Landscape shoot Cambo with D'Milo.
Posted on February 13, 2012
DíMilo acquired his love of photography from his father and grandfather; while a teenager
he began experimenting with his fatherís Zeiss Ikon by shooting at night from his bedroom window.
ďMy interest became serious in my mid-twenties when I decided to work toward becoming a studio
photographer. I purchased a 4x5 view camera, took some college classes, and began assisting
other studio photographers primarily shooting product. But just as I was starting to gain
some momentum as a student, my life took a major turn and I ended up abandoning photography
as a profession and started a manufacturing business. Then, for 20 years, my photographic
work consisted of shooting product for my own company, family portraits, and travel snapshots.Ē
The iconic Roy's sign in Amboy | By D'Milo
Initial Report on My new Leaf Kit to Replace My 8◊10 Camera for Landscape Photography.
Iíve just returned from a week of shooting in Death Valley and the Salton Sea using my new
Cambo Wide RS AE camera and the Leaf Aptus II 12 digital back.
The following are my initial reactions to this great kit.
-Cambo Wide RS Anniversary Edition (RS-AE)
-Schneider Apo-Digitar 47mm Digitar XL Tilt Shift Panel (47 XL TS)
-Leaf Aptus-II 12
Cambo Wide RS AE
The Body: Cambo Wide RS Anniversary Edition
At first I thought Iíd made a mistake going with the Cambo Wide RS instead of the Arca R.
I was initially disappointed at the lack of focus precision on the Cambo lens compared
to the many turns of focus resolution on the Arca. However, within about an hour of using
the Cambo I was very happy I made the decision to go with it. Otherís have reported that
the fine focussing of the Arca can be a hindrance and for my style of shooting this
would almost certainly have been the case.
The Cambo Wide RS Anniversary Edition (RS-AE) is a joy to use. Originally Iíd planned
to purchase the non AE model and Iím so glad the folks at Capture Integration talked me into the AE model.
Aside from being an absolutely beautiful camera, the movements are smooth and fast and shifts are well marked.
Shifts have positive detents every 5mm but do not have locks. Locks would be a welcome addition as itís
possible to roll on some shift by accident when handling the camera. On a couple of occasions I
noticed a small amount of unwanted shift after a shot. This can be a real problem if you think
youíre shooting centered and havenít made an LCC exposure. However, after shooting with the body
for a while you just get used to checking shift before making an exposure.
Eureka Dunes, Death Valley | By D'Milo
Bubble levels are located top, bottom, and side and are of just the right precision.
Fitted with the Schneider TS lens, access to the focus and shutter controls is tight and
takes a little getting used to. But the compact size of the camera is very welcome and
after a while your fingers just know where to find everything. One thing that seems to be
missing are options for attaching any straps. The beautiful grips are a little on the small
side and those with larger hands would appreciate an alternate way of really getting a grip
on the camera (with an expensive back attached to it) when handling it off tripod.
Latches for the back adapter are smooth and positive but without locks. On one occasion
I noticed one of the latches open. This can be a little unnerving to discover. A little
gafferís tape provides a lot of comfort and insurance.
I used the optional cambo viewfinder with lens mask about half the time. I like it quite a lot.
I usually carry it detached from the camera and often would pop it out of my bag and pre-frame
a shot using it off-camera. On camera itís a great aid at getting you in the ballpark but youíll
use the preview on the Aptus for all of your precise framing adjustments.
The back sync cord is a tad of a nuisance, but a necessary one. A coiled cord was provided
with my system and works fairly well. Iíll be checking to see if a shorter non-coiled version
is available but then again a non coiled version wonít offer any give in the event it gets snagged.
In any case Iíll be sure to carry a couple of spares with me as without this cable youíre dead in the water.
The Cambo comes with a short shutter cable release that can be threaded through the handle.
Itís ok, but I wound up taking it off and leaving it in the bag. In its place I use a much longer
release that I do not pass through the handle. Shooting on tripod this is much preferred and off
tripod is no bother to hold the release in either hand.
Dock at dusk, Salton Sea | By D'Milo
Focusing with a Tech Camera
Focus; this is the largest challenge with tech cameras. If you havenít used a technical camera
before youíll discover the approach to focus is really quite different from focussing a small
dslr or a view camera. Before purchasing my Cambo I was just sure that I would focus using the
ground glass despite what I was reading on line and hearing from CI about using presets.
Well, in my opinion you can just about forget using the ground glass, at least for something
as wide angle as the 47mm. I print very large and critical focus is very important to me and
I can tell you that presets work. If youíre not using lens tilt, figuring out your own presets
should be fairly simple. If you are using tilt (I use tilt often) then things get a little trickier.
For those of you with view camera experience, forget about dialing in tilt visually while using
a ground glass. As a starting point you need to dial in tilt using measurements of lens height
off the ground. Remember, this is just a starting point and the following is only good if your
camera is level and the ground part of your subject is level. If youíre shooting up slope or down
slope then youíll have to make some adjustments, but this starting point will help you get close.
For a given lens focal length, every degree (or fraction thereof) corresponds to an exact lens
height above the ground. Hereís a sample table for a 47mm lens:
Lens Tilt and [Distance off the ground]
- 0.5į [17.6 feet]
- 1.0į [106 inches]
- 1.5į [60"]
- 2į [53"]
- 3į [35"]
- 4į [26"]
- 5į [21"]
Ok, so youíre half way there. Now you have to determine where your new focus at infinity is.
My approach to determining this was to set the camera up at night, and at each degree of tilt,
focus using the ground glass on a distant point of light. Perhaps a better way of doing this
would be to shoot tethered and to zoom your shots to check focus, but this wasnít available
to me at the time. With the Schneider 47mm, infinity focus moves toward you as you dial in more tilt.
Unfortunately the last engraving on the 47mm lens before infinity is 30 feet. My suggestion is to
add your own additional focus reference marks on the focus ring. Using a tiny paint brush and white
acrylic paint I made 3 arbitrary marks between the infinity mark and the 30 foot mark.
I did this before I ever took the camera into the field so I wasnít sure if it would be useful.
Well, those marks made all the difference. For example, in my case infinity at 2 degrees of tilt
is at my ďdot #3?. I determined this using the method above. If the ground is flat where you
are shooting and you have measured your lens height off the ground, have dialed in the right tilt,
and focussed on your new infinity preset, your image will be absolutely dead sharp from the the
close foreground through infinity. Of course, thereís more to it than that. Your choice of f stop
will determine how ďfatĒ your focus wedge is and usually our shooting world is not flat.
But, however you determine your best tilt, your new infinity reference will always be correct
as long as your camera is level.
[Editors note: CI is happy to help customers like DíMilo with the creation of
presets for focus with/without tilt. It should also be noted that the Phase One IQ and Leaf Credo series provide
live-view, focus mask, and fast/bright 100% review on the LCD, which can greatly aid in focusing on a tech camera]
The Back: Leaf Aptus-II 12
My high resolution camera choice before shooting the Aptus was 8◊10 film. I decided to try out
the 80 megapixel back because I felt I was just missing too many shots with the 8◊10. The 8◊10
resolution is killer and yes, film does have itís own wonderful character. But, none of this
matters if you miss the shot. My venture into digital MF with the Aptus II 12 was no disappointment.
The images it creates are just stunning and the Schneider 47mm produces exquisitely sharp images.
I donít think I really believed the claims of extended dynamic range before I started shooting and
this was not a factor in my decision. However, there is absolutely no question that the Aptus back
provides measurable extension of dynamic range. Before I started to play with this gem I expected
that Iíd be doing a lot of exposure stacking. After now shooting the back in many high contrast
situations I can tell you that Iíll rarely need to exposure stack. It really is that good.
The brightness of the display of the Aptus as viewed in daylight is marginal. Youíll want to
come up with your own scheme for using the display in bright sunlight. Using wide gaffers tape
I made a hood that I could slide on an off the back. It was easy to make and worked great.
I also ended up using a dark t-shirt as a kind of dark cloth. This worked wonderfully as well
and Iím not sure Iíll even go to the trouble of fashioning anything more formal. All of this
is important as youíll be using the 100% review mode on the back to check focus and you need
to be able to see the screen well to do so.
The Aptus user interface is very straightforward and intuitive. In no time I figured out how to navigate my way around.
Again, I want to say the image quality of the Leaf Aptus-II 12 is just stunning. My hopes were high,
but this system exceeded my expectations by a wide margin. I had hoped for a kit that provided
a significant increase in agility over my 8◊10 kit while returning a competitive level of image
resolution and quality. Both goals were met handily by the Cambo and Aptus.
Nests at dawn, Salton Sea | By D'Milo
Click here for More Info about the Cambo Wide RS series
Click here for More Info about the Leaf series of Digital Backs
Click here for the Website of D'Milo Hallenberg