Another of the four sheets of film I shot with the Chamonix at the weekend. It’s a location that I’ve featured on the blog a number of times, and seemed a reasonable place to fire off a sheet while testing out the camera.
I’d love to get closer to the old building, but it sits in the middle of crops and the footpath just skirts the edge of the field. I could risk it, I suppose, but I’d not feel comfortable trying to explain that in any way that wouldn’t look self-serving in the event I got found out. I’m h ppy the footpath is there though.
As soon as I pulled this picture’s negative from the developing tank, I knew there was a vignette. It was pretty obvious to see. I’ve cropped in a little and also used some Lightroom wizardy (well, half-assed messing about with sliders) to remove the worst of it, but it’s still plainly apparent in the top corners of the image.
The reason for the vignette is that I used quite a lot of front rise when composing the shot to get the church framed in the centre of the image vertically. My vantage point was from the bottom of the churchyard, which is down a slope, so the front rise allowed me to prevent converging verticals.
Lenses used in 4×5 photogrphy need to have an image circle of 153mm in order to cover the whole sheet of film. As soon as you start to use camera movements, this image circle needs to be larger to accomodate them. My 135mm lens has an image circle of 206mm, which is more than sufficient to cover the film and use a range of movements, but only within certain limits. So, once I use more than around 35mm of front rise (when the front standard where the lens is mounted is raised), the edges of the image circle begin to impinge on the film, leaving an unexposed vignette.
This vignette can be seen on the ground glass, or by other methods, when composing the shot. That is, if you’re paying proper attention. Which I wasn’t.
Another lesson learnt, but the picture isn’t too badly affected, luckily.
If you’ve followed this blog during the past six months, you’ll probably know that I took my first steps into the world of large format photography this year. Just before Christmas I bought a used Chroma 4×5 camera along with a lens and a bunch of film and other accessories. While I’ve had successes with the Chroma, I’ve also had issues in the form of light leaks.
I should note that I don’t believe that this reflects on teh quality of the Chroma camera itself, not the company that produced it – the owner was very kind and helpful when I spoke with him, despite my camera being second-hand and not having been bought direct from him. Rather I think that my own camer has been damaged in some way at some point.
It’s now boxed up unitil such a time that I can try to pin down and rectify the source of the light leak. I’ve made a number of attempts to do so, but without success, and the cost of wasted film, developer, and – perhaps most importantly to me – time, has become too much for the time being.
I’ve not stopped wanting to shoot large format though, so had made enquiries to borrow a camera from someone I know. While that was taking place, I spotted a used Chamonix 045N-1 camera for sale at a specialist retailer, and was tempted. While it was more than I had been considering spending, it was a good price. Plus I should get my bonus this month. And so, worried that someone else would get the jump on me, I took the plunge and bought my second 4×5 camera.
The 045N-1 is, I believe, the entry-level 4×5 camera in Chamonix’s range. It has been superceded by the N-2 camera, but still remains very capable. It’s easy to set up, and while it lacks a couple of features that my Chroma has, it’s a much more solid camera and as a result easier to use. Some things that I found a little fiddy with the Chroma, are notably improved here – as you would expect given the higher cost. The camera feels completely solid, while there was always a bit of wiggle with my Chroma and, given how much difference a tiny amount of movement can make in terms of fine focus, this adds a great deal of confidence that what I see is what I will get when taking pictures. Inserting film holders is also much better with the Chamonix – they slide into the camera back with a buttery smoothness which, again, gives me confidence that I’m not knocking my composition out of whack.
I took the camera out for some test shots yesterday. Not too far from home as I was still slightly paranoid that the light leaks I’d had with the Chroma might not be the camera’s fault and instead produced by one of my film holders or something, so I drove out to photograph a few places I’ve visited before. The camera was pleasant to use, although I’m sure I’ll get more adept at setting it all up as I use it more – I was still a bit fingers-and-thumbs on this outing.
I developed the four sheets I took this morning and it was a great relief to see that, despite using the camera in very bright, direct sunlight, there were no signs of any light leaks when I pulled the negatives from the developing tank.
Here are a couple of the resulting images. Perhaps not prize winners, but I’m happy with them.
Steel City Snapper photography 