Focusing rails? And maybe some nature macro history.

Blck-shouldered Kite wrote:

SantaFeJoe wrote:You said a lot of things about the film days that I completely agree with. There would be a lot fewer photographers nowadays if each shot cost what it did back then. You would strive much harder to make each shot a good one and there was certainly not much "shotgunning" back then. Frame rate was not as critical as it is now with the guys who love to shoot bursts to see what they can capture at random (not that a burst can't capture what happens too fast for the eyes to see, but it is overused). You could not make up for a bad exposure or composition. It was either right on or junk! A photo editor nearly always required transparencies only, which were critical in exposure, compared to print film. Composition, exposure and hard focus were thought out much more then. There was also nothing like spreading out a new batch of slides on the light table and putting a loupe to them. Nothing in digital can compare to that!<br><br>One of the most prolific nature photographers and outdoor writers back then was Erwin Bauer. He was so prolific that I read he had to write under different pen names so that it didn't look like he wrote all the articles. Interestingly enough, in his book "Photographing Wild Texas", he wrote about the Bosque del Apache. He felt that it was important enough to include, even though it was not in Texas!<br><br>Regarding the focusing rails, I used a Vintec rail(     http://www.amazon.com/Vintec-2-Way-Macr ... d_sxp_f_pt  ) that moves in two axis. I adapted it to mount to an Arca Swiss mount on bottom and an Arca Swiss QR on top. One of the reasons to use it besides focus and composition is to be able to set the lens at maximum magnification and then move the lens to the proper focus point for that magnification. It is very precise in its' movements and locks down firmly. I don't do much macro work now, but it is one piece of equipment that I hold onto for someday when I want to do macro more.<br><br>Joe

<br><br>Yes, you're right.  I forgot the exposure thing.  There was not much room for error.   Here's one for you Joe:  You could not look at the results of any image…….until next week!:shock:  And that was at the earliest.  And depending on the subject, if you blew it, there was no correcting it with another shoot.   I remember shooting a gorgeous tree that was laden with super fluffy, lightweight snow…..right at day break and the snow was deep and temps were low.  I quickly hurried home to warmth on that Sunday morning. knowing that I got what I wanted.  I bracketed a lot.   After much contemplation, I decided that even though I had not exposed the entire roll……I wanted to see the beauty of those trees in that snow at sunrise, into the sun.   But alas, when I went to rewind the film, there was no tension at all. I was scared to open the back because i feared that I would ruin an entire roll  I was confused alright.  Finally, I got up the nerve to see what was inside.  You already know what happened.   The film tail was not securely fastened to the take up spool.  <br><br>I guess I would say that I felt so insecure at times.  But I felt elation when that one image I had locked into my mind FOR A WEEK, actually "popped off" the light table, after I frantically open the box and spread them out.   WOW!<br><br>Yes, I do remember Erwin Bauer's name.  And I remember seeing a featured article on him.  Did he and his wife not work together in the field a lot doing photography?  I think so.  <br><br>Yes, I just googled him.  Peggy is her name. 40 books for Erwin Joe!……40!  Outdoor Writers of America.  He was an old time pro alright.  So was Bill Thomas, probably not as well-known as Erwin, but authored the fascinating book, "How to Make $50,000 as a Nature Photojournalist."   His main theme was simply to re-write each of his articles, so that he could present them to multiple markets.  I loved the book and reread it repeatedly.  In fact, I liked it enough that I've kept it close to all these years.  It is now about 10 feet away.   <br><br>Here is a link on Bill, who is also now gone.   <br><br>http://www.kentuckyliving.com/article.a ... <br><br>In the end, his book did me now good.  My problem is that I could not deal with article editors.   I did ok with stock though.  Stock allowed me to remain detached and I did not know what was really happening with the agents and subagents.  I liked that.   No, I loved it.   When I saw "Gamma Liaison International" on the return address and looked at that unique check look in the envelope window……..it suddenly was all worth it!<br><br>But I still admire MOST OF ALL…...the one's who combine EXCELLENT nature writing with excellent images.  That is what I want.  I have to get going Joe.  Isn't it always later than we think?<br><br>Here is an Erwin Bauer link: <br><br>http://owaa.org/owaa-legends/erwin-baue ... <br>Thanks:) <br>Robert

Blck-shouldered Kite wrote:

SantaFeJoe wrote:You said a lot of things about the film days that I completely agree with. There would be a lot fewer photographers nowadays if each shot cost what it did back then. You would strive much harder to make each shot a good one and there was certainly not much "shotgunning" back then. Frame rate was not as critical as it is now with the guys who love to shoot bursts to see what they can capture at random (not that a burst can't capture what happens too fast for the eyes to see, but it is overused). You could not make up for a bad exposure or composition. It was either right on or junk! A photo editor nearly always required transparencies only, which were critical in exposure, compared to print film. Composition, exposure and hard focus were thought out much more then. There was also nothing like spreading out a new batch of slides on the light table and putting a loupe to them. Nothing in digital can compare to that!

One of the most prolific nature photographers and outdoor writers back then was Erwin Bauer. He was so prolific that I read he had to write under different pen names so that it didn't look like he wrote all the articles. Interestingly enough, in his book "Photographing Wild Texas", he wrote about the Bosque del Apache. He felt that it was important enough to include, even though it was not in Texas!

Regarding the focusing rails, I used a Vintec rail(     http://www.amazon.com/Vintec-2-Way-Macr ... d_sxp_f_pt  ) that moves in two axis. I adapted it to mount to an Arca Swiss mount on bottom and an Arca Swiss QR on top. One of the reasons to use it besides focus and composition is to be able to set the lens at maximum magnification and then move the lens to the proper focus point for that magnification. It is very precise in its' movements and locks down firmly. I don't do much macro work now, but it is one piece of equipment that I hold onto for someday when I want to do macro more.

Joe

Yes, you're right.  I forgot the exposure thing.  There was not much room for error.   Here's one for you Joe:  You could not look at the results of any image…….until next week!:shock:  And that was at the earliest.  And depending on the subject, if you blew it, there was no correcting it with another shoot.   I remember shooting a gorgeous tree that was laden with super fluffy, lightweight snow…..right at day break and the snow was deep and temps were low.  I quickly hurried home to warmth on that Sunday morning. knowing that I got what I wanted.  I bracketed a lot.   After much contemplation, I decided that even though I had not exposed the entire roll……I wanted to see the beauty of those trees in that snow at sunrise, into the sun.   But alas, when I went to rewind the film, there was no tension at all. I was scared to open the back because i feared that I would ruin an entire roll  I was confused alright.  Finally, I got up the nerve to see what was inside.  You already know what happened.   The film tail was not securely fastened to the take up spool.  

I guess I would say that I felt so insecure at times.  But I felt elation when that one image I had locked into my mind FOR A WEEK, actually "popped off" the light table, after I frantically open the box and spread them out.   WOW!

Yes, I do remember Erwin Bauer's name.  And I remember seeing a featured article on him.  Did he and his wife not work together in the field a lot doing photography?  I think so.  

Yes, I just googled him.  Peggy is her name. 40 books for Erwin Joe!……40!  Outdoor Writers of America.  He was an old time pro alright.  So was Bill Thomas, probably not as well-known as Erwin, but authored the fascinating book, "How to Make $50,000 as a Nature Photojournalist."   His main theme was simply to re-write each of his articles, so that he could present them to multiple markets.  I loved the book and reread it repeatedly.  In fact, I liked it enough that I've kept it close to all these years.  It is now about 10 feet away.   

Here is a link on Bill, who is also now gone.   

http://www.kentuckyliving.com/article.a ... issueid=57

In the end, his book did me now good.  My problem is that I could not deal with article editors.   I did ok with stock though.  Stock allowed me to remain detached and I did not know what was really happening with the agents and subagents.  I liked that.   No, I loved it.   When I saw "Gamma Liaison International" on the return address and looked at that unique check look in the envelope window……..it suddenly was all worth it!

But I still admire MOST OF ALL…...the one's who combine EXCELLENT nature writing with excellent images.  That is what I want.  I have to get going Joe.  Isn't it always later than we think?

Here is an Erwin Bauer link: 

http://owaa.org/owaa-legends/erwin-baue ... g-it-done/

Thanks:)
Robert

SantaFeJoe wrote:Not good advice! Stay single and find a rich patron! I was single until I was 47. When I got married, the serious photography went out the door with bachelorhood. Now I have no time and little money. I miss those great photography excursions alone! Just don't tell my wife or I'll have plenty of time for photography and no money!

Joe

SantaFeJoe wrote:Here's a link to info on pets on the refuge:

http://www.friendsofthebosque.org/aboutfaq.html

It's under #7.  By the way, there are already 40 sandhills as of 10/18.

http://www.friendsofthebosque.org/index.html

Also, NSNer Sandy Corless is the Festival Artist for 2014:

http://www.festivalofthecranes.com/

Joe

SantaFeJoe wrote:Hey Robert, I really haven't been down there to explore much. I used to go to the ghost town of Mogollon on the edge of that area and always found it fascinating. There were the diminutive Coues whitetail deer and lots of turkeys, mule deer and elk in the area. Around Dugaway Canyon south of Glenwood and near San Francisco Hot Springs, I have seen the bighorn sheep alongside the road on two different occasions. Regarding the forest and wilderness areas, I really can't tell you much with the exception that they are very vast and many people get lost there. If anyone says that there are no wild areas left, they should go there. I once started down a dirt road into the area from the north that led to Snow Lake. I turned around when I found out it was 57 miles of travel before reaching any services and the road was pretty rugged. It is truly a vast area. Another interesting area in the SW corner (bootheel) of New Mexico is the road that goes south from I-10 to Animas and goes for 40 miles (lonely dirt road with no services) to Douglas, Arizona. It is desert, but as you get to one point, there is a seasonal stream with large oak trees. A true oasis in the desert. This is near Skeleton Canyon where Geronimo surrendered:

http://en.wikipedia.org/wiki/Skeleton_Canyon

Not forest, but an isolated area where you are unlikely any people. Sorry I can't be of any help on the areas you are inquiring about, but I really haven't been there, so I'm not truly familiar with them.

Joe