Thanks Don! As someone that's worked with focus stacking for a few projects, it's almost as much work as hauling around the big view camera. Although movements may not get the hyper-sharpness and deep DoF that focus stacking can, the imperfections of that single 2D plane give the photograph a realness that I enjoy.

@@MatMarrash I like being able to use front tilt when focusing on something that is on a single plane rather than having to focus stack. I also think that the single plane of focus makes the images feel more real as we would see the subject.

They sure do! In my experience prints 8x10" and smaller tend to get the nose treatment more than larger ones. I was almost kicked out of a Karsh exhibit for doing the very same thing.

Very cool Terry! Lots of older lenses have more covering power than their manufacturers gave them credit for. Glad to hear your new lens is one them!

Hey Michael, yes indeed it's the same photo, but I think you may like the print I just finished washing even more! Also nice score with the Pt/Pd chemicals, that's like finding a banker's box of gold! I know a few photographers that have done the traveling art fair circuit. It seems like a very big grind, especially with the prevalence of social media trends and rising finishing costs.

@@MatMarrash Art fairs and the occasional gallery show (small gallery show) about did me in lol My favorite story from those days - I noticed that a woman that I knew had spent a lot of time looking at one of the other photographs in the show. I walked up to her and asked her what she liked about the photo. She looked at me a little confused and said something like- oh... I don't really like the photo but the frame is gorgeous. I laughed at first but then realized the she was serious. She followed up with - I often buy artwork just for the frame. I take the artwork out, throw it way, and put what I want into the frame. I was really, really glad that she didn't buy anything of mine. I had always used the relatively cheap 1" black frames to hang prints. No wonder she never bought anything lol Another time I got a call from a friend about an Australian couple that wanted to buy one of my larger prints. They wanted to take it that day and the show ran for another few weeks. For some reason I had to be there before they could take it. Maybe they just wanted to meet me... I don't recall. I drove 45 minutes to get there. They were a really nice couple. I asked why they chose the photo that they did. It was of 3 geese in flight about 3' above a pond. Early morning so the wings were a little blurred but the head on the lead goose was sharp (enough). It's hard to pan a 600 f4 lens when your freezing your butt off. Literally... I was sitting on frozen ground. So why did they buy it. There were on the last leg of a one month holiday. Their ritual was to buy something that was "goose related" on every trip. The woman said something to the effect of "this is our last stop and we hadn't found anything yet so we thought, might as well get this". Lol... ah well... there's only room for one Ansel Adams. Speaking of Ansel Adams, I had just come home from a trip to Maine. I spent a week in a John Paul Caponigro printing workshop, got to meet his dad, Paul Caponigro, got to see them do a talk together at a gallery in Portland, got to see some original platinum palladium prints from Ansel Adams, John Sexton, and three other well known artists of the day (can't remember the names at this moment), of course seeing Paul's Galaxy Apple print at the talk was outstanding... and then I spent a week roaming around the Friendship, Me area. Apologies... I'm blathering again... photography was such a huge part of my non-work life... More to the point of this video... Camera movements is something that I was just starting to use... Lot's to relearn.

Wow Brian that's awesome that you're a painter too! I've always been an art appreciator and got started young by taking classes at the local museum. Couldn't draw to save my life but loved roaming the halls and taking in all the wonderful art!

YMMV, but I've seen lots of HUGE LF prints in gallery shows and museums and I can't think of a single one that showed diffraction.

Clearly we need more unboxing and gear reaction videos! ;)

@@MatMarrash I don't mind the gear, just the explanation of the of lens physics and DOF was great.

Thanks for the comment and happy the channel could help!

Thanks Nat! :)

Mark I had completely forgotten the origins of this word, now I want to use it more!

@@MatMarrash Heh heh, I don't know if Tolkien actually originated it, he might have heard it in some local pub or other, in the voices of the people!

I want to understand this so badly! My eyes are bright, but still this seems mysterious. I've studied hard for over 20 years and used most cameras in existence. I've made prints from both negatives I've processed myself from time blended, focus stacked digital files. I've noticed sweet spots for lenses are different when you change sensor size. I need this ah hah moment

Thanks David, I very much agree! Circle of Confusion and being able to visualize the light hitting your film through that circle helps the whole idea of what's in/out of focus.

Glad you enjoyed it

It really is! The biggest advantage besides costs and weight are the abundance of roll films that can be easily adapted in interesting sizes on the 4x5.

I think 5x7 could have been the sweet spot if there were more cameras and film support for it. Almost double the area of 4x5 and lots of overlap with 4x5 equipment.

The story of every photograph I've made with my 600mm lens on 8x10. It's f/64 or bust!

Thank you Christian, it was fun to experiment with a few things in this video!

ReeheeheeEalllay?! ;)

Hey Phil thanks for your unique insight into the converging worlds of high-speed photography and LF!

Hey Bernd thanks for the comment! Typically, to gain a deeper DoF for a landscape shot, I'll focus my intended subject in the background, then tilt the front/lens standard forward until the front area I want comes into focus. Then I'll bounce back and forth between focus and tilt until I have the depth of field I want; most times you'll still need to use a higher f-number than "wide open" on your lens.

Evan thanks for the comment, this is an interesting idea! Early on in LF I was particularly drawn to the F64 club, but as time goes on, I'm enjoying the work of pictorialsists.

Sidney thanks for the comment! Sorry to hear that your 4x5 work has attracted negativity, the community on this channel is a pretty supportive one. :)

Thanks Alex and good question about double fixing with Pyrocat HD. Another side effect of the stain from catechol is the tanning action on the film. With most modern emulsions, no additional hardeners are needed during washing steps. If you're running specialty films like aerial and x-ray film, this may help prevent some processing marks but may not do much once the film is dried. If doing this after TF-4, you might not need more than 2 minutes of a hardening fix.

This is a really great question! I recently searched for some MTF charts (nerdy, I know) to see what range my 8x10 lenses resolved. Turns out some of the older ones were coming in at 10-15 lp/mm. This is not even close to 35mm, and what might be needed would be a super modern (aka expensive) Schneider APO Symmar or Fine Art XXL lens to get both good coverage and resolution.

To get all the hair in focus, you may start to see all the dust on my camera's sensor! ;) My best tip on the Toyo is get a new one/used with a new bellows. In all my years in camera retail I've never once seen a used Toyo without pinholes.

Toyo 45A is a great camera. Also Wista cameras are similarly priced but have more gearing and are a bit heavier. Toyos also have a different lens board than most 4x5 cameras -- better in some respect than the more standard Linhof type but annoyingly different. My recommendation is to buy from a Japanese dealer on ebay and get as good quality as you can afford. I didn't have any pinhole issues with my used Toyo.

I think a lot of it has to do with the imaging/sensor size but also to what photographer expectations are of the medium. I don't know a lot of film shooters that "pixel peep" 200% crops of their film shots, many of them are out enjoying the art.

Tony you've just given me a whole bunch of inspiration!

Bokeh is out. F-Eleventy is in!

You got it Blake! There's a whole overview on movements here: kzfaq.info/get/bejne/h5qkapiKqM-bZ3k.html

I think I might be giving up film photography before the spiked hair!