made. I’ve made the decision to sacrifice some detail of the large format film image for the flexibility and cost savings of the large format digital image. If I had unlimited time and money I might consider the large format film process over the digital process - but I’d still mourn the loss of images due to the setup time required for the View Camera. Others may choose differently.

Exposure – This is where digital comes in to its own. I can check the exposure on location using the RGB histograms and adjust the shutter speed as required. With the Sinar I had to bracket at least -1/3 and +1/3 stop as a minimum, that’s an extra cost for film and processing and still not have any guarantee that I nailed the exposure. With digital I point the camera at the brightest part of the image, usually the sky, and adjust the exposure until the highlights to the right in all three RGB histograms are just short of being clipped. If the sun is within frame I allow this part of the image to be clipped so as not to clog the shadows to the left.

By using the 50mm lens I ensure the sharpest image with no barrel distortion or wide angle diffraction. Up until a few months ago, frustrated by the Sinar’s inflexibility, I was itching to upgrade to a Canon 5D Mark II in the pursuit of sharpness and resolution. Now I’ve discovered digital stitching I’ve realised that my Nikon D200 is “good enough.” At 15MP per raw file my Dual Core PC is already struggling with the 1/2GB PSD files. The Nikon D200 is a 10MP camera as opposed to the 22MP of the Canon 5D Mark II; I’m afraid to think how large the resultant PSD file would be. Besides, I love the metering of the Nikon's and the usability.

There is no doubt the process of using the View Camera has taught me valuable lessons that I would never learned using digital. The manual process made me think in new ways about the relationship of aperture, ISO and shutter speed as well as focus. In many ways it has simplified my digital photography technique, I now use manual process for both exposure and focus control. As I’m shooting RAW, I can forget about filters, white balance, colour and saturation at the time of capture. With digital I also have the option of capturing HDR images that would never be practical with film.

Kilometre 1848 - Learning to see again

2008-05-27T20:01:00.007+10:00

Kilometer 1848. Murray River, Barmah State Park, Victoria, 26/04/2008
Sinar F2, Sinar Symmar 150mm, f22, 1/15, Fuji Velvia 100
This is the first image made with the Sinar F2 over Anzac Weekend. The Kilometer 1848 sign on the opposite river bank is framed by a reclining Red Gum. The composition is loosley based on Sydneny Nolan's River Bend I & II series.

I've been reading George Barr's excellent Take Your Photography To The Next Level recently. It is written by a photographer who has mastrered technique and who isn't afraid to to tackle the softer rarely discussed, yet essential, aspects of photography such as creativty rather than fStops and Photoshop. It seems the hardest skill for a photographer to master is not exposure, but learning to see as an artist. While a photographer must use their logical left-brain to execute a memorable image, it is the right brain which he must engage to see creatively. Given the technical nature of the medium, harmonising the competing demands of the left and right brain are perhaps the photographer’s biggest challenge.

This is why I think Ansel Adams emphasised the need for a photographer to be a master of his craft. When he said that in the 1970’s, many of the younger generation of photographers shouted him down. Art in the 1970’s was all about letting it all hang out and blowing away the confines of technique and craft. But by mastering the craft of photography, the artist is then free to see and break the rules.

This ability to move from conscious decision making to instinct is what separates the novice from the master. An average driver drives on instinct with his mind on everything but the road ahead. When an emergency occurs, they have nothing left. A good driver is always thinking about the gears they need to change and how to steer the car around a corner, when an emergency occurs they are able to switch on their instinct to save the situation. The ability to move to a higher level through mastery of their craft is what makes Bechkam able to bend the ball and Adams to create “Moonrise, Hernandez.”

Another example of the mastery of craft freeing the creative instinct would be the way the Coen brother’s develop their movies. The Coen’s storyboard every shot so that they, the crew and the actors know exactly what is required every day on a shot. This allows for the possibility of random events, or actors inspired genius to lift the scene from good to great. John Turtorro’s mauve clad pederast Jesus Quintana in The Big Lebowski is one example of such inspired genius. By mastering the craft of photography, the photographer is then able to respond to rapid changes in light or compositional opportunities.

One of the benefits of using the view camera is that you are forced to understand and take control of exposure and focusing when capturing an image. Despite the advanced autofocus and exposure metering of the Nikon D200, manual exposure and focus is now my preferred mode even for digital photography. Of course, when I’m taking snapshots, where there is rapidly changing light, or action the auto modes come into their own. The two mediums, film and digital are not mutually exclusive.

By being conscious of the process through manual adjustments, my brain is switched on to the technical aspects of the image of the scene (focus) and the light (exposure) that make up the image. This conscious creation of the technical parts of the image once mastered, frees up my right brain to recognise the compositional aspects of the image that will hopefully give the image meaning, or inspire an emotional response from the viewer. For me the gains from acquiring view camera technique far outweigh the initial awkwardness and failure from the re-learning required.

On my earlier visits to the Barmah Forest, the composition required for the Kilometre Marker images were obvious. I’d spent most of my time putting into practice what I’d read about the process of using the view camera including focusing with tilts and setting manual exposures from my Nikon D200. The stretch of river around the K1848 marker is not exactly a chocolate box composition, due to the ravages of both deforestation and drought. I spent all afternoon and the previous evening moving from location to location without taking a shot. The evening before I’d missed the golden light while setting up the camera and now in the afternoon the overcast sky flattened both the reflections of the river and subdued the colours in the forest. Frustrated by the light and my own inability to see, I decided to plunge deeper into the forest in search of a suitable composition. I’d like to think that this final image is inspired by Sydney Nolan’s Riverbend I & II series, an insight gained through the conscious decision-making that large format photography enforces.

For a more experienced photographer the inconvenience of a view camera that forces this more methodical approach may outweighs it’s advantages. Indeed many expert large format photographers including George Barr have switched to digital. I would argue that George is able to compose masterful images with digital cameras through learning his craft with the view camera. If I’d been using a digital camera that afternoon, it would have been to easier to take a meaningless shot and convince myself that the location or the light was was the problem and not my seeing. I believe that the real value of view camera is for a photographer like myself who wants to take their photography to the next level as an artist, not for the beginner, or the more experienced photographer such as George.

Anzac Weekend - Kilometre 1850-1830

2008-05-01T14:11:00.005+10:00

I’ve just returned from a long weekend visit to the Barmah Forest, the last trip before the Winter. The purpose of the trip was to do a reconnaissance of the markers from kilometre 1850 (Morgan’s Beach) to 1830 (Bunyip Hole). I also wanted to test out the Sinar F2, the Lisco sheet-film holders, polarizing filter and support gear.

At Morgan’s Beach there was no evidence of the 1850 marker even though it was marked on the Hayman's Map. After a close encounter with a mob of kangaroos, we proceeded down river to a campsite at kilometre 1848. Even though the light was deliciously golden in the late afternoon, I struggled to find an interesting composition.

The following morning we drove down the River Road to kilometre 1830. Much to my dismay we could not locate a single marker. This was despite exploring every campsite marked on the map. Not one to be discouraged easily, I will return in the Spring with the Murray Charts CD that includes GPS readings for the markers. It remains to be seen whether I will need to use a canoe to locate the signs from the river, or whether the GPS will allow me to locate the signs from the road and on foot.

On Saturday afternoon I did find an interesting composition where the K1848 marker was framed by large gum trees and a bed of leaves in the foreground. After a heavy night of rain, I returned to the same location the next morning to re-photograph the marker. Due to the high contrast between the overcast sky and the forest, I bracketed the shots over 4 stops.

As mentioned above, this trip also allowed me to test out the Sinar F2 in the field. On the whole it seemed to perform well and be reasonably quick to setup. I also had an opportunity to test out the support gear and bag. I’ve decided to carry the Nikon D200 and accessories in my Lowe Pro Rezo Aw 170 bag which allows me to access the D200 independently of the Sinar. The flexibility in storage is an important advantage when there are opportunities to photograph wildlife such as these Galah's at K1848.

The lack of success in finding the markers reinforced the following key points about photographic projects as documented by Chris Dickie in his book Photo Projects:

Keep it simple: pare your idea right down to its essence.
Choose a subject that intrigues you and about which you want to discover more.
Set yourself a plan to action to provide a framework for the project.
Persevere: stick with it and negotiate setbacks as they arise.
Don’t be put off if the project, or the way you are approaching it, changes en route: this is part of the process of discovery.

On the way home we stopped off at the Grain Silo's at Waaia which together with the Grain Silo at Picola make an interesting side project that brings in to play point 5.

Anatomy of a large format photograph - Kilometer 1784

2008-04-21T21:51:00.020+10:00

kilometre 1784, barmah forest, originally uploaded by Andrew McDougall.

Toyo 45G, Nikkor-W 150mm, f22, 1/30, Fuji Veliva 100
This is an image from my second foray into large format photography. The Kilometer 1874 sign is visible to the lower left of the river bank. The figures in the boat at the far end of the river are also visible in the orignal size, as well as a bird flying across the top left hand edge that wasn't visble at the time of capture.

This is an image I took at Easter for the Barmah Forest Project. I’ve chosen the large format (LF) camera, because it produces an image which matches my perception of the forest and river as a sanctury.

Because the film size is 4x5 inches (10x12cm), the camera records an amazing amount of detail, 20 times what is contained in a regular 35mm frame or digital sensor. Everything which I saw is on the film, and even more. When I examined this transparency under a loupe, I noticed a bird flying across the top left hand edge of the frame which I was unaware of at the time of capture.

I could also pick out the two figures in the boat at the far end of the river:

As the lens is connected to the film plane with a bellows, it let me control the perspective and the distribution of sharpness in a way which cannot be achieved with a regular camera:

I recall the tops of the trees waving in the wind and the current on the river in the foreground. With a regular camera, I would have had to either limit the amount of river in the frame or chop the tops of the trees off. By rising the front standard I’ve managed to keep the trees in perspective, they do not lean in toward each other as they would with a regular camera would when tilted

The LF camera looks at the close objects and the horizon sharply at the same time: notice that the ripples in the foreground, only a few feet in front of the camera, are seen as clearly as the distant trees. Notice also the plastic water bottle anchored to submerged log in mid-stream. In contrast, a regular camera has to focus either close or far.

Of course I also wanted to capture the kilometre 1874 marker so that it would be sharp even though it occupy’s only a tiny part of the image.

For this particular photograph, those adjustments were quite simple and intuitive. After levelling the camera, I raised the lens using front rise to obtain the composition I wanted. I then tilted the lens forward, which tilts the plane of sharp focus, until it became horizontal. There was quite a lot of movement in the tree tops and on the river that day because of a light breeze, so with a 1/30 second exposure (f 22 aperture, Fuji Velvia 100), all movement was frozen.

Note that what is displayed here does not capture the full detail in the original transparency, but only a half of it: the scanning was done only at a resolution necessary to produce a 86 by 69 cm print, which is 476mb. However, the transparency has a resolution that could have been used to produce a quality digital image file at least two times larger. Such a file would have been close to 1 Gigabyte. At the resolution used, there is absolutely no fuzziness and no grain.

Getting Ready - What's in my bag?

2008-04-21T19:46:00.016+10:00

This week I’m preparing to head up to the Barmah Forest for a long weekend. As this is the first trip with the Sinar F2, I thought I’d take a look at the gear I’m taking and how I’ve organized it to carry. As I don’t have purpose built pack I’ve had to think carefully how I’ll organise everything. I’ve divided the gear between a small day pack that I will carry on location and a support kit that I’ll keep in the car. Wherever possible I’ve packed items into stuff sacks for added protection and organisation.

Front pocket of day-pack.

The front pocket contains my Peak 4x loupe, 72mm Hoya HMC Circular Polarizer, B+W 58mm-72mm step-up ring, double spirit level, lens cleaner and microfiber cloth and Lastolite foldable grey card. The HMC Polarizer is used to reduce glare of the river, as well as for darkening the foliage and sky. I don't have a warm tone polarizer or any warm tone filters (81 series), as warming can be added later in Photoshop if required. The 72mm HMC Polarizer is the same filter that I use on my Nikon D200. This allows me to meter through the polarizer before attaching it to the Sinar after setting the exposure. I may add a 0.6 ND Filter to the kit in the future to compensate for the extremes of contrast sometimes encountered between the sky, forest and water. A tape measure is included for measuring bellows factor.

Laptop sleeve of day-pack.

The laptop sleeve of the day-pack is the right dimension to hold my notepad, marker pen, 25 cm spirit level and shot-sheets as well as a lens shade. The lens shade is used to improve image contrast by reducing flare and cutting down the image circle, also protects the lens while working in the rain. The spirit level is used for making sure standards are aligned. The shot sheets are clipped on to the notepad using a bull clip.

Each shot-sheet contains the following fields:

Series
Subject
Date
Time
Location
Weather
Temperature
Light (sunny, overcast, harsh, soft...)
GPS long and lat (this field is blank, but I’d like to be able to fill it out in future.)
Reference for logging in image base.
Lens
Film, ISO , F-stop including series with nominal exposure, +/- 1/3.
Bellows extension
Fields for Rise, Swing, Tilt, and Shift for Front and Rear standards.
Fields for metering (matrix, average, spot, grey card)
Filters (e.g., Polaroid)
Exposure factors from bellows draw and filters
Reciprocity errors for long exposures.
Comments either for developing or after the film has come back from the lab.

Filling out the shot-sheet is quick, and ensures that I do not forget anything. The data sheets are folded once, and placed in the plastic binder sleeves with the film sheets once they are developed. I cross the set of exposures off the data sheet from the sheets I toss.

Operating the view camera is done in a series of steps, whose order is crucial. Reversing some of the steps will ruin the image. Reversing some other steps will unnecessarily waste time not mention a loss of opportunity and expense. Although this might seem complicated, I always stick to the same sequence. By following this same sequence I can concentrate on the subject. Although this is becoming second-nature, I include the sequence on the shot-sheet as a reminder. I’ve gotten in to the habit of running through the checklist out loud every time I prepare to click the shutter.

Choose the camera position, approximate orientation, focal length.
Set up and level the tripod and camera (front standard forward).
Attach the lens and open it to full aperture.
Focus roughly using the rear focusing sing knob.
Adjust the composition using rise, fall and shift.
Focus precisely with rear tilts/swings and loupe.
Determine the optimal aperture.
Re-adjust slightly the composition.
Adjust filters and compendium shade.
Check for vignetting.
Close the lens, cock the shutter, rap and insert the film holder.
Determine the shutter speed.
Set the aperture and shutter speed.
Remove the dark slide.
Look at the subject.
Fire the shutter with a cable release.
Put the darkslide back in.
Remove the filmholder (check the groundglass).
Make a second identical exposure (Bracket if required -1/3,0,+1/3).

I used to climb with a guy who’d spent time in the Himalaya’s, even when we were on the local crag he used to go through a safety checklist every time he tied in or abseiled. This was to make sure that his oxygen starved brain would get the message at altitude. The same thing applied when I was a professional ski-patroller, we always wore our avalanche transceivers so we wouldn’t have to remember to put them on the high-risk days. There are enough variables of light, let alone so many things to go wrong with a L-F shot (not to mention its expense) to make reading through the checklist before committing to the shot a no-brainer.

Side pockets:

Water bottle. Water, water everywhere but not a drop to drink. You'd have to be as desperate as Burke and Wills to drink out of the river, so I carry my own.
Toilet Paper. Besides the obvious this is good for cleaning camera equipment.
Mobile Phone. I use the stop watch on the mobile phone for timing long exposures.

Main compartment of the day-pack:

The inside of the bag contains the cameras, lenses and film holders. The Sinar F2 and Sinar Symmar-S 150mm lens (with cable release permanently attached) mounted on the camera sit on top of a piece of removable foam at the base of the pack. The camera is surprisingly compact when folded away.

I place the camera inside a nylon stuff sack for added protection and to stop it snagging on the other gear in the pack. Alongside the camera I slot in five double Lisco sheet film holders loaded with Fuji Velvia 100. I’ve chosen Velvia 100 over the classic Velvia 50 as it allows me to choose faster shutter speeds to freeze the effect of wind on foliage and any movement on the surface of the water caused by the current and breeze. The holders are sealed in a zip lock bag to protect from dust and packed in draw-string bag for extra protection.

Wrapped in a black t-shirt on top a piece of removable foam is my Nikon D200 with 18-200mm Nikkor lens. The Nikon is placed at the top of the bag in a stuff sack, so I can access it with ease. The Nikon is used not only independently, but also as a viewfinder and a meter for the Sinar. The Nikon allows me to capture any opportune shots of wildlife, rapidly changing light conditions as well as providing metering and the opportunity to check the exposure and composition. The t-shirt provides protection for the Nikon as well as doubling up as a focusing cloth.

Inside the support kit:

The support kit augments, repairs and adapts - and makes otherwise "impossible" photographs possible. In addition to the 5x Film Holders in the day-pack, the support kit includes an additional set of film holders loaded and ready for the next set-up. The support kit also contains a Fuji Quickload film holder and 5x Fuji Veliva 100 Quickloads in case I run out of sheet film. A sandwich size Tupperware container includes Nikon accessories (2x 1GB CF cards, D200 battery, shutter release, eyepiece) as well as the following:

LED headlamp. Used as a focusing aid in dim light, as well as for setting up in the pre-dawn and twilight.
Spare snap lock bag and rubber band.
Swiss Army Knife.
Nylon cord. Five metre of nylon cord is useful for repairs, securing tripods and tying back trees.
Jewellers screwdrivers.
Cable-release. Cable releases are fragile and forever jamming.
Shower Cap. Ideal for protecting the camera from rain and dust between shots.

Also in the support kit:

Canned air. The Barmah Forest is a dusty environment, I use the canned air to blow dust particles off lenses, the ground glass, holders, and filters.
Masking tape. I use this for for adding notes to film holders as well as making emergency repairs in lieu of Gaffer tape which I also keep in the car.
Folded piece of foil. I attach this to the Lastolite grey-card to transform it into a reflector. This can be useful for adding a bit of fill light for macros shots or a close foreground.

Other stuff including Tripod:

The Sinar rail clamp and plate is permanently attached to the Manfrotto tripod. For this trip I'm hiring a Manfrotto 028B studio tripod with a 229 Pro Head. The 028B has a non-rollback geared centre column, spirit levels and rubber feet with retractable spikes. As I’m close to the car the extra weight of the tripod is compensated by the rock solid stability. I also have the following items in the car at all times: umbrella, first aid kit (watch out for snakes!), gas stove, and ground sheet.

Total weight of Pack: 8kgs

Total weight of Support Kit: 3kgs

That's it, compact, lightweight and hopefully it's all the gear I'll need this weekend to capture the the Barmah Forest in glorious large format.

Landscape and light - Sidney Nolan

2008-04-21T19:34:00.011+10:00

Over the weekend I visited of the Australian modernist landscape painter Sidney Nolan at the National Gallery of Victoria in Melbourne. The exhibition is the first retrospective exhibition to be mounted since the artist’s death in 1992 and includes a selection of his most important masterpieces. The exhibition examines each critical period in the artist’s career and highlights the evolution of Nolan’s vision from its genesis in St Kilda during the late 1930s, to the United Kingdom half a century later when the artist finally released his passion for large-scale spray painted abstractions.

While many photography books advise to study the European master’s such as Rembrandt for lighting, I believe it is important to study the use of light by local master’s such as Sidney Nolan. While Sidney Nolan is best known for his iconic Ned Kelly Series (1946-47) he’s is also well known for his landscapes including the Wimmera, the Outback and Goulbourn river. One series in particular struck me.

The epicentre of the retrospective is the historic co-joining in two semi-circles of the multi-panel paintings Riverbend I 1964-65 and Riverbend II 1965-66. The paintings comprising nine panels each, are based on boyhood memories of holidays on the Goulburn River at Shepparton. Riverbend II was bought by Rupert Murdoch at a Christie's sale in London in 1993 for $1.02 million. It now hangs in the New York boardroom of Murdoch's News International headquarters and is on loan to the exhibition.

What struck me about the 11-metre-long series of lush river landscapes, in which the figures of Kelly and his police pursuers are overwhelmed by the wild and dense bush, was Nolan’s skill in depicting the the shimmer of pure pigments vibrating off each other in stripes and patches. Even Ned Kelly’s square head reminds me of the blue marker posts on the Murray. The paintings were a timely reminder to pay attention to the play of light and pigments of the trees within the forest when I am photographing up at the river this weekend. It was also a reminder to pay attention to local artists, not just photographers or overseas painters.

Sinar f2 arrives

2008-04-01T22:35:00.011+11:00

The Sinar f2 camera I bought on eBay arrived today. The package included the following items:

1x Sinar f2 Monorail Camera
1x Sinar Symmar-S f5.6/150mm Lens
1x Sinar Lens Shade
1x Polaroid 545 Holder
14x Lisco Double Film Holders
1x Change Bag

As the description in the eBay ad read, this is all the equipment required to get up running in large format photography. Let's examine each item in detail.

Sinar f2 Monorail Camera
As mentioned in earlier blogs, the Sinar f2 camera is an ideal camera for outdoor and studio photography. As I will be taking photographs both in the forest and on a lightbox in the studio, the f2 covers all my needs. f2's are lightweight affordable, and their components are fully system-compatible with other Sinar Cameras including 8X10 and digital backs.

The camera arrived broken down into it's constituent parts:

411.21 Rail Clamp 1
422.21 Basic Rail 12″/30cm
429.21 2 Rail Caps
431.61 Front Standard f2
433.66 Rear Standard f2 4x5″/10x12.5cm
454.11 Multipurpose Bellows 4x5″/10x12.5cm
461.36 Holder/Focusing Back 4x5″/10x12.5cm
531.41 Lensboard Holder

What at first appeared to be a daunting array of parts proved to be easier to put together than I first thought. However, rather than reflecting any competence on my part, the ease of which I put it together reflects the simplicity and modularity of the Swiss design. Having assembled the camera I was able to test the movements and fell comfortable with it's use within minutes. What impressed me straight away is the precise nature of the movements and foolproof lock down.

Having given up some of the geared movements of the Toyo 45G I previously hired, the ability to firmly lock down the movements came as a welcome trade off. The other item that immediately impressed me was the condition of the bellows. The Toyo bellows was frayed and prone to light leaks. The Sinar bellows is a sturdy plastic, what it lacks in aesthetics it more than makes up up in light proofness.

Sinar Symmar-S f5.6/150mm Lens
I haven't had the opportunity to test the lens out as yet, but as I understand it has good coverage and appears to be in excellent condition. As a landscape photographer within the confines of a forest, the 150mm lens is likely to become my standard lens. As it arrived without out without a cable release, I will purchase one tomorrow along with a 1/2" adapter for my tripod head quick release.

Sinar Lens Shade
The lens shade provides protection from lens flare, deepens contrast and protects the lens from rain.

Polaroid 545 Holder
Alas poor Polaroid this item is of historical interest only unless Fuji proves to be a White Knight. If Type 55 had been readily available, I might have considered it to be my format of choice for the Barmah Forest Project. Ansel Adams must be rolling over in his grave with the loss of the film he helped develop back in the 1950's. As it turns out, I have two sheets of Type 55 sheets left and I can always use the holder as a backup for my Fuji Quickload and for Kodak ReadyLoads should I have the need.

Lisco Double Film Holders
The Lisco Double Film Holders are traditional sheet film holders. While not as convenient to use as Quickloads, the film is half the price. Given the number of images I am considering for the project, cost is a real consideration. What I will probably end up doing is loading up the Lisco's at home and using the Quickloads as a lightweight backup in the field. I can also see myself using the Lisco's in the studio when I am shooting images on the lightbox.

Change Bag
This nifty device will allow me to load the Lisco's either at home or in the field. Sure beats the sleeping bag that Ansel Adams used to use. The item appears to be in good nick, like all the rest of the equipment supplied by the seller.

All in all I'm quietly pleased with my purchase, I hope to get out this weekend and and put the kit through it's paces.

Large format equipment

2008-03-28T20:50:00.003+11:00

As I mentioned in my opening blog, I have chosen large format for the quality it gives to the final print and it’s monumental aesthetic. Images from large format film can be blown up far beyond images from normal film or digital cameras, while maintaining their sharpness and without degrading due to film grain or digital noise. Prints from large format film offer sharpness, detail and texture unachievable with other means.

Large format photography is slow (up to 20 minutes per shot), expensive, and contemplative. It does, however, offer the ultimate in image quality.

The Sinar F2 is a monorail view camera, with the image viewed upside down at full size on a piece of ground glass under a dark cloth. The lens is on a separate board at the front of the camera. Focusing is achieved by racking the lens in and out from the ground glass. Unlike modern cameras, the lens is not always fixed parallel to the film plane. By allowing the lens to tilt and swing off the axis of the film plane, significant gains in quality of the final image can be made.

The Sinar F2 provides a full range of movements and lens focal lengths, while also offering excellent rigidity and a very low weight for this type of camera (around 3.3 kg without lens). One of the considerations for using the monorail over a field camera was the almost architectural nature of photographing within a forest. In some ways it can be compared to photographing a cathedral where the ability to maximise the front rise and shift for perspective control is more critical than in conventional landscape photography where there is a planar foreground and a distant mountain range on the horizon.

So far I have only one lens for the camera, a Sinar Symmar-S 150mm. The 150mm is considered a normal lens for 4x5 cameras, equivalent to a 50mm in a conventional 35mm format. Because I am photographing along the river within the Barmah Forest, it is in fact an ideal focal length. Normal to longer focal lengths are favoured by landscape photographers from forested regions as it allows them to isolate details or sections of the scene, emphasizing the "closed-in" feeling under the forest canopy. However there will be times when I will require a wide angle lens (75mm/90mm) for photographing areas such as the Gulf. where the river bends around an open point. I also propose to add a 210/240mm lens for when I want to emphasize the background by compressing the forest against the river in layers of warm sunlight and cool shadows.

In addition to the Sinar F2 I also carry a Nikon D200. The D200 fulfils a dual purpose as a light meter for the Sinar and as a camera to capture rapidly changing lighting situations and wildlife shots that the view camera cannot handle. In the absence of the Polaroid 55 print, the Nikon is also useful for checking exposure and composition. The Nikon D200 offers excellent image quality, high build quality, and flexibility. I currently use a general purpose Nikkor 18-200mm zoom lens and a manual Nikkor 55mm macro lens.

At this stage I am still experimenting with different film for the project. In January I tested Polaroid 55 Black and White film. The beauty of Type 55 is that it produces both a print and a negative. This means that you can expose for the print in the field and check for composition, sharpness and exposure and then expose for the negative (1 stop more exposure) and develop it at home. Here is a photo I took of Kilometer 1804 on Australia Day:

Kilometer 1804. Murray River, Barmah State Park, Victoria, 28/01/2008
Toyo 45G, Nikkor-W 150mm, f16, 1/15, Polaroid Type 55
This is an image from my first foray into large format photography. The Kilometer 1804 sign is visible on the lower right of the river bank. A Cockatoo perching on the top of a Red River Gum is also visible at the original size.

Sadly Type 55 is been discontinued by Polaroid and has limited availability. Last weekend I tested Fuji Velvia 100 Quickloads. I chose ISO 100 over ISO 50 as I was concerned about the slow shutter speeds required to expose ISO 50 might lead to blurring both the water and wind blown tree tops. At f22 the aperture I've selected for maximising depth of field even ISO 100 requires a 1/30 second of exposure on a sunny day. I'm still undecided about using colour or black and white for the images. The advantage of colour transparency is that after scanning as a digital file I will be able to produce either a colour or black and white image using Photoshop. Using colour transparency for black and white also means that I can select the filter in post-production. By using a digital post-production workflow, the only filter I may have to carry is a Polarizer to counter the glare of the river and to darken the blue sky.

Additional equipment includes a Manfrotto 190PROB tripod with a 141RC head. This is a relatively lightweight setup and I may upgrade to a heavier tripod at a later stage if the conditions including wind require a sturdier platform. I'm also looking at adding a N2 di-GPS mini to the Nikon for recording precise longitude and latitude information and linking the images to Google maps. I'm yet to decide what I will be using to carry all this kit around. As eighty percent of the locations are within a short walk of the car, portability and weight are not an overriding concern. However there is a limited section in the Narrows where access to locations is only possible by canoe and portability will be an issue.

The Barmah Forest Project

2008-03-27T23:43:00.003+11:00

The Narrows. Murray River, Barmah State Park, Victoria, 22/04/2008.
Nikon D200, AF-S DX VR Zoom Nikkor 18-200mm, f22, 1/30, ISO 100
This is an image I took with my Nikon D200 while metering and composing the image for the Toyo 45G view camera. The image was converted to Black and White using the red channel of the Channel Mixer. Using the red channel to convert the image is equiavalent to a red filter used for black and white photography. I used the red channel to darken the blue sky and make the clouds "pop."

Welcome to the the first entry of my large format photography blog. The proposal is to photograph the Murray River within the Barmah Forest in Victoria, Australia using the blue 2 kilometer markers as reference points. There are forty-five kilometer markers between Ulupna and Barmah. The kilometer markers measure the distance to the Murray River mouth in South Australia. There are 3 sections within the Barmah Forest:

Ulupna - The Gulf: Kilometer 1850-1820
The Gulf - Picnic Point: Kilometer 1820-1790
Picnic Point - Barmah: 1790-1760

Barmah State Park (7,900 ha) and Barmah State Forest (21,600 ha) are on the Murray River flood plain between Echuca and Tocumwal, about 225 km north of Melbourne. Together they make up the largest River Red Gum forest in Victoria. Equally, the area could be called a wetland as much of it is frequently flooded.

View Larger Map

I will be using a large format Sinar F2 camera to document the project. I've chosen a large format camera for a number of reasons including its ability to maintain perspective when photographing tall trees by raising the front standard. I've also chosen large format for it's monumental aesthetic and incredible detail when digitally scanned.