View Camera Magazine - What would you like to see?greenspun.com : LUSENET : Large format photography : One Thread
Now that some of the shouting is over I do have a sincere interest in hearing what people would like to see in future issues of View Camera magazine.
-- steve simmons (firstname.lastname@example.org), December 01, 2001
Steve, in general, I enjoy technical articles relating to film, paper, and printing - which we large format photographers tend to be interested in. Don't be afraid to re-cover something, perhaps in a different shade. Andre
PS Also portraiture: any chance of getting Richard Avedon to submit an article? Or have I missed that one already?
-- Andre Noble (email@example.com), December 01, 2001.
Articles and interviews (if living) in each issue of great and near- great LF photographers, with examples of their best work. Suggestions: Paul (not John Paul) Caponigro, Marie Cosindas, the Westons, the Muenchs, Saint Ansel, John Blakemore, Avadon, Meyerwitz, Sudek, Strand, George Tice.... Dig into their philosophy, give specific first-hand reviews of what they were doing and thinking for specific pictures (ala AA's "Examples"). The difference between LF and other photography is much more than the size of the cameras and film -- it is the attitude, which should be emphasized.
-- Wilhelm (firstname.lastname@example.org), December 01, 2001.
Some of your finest articles, including those that originally inspired me to pick up my first camera (a LF one as it happens), have been thoughtful interviews with photographers, usually featuring some of their work. It's fine to dwell on the brass tacks of equipment reviews and darkroom techniques, but at the end of the day it's presumably meant to be about the art itself. In addition to Avedon mentioned above, it would be great to hear (again?) from Sally Mann, Joel Peter Witken, Nicholas Nixon, just to touch on a few. Actually, now that I think about it, there has been more emphasis generally on landscape than portrait (in terms of artists, techniques, history, etc). I'd love to see more portrait photographers, both in terms of their work, but also their ideas and techniques. Not a criticism, and I'm sure these areas have been touched on in the 13 year life of the magazine, but they are what I'd like to see more of.
Still the first magazine I read despite a dozen professional journals in ophthalmology I'm supposed to get through every month!
-- Nathan Congdon (email@example.com), December 01, 2001.
More interviews/portfolios of current photographers.
More detailed "history of lens design" type articles.
Reviews/samples from current books (not how to stuff)
Workshop reviews/descriptions (part promotional from the people offering the workshop plus a couple of reviews from participants)
Articles by leaders of phot suppliers (eg Kodak, Ilford) on how they see the future of their business.
Bios of the greats with some insights from their "assistants" etc
Keepup the good work
-- Alan Barton (firstname.lastname@example.org), December 01, 2001.
I read 'View Camera Magazine' in thirty mintues. rarely find value. I read 'Camera Arts' for days, constantly returning to relevant articles.
you'd never know they were related publishings.
-- daniel taylor (email@example.com), December 01, 2001.
Better editing of articles, especially those submissions by readers.
-- Chad Jarvis (firstname.lastname@example.org), December 01, 2001.
I agree there should be lots of interviews/profiles of contemporary LF artists with generous reproductions of their work. You do a good job with those sorts of features. But more women please. You may have to beat the bushes a bit but they are out there.
Along the same lines, continue coverage of (and feature users of) smaller format view cameras, which some women (and men) prefer for ease of transport. One of my female students saw my 6x9 Arca and her jaw dropped: "That makes me want to work with the view camera! The 4x5s at school are so unwieldy..."
How about a whole issue on medium format view cameras and practitioners?
-- Sandy Sorlien (email@example.com), December 01, 2001.
I know that you are asking what we would like to see, but I will tell you what I don't want to see. I have no desire to see the number of articles concerning digital imaging that you have been running for the last couple years. That's why I haven't renewed. Get rid of all the digital articles and I might consider resubscribing.
-- Ken Burns (firstname.lastname@example.org), December 01, 2001.
I would keep much of what you have as it is very good. Some of the articles I would push to make more technical with much more exploration and information in them. Much like the sorely missed Camera & Darkroom articles used to be, a lot of information and more depth than what we have generally available in the US market now. I have no problem with coverage of pixelography or photo output from scanning or inkjet/digital printers but do think you are right on in emphasizing what we know as traditional photography. Keep it up and let us know in print when the two can be merged or used together to improve our work, our control of the medium or just for information sake. In the digital realm I would like to see more in depth coverage of the realities of it... how fast fading occurs, real life expectance of the storage media, reality of using the digital backs in the field and direct comparisons of traditional & digital where they can both do the same job. Especially the comparisons of B&W inkjet high end and B&W high end printing. Profile a major historical name every few issues (as you have done often) as well as searching out the lesser known names of history that have made contributions to the craft. (as you have been doing)
As for the bricks some throw at your very large & public picture window on the world, let them throw them. No matter what you do you can't please everyone. Get even better printing & some bitch the quality isn't high enough. Accept an ad from a digital firm & some piss & moan about you quitting on 'real' photography. Feature landscape photos, architectural or portraits & those with other favorites feel slighted. You can't do it all in one issue, but then you know that. I have watched the magazine grow through the years & enjoy it. Just a bit more depth to many of the film, equipment and technique articles please. Other than that, keep up the good work.
-- Dan Smith (email@example.com), December 01, 2001.
Thanks for your comments. Portraiture will be the theme of our Jan/Feb 02 issue.
I will work on your other suggestions.
-- steve simmons (firstname.lastname@example.org), December 01, 2001.
MORE COMMERCIAL WORK !!!
No, I don't mean more ads.
I mean more articles about commercial photographers who use large format in their ad jobs. You know ... product photography, etc. There's a huge amount of commercial (non-arsty) photographers doing very good, creative work in large format. Yes, many have gone the digital route but there are still many using traditional methods.
Tip/techniques of the aboved mentioned photographers. Interviews, a day in the life of so and so while he/she tackles an assignment. Above all, something with substance.
BTW, I'm glad you asked. I consider that pretty gutsy.
-- S Ratzlaff (email@example.com), December 01, 2001.
I first started reading View Camera in September 1998 when my father picked up an issue for me while on a business trip. Since then, my favorite articles have been those regarding the art and philosophy of large format photography as well as some of the more advanced technical articles. I'm no a huge fan of digital, and I think that at times there has been too much concentration on digital techniques in your magazine. There are other magazines devoted entirely to digital processes that can do a better and more thorough job. That said, I don't object to the occasional article on digital- there have been a few that I have found very interesting and informative("Mixing Traditional and Digital Processes," Nov/Dec '99), but like others I think that after a point it becomes overkill.
I've always enjoyed articles by/about photographers like John Wimberly, John Fokos, and Gordon Hutchings. As someone else said- I'd like to see some more still life/commercial work, too- along the lines of the Jan/Feb 2001 article on Rob Stanton.
As far as technical articles are concerned, I think equipment review type articles are kind of a given, but shouldn't be over- done. What I'd like to see more of are articles pertaining to refining technique in traditional b&w darkroom proceses in pursuit of making fine prints- things like split contrast printing, use of papers like Azo, and split toning techniques.
-- David Munson (firstname.lastname@example.org), December 01, 2001.
How about something for the novices and newcomers to the world of LF? Do only professionals read View Camera Magazine? I doubt it - I'm not a professional and I read it .....
-- Robert Fox (email@example.com), December 01, 2001.
Ditto to everything Dan Smith said. As a specific example, I'd like to see an extended exploration of the qualities of available fiber based b/w papers, especially with regard to differences between graded and VC types. My own tests show very significant sharpness distinctions, usually in graded's favor, but there are undoubtedly other factors that can be demonstrated such as tonal scale, etc. This is a lot of work, but effort that would be very much appreciated by those of us who do not do photography professionally and have limited time to dedicate to it (see recent thread on that subject).
Most of all, thanks Steve for what you've provided us over the years. It is appreciated.
-- Sal Santamaura (firstname.lastname@example.org), December 01, 2001.
Thanks for giving all of us the opportunity to contribute our personal ideas and preferences. However, even more thanks for working hard and publishing a great magazine!
As some have pointed out, no matter what track is pursued, some will feel left out or not given their due. If you talk about architecture, a table top person might not feel enough coverage has been done to their field. Hopefully, over time, you can write about all of our favorite subjects.
I enjoy studio tours to learn how past and present photographers have set up their operations. Also, I learn much when a photograph is shown and there is a full explanation of the setup with diagrams and discussions about difficulties or obstacles overcome. Maybe an article about how photographers deal with urban shooting when there are lots of people milling about. Perhaps, a panel discussion about lens selection when taking various types of shots-not just numbers, but why they feel certain lens act or react better than others. I personally would like to read histories (not merely the PR sections taken from company literature) of the various companies who are involved in large format-how big is the Sinar factory, how many employees does Linfhof have, how many lenses has Rodenstock produced over the years, a tour of Schneider's factory or maybe an article about how Kodak makes sheet film today. Possibly a photo tour of the US giving suggestions of interesting landmarks and directions where out of area photographers can go when they are visiting. Tips from photographers who travel extensively about their suggestions for the packing and safe shipment and delivery of photographic equipment both domestically and abroad.
Again, thanks for taking the time to ask our input.
-- John Bailey (email@example.com), December 01, 2001.
I thouroughly enjoy the magazine and it has contributed greatly to my ability and expanding my interests in different aspects of large format photography. Keep up the somewhat ecclectic approach to material. I especially like the sprinkling of the mixed bag issues with those that follow a more specific theme. My only suggestion would be the folowing.
It is in the interest of everyone who loves working in large format to help increase interest in the format. I think a series of articles discussing how to get started and the pros and cons of buying used gear vs. new gear, classic vs. modern lenses etc. I don't know how feasable it is to talk about buying used when you depend on new equipment advertisers for revenue, but in my case, being able to buy used to begin with allowed me to master some of the technical aspects and be able to make a more informed decison before I purchased a new camera.
Also occaisonal articles dealing with xtra-large formats. I know you have included such articles in the past and they are a real treat. Thanks for all your efforts.
-- James Chinn (Jchinn2@dellEpro.com), December 01, 2001.
First off, a BIG thank you for producing this publication!! Personally, give us anything and everything concerning TRADITIONAL LF photography. I'll read interviews, field tests, equipment reviews, printing and processing, ANYTHING!! Just don't give me DIGITAL!! I appreciate that digital is a tool for the busy commercial photographer who may also combine it with LF. But I guess the majority of your readers, even those who practice in this commercial field, want to see TRADITIONAL!! There are plenty of digital "rags" around!! We are in a priveliged position in as much as you are open to suggestions from your readers and the overwhelming fear at the moment seems to be that traditional techniques are becoming obsolete. Recent postings concern themselves with films that are no longer being made and the apparent "writing on the wall" that this is the death nell for traditional LF. Please prove the pessimists wrong!! Lets have a journal dedicated to REAL LF. I'm no technophobe, but there is a time and a place for digital, and it aint here!! Regards Paul
-- paul owen (firstname.lastname@example.org), December 01, 2001.
Mainly echoing much of what has been said - articles on/interviews with contemporary LF photographers, their philosophies as well as techniques - not necessarily just "portrait" types - Sally Mann is an example, though you have had some good stuff on her - so: Meyerowitz (his World Trade Centre work among others); Sternfeld (what a great new book); Sturges; Chris Killip; Nicholas Nixon; Misrach; Gursky...?; and suchlike. Maybe some European (ok UK) photographers - Don McCullin's use of LF? Graham Smith; Paul Davies?
That said I also enjoy the reviews of modern LF cameras, as well as things like older but useable lenses - Ektars, Goertz etc.
-- Tim Atherton (email@example.com), December 01, 2001.
Not bad so far! More on alternative processes would be appreciated. Thanks, Steve
-- Steve Clark (firstname.lastname@example.org), December 01, 2001.
An area which perhaps has not been mentioned which would be of value in my opinion would be a "roving critique" of the various LF workshops given throughout the country--an evaluation of personnel, value for the money,the pros & cons--perhaps a touchy subject but if your looking for "truth" then......... And, I would like to see more articles on what is happening in "academia"--what's is being taught, by whom of significance, what trends are being taught, who is making "waves", what is coming out of Rochester,ASU, etc.
-- Raymond A. Bleesz (email@example.com), December 01, 2001.
You presumably have some idea of the breakdown of your readership between professional and amateur photographers but unless professionals comprise a pretty large proportion of your readership, I'd can the articles involving digital stuff that costs $30,000 and upwards. The two major articles in the last issue involving the Sinar back that cost $30,000, and the guy with the all digital system the price of which was never mentioned but that surely was in the $50,000- $100,000 range, weren't real relevant to someone who is never going to spend that kind of money on photography equipment (i.e. to most amateurs). If you want to include some digital equipment articles from time to time, which I think you should, I'd confine them to digital equipment that isn't so expensive that it can be afforded only by people who can pass the cost on to someone else (i.e. professionals), unless of course you have a lot of professional readers, in which case I recognize that you have to strike a balance between the interests of the two types of readers.
-- Brian Ellis (firstname.lastname@example.org), December 01, 2001.
As I said my last issue was the Sep/Oct issue, and I loved the Gum bichromate over platimum article. Althoug I personally did not like the end result, and all the time I was reading it I was thinking: Why ruin a perfectly lovely platinum print? I thought the article was very instructive, it had a little for everybody, negative, print registration etc. If anything I would love to see more articles of this type, a novell approach to the old techniques, for example there is a photographer in Canada who has been able to coat a fixed out baryta paper with pt/pd solution and make a print, he states in his booklet he has been able to get D max of 1.5 with pt/pd and fixed out paper, plus a "glossy" look, I think this would be of interest to some of your readers, another one I came across and thought it was interesting is of a phtotgrapher doing pt/pd on plexyglass using albumen, PVA and siloxane fixative (fixative as holder, not developer fix).
As far as digital, from the previous responses I guess it is a touchy subject, but if anything I would like to see a "competition" between a expertly printed silver or pt/pd print against a piezography print. I am sure you have many beautifull negatives, make one print the traditonal way and the other with piezography, and show it to people (your choice, either layman or expert photographers) and ask them which one thy like best, and why?
I don't want to bore you any more I have hundreds of ideas, but I guess you have enough of those already.
-- Jorge Gasteazoro (email@example.com), December 01, 2001.
Anybody (doesn't have to be a "big name") doing good large format (preferably 8 x 10) work. Their philosophy, their method of preparation for the shoot (more about them as people), their method of seeing, their method of exposing and processing film, and their mehtods of showing their work. Kevin
-- Kevin Kolosky (firstname.lastname@example.org), December 01, 2001.
Thanks for the comments. There have been many good ideas and we will work on them.
Just to clarify a few things.
We've done an article on Paul Caponigro.
51% of our readers claim they are professionals
Ansel is dead. I can't imagine doing anything new about him. No disrespect intended.
An article comparing Azo and regular printing paper is in the works.
PT/PD, silver and digital prints are different media. It would be like arguing which is better an apple or an orange. They all have their beauty, advantages and disadvantages.
We have done articles on used equipment since the beginning. In the Nov/Dec 01 issue we had a detailed article on Fuji lenses. We've done articles on lens design as well and older lenses.
The gum over platinum article was in the July/Aug 01 issue.
An article on reviewing workshops would be a challenge. Why, it is so subjective. In my own workshops I have had people thrilled at what we did and disappointed - all in the same group. I try and be as clear as I can about the topics and class plans and my low tech approach. In one of my groups I had some people going with me from 6am to midnight and up again the next morning at 5 and others mentally check out midweek because I was not techncal enough - they wanted to study the camera not how to use it to make photographs. The reviews of that workshop would have been all over the place depending on who did tyhe writing. A couple of years ago we did a piece where 5-6 people who teach large format did write an essay on what they try and do in their workshops.
We get criticized about John Paul's articles but he is trying to get into the hearts and minds of his subjects and help us get to know them as people and artists.
We are always looking for new artists to feature - looking at photographs is one of the best parts of my job. We will try and feature a few more table top people. Is there an interest in more architecture?
-- steve simmons (email@example.com), December 01, 2001.
Got enough suggestions yet? I have read many issues donated by friends, etc. but have not subscribed as yet because I (and I know I am not alone) care very little about what some "cutting edge" commercial photog is doing in New York or L.A. or who is showing where. Nor do I care to read long- winded, technical articles about film curves. The beauty (and interest)in LF is in the image - not the photographer who snaps the shutter, or the company who made the camera. I am interested in the images and the techniques applied to produce them.
A picture is worth a 1,000 words!
-- Matt O. (firstname.lastname@example.org), December 01, 2001.
I would love to see some Architecture, specially in B&W (is there such beast?), on the other hand I am always amazed at the pictures some potographers turn out in the achetiectural field. Ok, Ok, so I missed the month about the Gum bichromate, still I think it was a good article would love to see more like this.
Please don't take this as critizism, but with respect to John Paul Caponigro, I don't know what it is about his style that turns me off, maybe it is the artistic pseudo-speak, or should I call it methaphysical comparisons, I really cannot pinpoint what it is, but I do know that I let my susbcription lapse since I started seeing his articles, and every time I saw there was an article by him, I did not purchase the magazine, specially since I was so disappointed about his interview with his father, such a great opportunity lost in the artsy pseudo-speak! ah well!.....ok I think this is enough from me. I wish you continued success.
-- Jorge Gasteazoro (email@example.com), December 01, 2001.
I like photographer's portfolios, much like what is found in B&W magazine. I also like to read articles about how different LF photographers use their equipment in the field. I like bios on LF photographers. I am not really interested much in the latest and greatest of equipment or technical aspects. Art and personality profiles are what I enjoy.
-- Todd Frederick (firstname.lastname@example.org), December 01, 2001.
i do HABS/HAER work, and have a deep interest in historical photographers who did architectural and topographic work in the 19th century, such as carleton watkins, edouard baldus, le gray, marville, sebah, bonfils, zangaki, antonio beato, a j russell, fenton, and auguste hippolyte collard. i would love to see some in-depth articles about any of those folks, and any contemporary pros in the field of architectural and engineering recordation, such as jack boucher and jet lowe.
-- jnorman (email@example.com), December 01, 2001.
Unsung heroes. I'm a lot more interested in folks with names I don't immediately recognize that are doing novel things in large format. Do a piece on the under $1000 complete outfits possible. Do a piece on old pro's that bought a Deardorff in 1955 and are still using it. Investigate some of the regular contributors to this forum and I'll bet you'd find some interesting approaches and visions. Reprint some of the stuff most asked about all together in a special that could be bought seperately like the history of lens design pieces. And by all means ditch the digital crap. Start a 3rd mag for that. Best wishes!
-- Jim Galli (firstname.lastname@example.org), December 01, 2001.
Thanks, Steve, for giving us the opportunity to say what we'd like to see in View Camera. I doubt it will be very helpful to you, since we'll have different and even contradictory opinions, but I really apreciate your asking.
I hadn't meant to add anything to this thread, but after reading the exchange about John Paul Caponigro, I want to tell you that the one article from View Camera that I treasure, and have read and re-read until the magazine is falling apart, is John Paul Caponigra's interview with Christopher Burkett. I had dismissed CB as just another photographer of forgettable color scenery, and had never really looked carefully at his work until I read this article. Now I think I have a much better appreciation of Burkett both as a photographer and as a human being, and it's all due to that article.
I agree with Sandy that it would be nice to see more female photographers featured in the magazine, and I always want to see more on alternative processes. I would also like to see more about vintage lenses, particularly pictorial and portrait lenses; Jay Allen's short article left me wanting something more in the way of specific information about the various lenses.
-- Katharine Thayer (email@example.com), December 01, 2001.
I think it would be useful for readers to have a profile each issue of a photographer covering topics like their photographic ideas, inspirations, techniques, perspectives and part of it could also be a small biography to show what's possible and what others are acheiving. I know there's only so much available space each issue so it would have to be brief but it would help intoduce different applications of imaging....small format...large format....digital etc. to others who may only be familiar with one format. It would be like how some of the interviews that have been down in your magazine but a monthly feature.
-- Paul Doty (firstname.lastname@example.org), December 01, 2001.
the 10 year old back issues i have i treasure because of the amount of solid info from real artists working in lf-commercial, fine art or what have you.
i don't subscribe because when i pick up an issue and see yet another exercise in velvia carnival color by yet another pretentious yuppie art pimp, or another pretentious article by the same pretentious yuppie art pimp who has been taking up entirely to much space in your otherwise wonderful magazine, i don't buy that issue.
the article on fuji lenses was a great service to all of us who in fact create art with lf cameras. your articles, steve are wonderfully informative and good reading. wisner's articles are also always great reading and instructive. ditto norman mcgraff. ditto cole weston, wimberly and so many others.
i think i would subscribe if you dump caponegro
i have to echo the comment about camera arts v view camera-but you could still dump caponegro
i think you should dump caponegro
hey steve-dump caponegro
-- rick zollo (email@example.com), December 01, 2001.
I'm a subscriber and I'm not so put off by the digital media. Here are my thoughts for articles.
1) I think someone mentioned above getting started for under $1000.
2) Building a mammoth camera. (a kind of how to article) My friend and I are in the process of doing just that and maybe there are others who have taken on such endeavours.
3) Making old view cameras better. I'm sure there are quite a few people out there who have an old Gundlach or Korona or 2D that have devised all sorts of ways to refine them.
4) How about an interview with the airlines about travelling with big camera gear and what we can do to make travel easy and painless.
5) How about the digital darkroom for under $1500. I love my Omega E4 but maybe I don't have the space.
6) Maybe a travelogue in the US for unusual or less travelled places. (I would expect readers may want to contribute here).
7) Speaking of, an article defining national and state park priveleges (sp) for photographers would be good.
8) OK, last one, How about a discussion with Kodak or Agfa about the future of LF products.
Thank you for the opportunity to contribute some ideas.
-- Kevin Kemner (firstname.lastname@example.org), December 01, 2001.
The vast majority of View Camera issues are superbly laid out. I hope that you continue with this high level of performance. Am I in error to say that yours is the only magazine that includes portfolios and interviews of large format women photographers? Certainly your magazine deserves commendation for the even-handedness with which it features women photographers. I notice that several women responded to your question on this webpage, which is almost unheard of at this website. I like the fact that you do discuss the photographers attitudes and the problem solving required to take the images displayed in the magazine, and I hope this practice continues. You invariably do this when you write articles for the pubication. It is the interplay between image and text that made Ansel's books on photography so helpful. I am of the impression that your magazine is largely devoted to American photographers. It would be satisfying to me if more were disclosed about the portfolios and commentary of the European or Asia large format landscape photographers. If there was any area in which your magazine has a shortcoming, it would be the unimaginative, strike that, awful advertisements by a few of the equipment manufacturers, in obvious need of input from a graphic artist. Overall I am content with your magazine as is but see no copellig reason why should not experiment
-- David (email@example.com), December 01, 2001.
i've been getting your mag for about 8 months or so. i'm not new to photography, but i am new to lf. there are so many things i want to know. equipment, lenses, (fuji item was great.) i really need some basic "how to" lf stuff as well as lf darkroom. and keep the inspiring bits, (personal work.. maxwell mackenzie ect.) as for digital... well its here to stay. its just not for me, and not what i expected when i subscribed. i didn't even read the articals. my interest is in the more conventional realm of lf.( 1/2 sec. @ f:16 w/ 3 degrees of tilt.) meat and potato stuff. my 2 cents. and thanks for asking. dee
-- dee seegers (firstname.lastname@example.org), December 01, 2001.
Mr Simmons, I'm glad you finally ask.
Open it up to readers (show that you approachable), with a letters/questions to the editor section.
Improve the type and lay-out, it has always been a bit of a mish/mash.
Devote one issue per year to young LF photographers, the ones finishing their education: let them decide on the contents, have them edit the entire issue- with your gentle advice available to them if needed.
Make it easier for Canadians to subscribe, you sent me a faxno. that was of no use-I informed you but never received a reply.
-- Hans Berkhout (email@example.com), December 02, 2001.
Howdy Mr. Simmons, I'm brand new in the large format arena with a omega view 45F and a toyo field AII, a few 'nice' lenses and lots of desire to learn. I bought my first issue at a local Barnes & Nobel bookstore in Dallas this past month and also really devoured the article on the fuji lenses. I would like to see some article helping/teaching all of us 'newbies' a new important aspect each issue. The pros can skip over that article if they are so smart that they can't learn something from it. I did also buy your book and will shortly start trying to absorb the information. I have just bought a book about 'Hollywood Glamor and portrait shots and how these were supposedly done including the retouching of the 8 by 10 negs. The book is very general and would like to see more specifics. The name of the book is: HOLLYWOOD PORTRAITS-CLASSIC SHOTS AND HOW TO TAKE THEM by roger hicks and christopher nisperos , photographs from kobal collection. lib of congress #00-103119; isbn #0-9174-4020-8. It covers the 'stars' and celebrities of the 1930's, the 40's and the 50's. Some of the photogs were Laszlo Willinger, Frank Powolny, Robert Coburn, Ashley-Shaw, John Engstead, C.S. Bull, George Hurrell to mention a few. I was telling a friend who shoots for universal studios about the shots that i admired from Hurrell and he suggested i look into getting a book on some work by Horst, which i don't know of yet. Just trying to emulate this type of work is a REAL joy in todays busy and crazy world. We should all feel blessed to have this passion and to be able to pursue these dreams, i mean just look around us right now. I'll be looking forward to the next articles concerning portraits and will purchase a subscription just because you evidently had the huevos to stick your neck out here in the 'flames' and are commited to your cause for a top notch issue each and every time. Portraits are not the only thing that interests me, a little landscape possibly floating down a river in my 17 foot canoe, tabletop product photography like cosmetics, food, jewelry, archetecture to name a few more interests. The platinum process as i know nothing of this (neewbie) but have stood at a display downtown for hours with my mouth hanging open. The TONALITY of the black and whites were undiscribeable. I'd like some real specifics as far as how to retouch the negs as some of the above mentioned photos used to do in the 30's , 40's... I'd like to see some specifics to setting up an affordable LF darkroom. I don't care what the photogs had for dinner but I'd like to know the mindset of them as they prepared to photograph some of the celebs of yesteryear, their preshoot planning, their lighting techniques and the reasons behind these. The films of choice and methods of processing are another interest. A final note, I WOULD BE WILLING TO ORDER A CD SET WITH ALL THE PAST ISSUES COMPLETE WITH SCANS for my personal library and enjoyment/learning. i'm going to pick up the copy that i bought last month and turn in my subscription now. Gracias! miles
-- MILES FEIGENBAUM (firstname.lastname@example.org), December 02, 2001.
Ooh....I like Hans' idea. I'm 19 and I know maybe one other college-level photographer who voluntarily shoots large format, so it would be really nice to see what other student and emerging photographers are doing in large format. Perhaps something of a similar idea to what PDN doesto showcase emerging photographers, but with people shooting with view cameras.
-- David Munson (email@example.com), December 02, 2001.
How about an article about Jon Cone and a rundown on all the different papers, inks, software, and printer combinations he sells?
-- John Hennessy (firstname.lastname@example.org), December 02, 2001.
View Camera has had some excellent articles throughout the years. I could see it as value added to occassionally re-publish some of the gems of the past. In fact, having a whole issue on gems would be neat. That's an issue I would purchase.
I realize that some people may have saved older issues, and may already have some or these articles. At the same time, I'm sure that View Camera has many new subscribers in recent years, for whom these articles would also be new.
-- neil poulsen (email@example.com), December 02, 2001.
How about a two year running series profiling those who are dedicated to teaching large format or serious "vision" oriented photography , not just the technical and copy cat stuff, around the world. break the US up in to sections: East, South, Soththwest, West Coast, Midwest. then Europe and then Asia.
How about a piece on Robert Adams?
What is Nicholas Nixon up to?
How about a piece on Joel Meyerwitz's World Trade Center project?
Is there any humor in large format photography?
-- Ellis Vener Photography (firstname.lastname@example.org), December 02, 2001.
I forgot: A piece on Texas LF photographers.
-- Ellis Vener Photography (email@example.com), December 02, 2001.
An amateur/hobbyist LF b/w photographer and a subscriber in my second year, I am basically happy with the current layout of the magazine. Possibly others than myself would like to see some or all of the following in future issues:
1) While granting that Ansel is dead, articles on important but perhaps lesser known historical figures such as William Henry Jackson, Charles Jones, Alma Lavenson.
2) Brief reviews of current photography exhibits, photography books still available new or used, or even television specials, written by practicing LF photographers (as opposed to critics without experience in our craft).
3) Equipment reviews or discussions of technique duplicating articles in long past previous issues for the benefit of more recent subscribers. Perhaps include darkroom, mounting, matting and framing?
4) Short stories written by or about amateur/hobbyist LF photographers, both biographical and accounts of LF outings to sites that might be accessible to some of the rest of us.
I look forward to my next issue. Good up the good work. Nick.
-- Nick Jones (firstname.lastname@example.org), December 02, 2001.
Very interesting to compare the above comments with this same discussion from last March:
-- Micah (email@example.com), December 02, 2001.
Excellent suggestions so far. How about one devoted to hand held LF?
-- Bob Eskridge (firstname.lastname@example.org), December 02, 2001.
John Paul Caponigro and Abigail Foerstner are two of the best photography writers and interviewers. please retain their services and contributions. why we do what we do is as important as how we do it. I would like to see a departure from the landscape crowds and more focus on using large-format in unconventional ways by unconventional artists.
-- daniel taylor (email@example.com), December 02, 2001.
Having thought about it overnight, I finally realized that the most important thing about photography -- good pictures -- are often missing from the magazine. Often it's possible to go from cover to cover without seeing anything original or profound, or even beautiful, including in the many advertisements. That should be the primary purpose of the magazine, namely showing us great images unique to LF. Everything else is secondary.
-- Wilhelm (firstname.lastname@example.org), December 02, 2001.
I have been a subscriber to vc since the third issue and immediatly bought the first two issues but in the last couple of years there have been less issues with articles I enjoy. I keep my subscribtion up so I don't miss something. I guess there is only so much you can say about traditional large format photography. William Blunt
-- William Blunt (email@example.com), December 02, 2001.
Steve- First, let me applaud you for asking. You have received many good suggestions in response. From them I assume your readership is relatively young or at least in terms of experience with large format. I, on the other hand, have been involved for many years so my comments come from that background. I would like to see the work of young photographers, or at least lesser known photographers, not the same old dinosaurs.
The product reviews and technical articles relating to large format are good. But please, could you scrap the digital stuff? A magazine already exists devoted exclusively to that subject. Thanks again for asking.
Regards, Merg Ross
-- Merg Ross (firstname.lastname@example.org), December 02, 2001.
Thanks for asking your question. I hope you will return with this question every year or so. This forum and your periodical are rowing in the same direction. I agree with many of the recommendations that have been previously posted. And I am very pleased that the awkward first try at communication (in the previous thread) has become more positive.
-- Michael Alpert (email@example.com), December 02, 2001.
Steve Dan Smith's comments has my vote. I couldn't say it any better.
-- Harry Martin (firstname.lastname@example.org), December 02, 2001.
Hello Steve, I emailed you a month ago about a photography site that was in need of your help. And you didn't even respond with a curt stick it. I know you are busy but this brings me to my point of what is and has always been missing in View Camera. That feeling of being connected. Being connected to something bigger. Large format shooters are different. And we are snobs. We feel we are in a separate class and we are purists. That feeling of being connected to a group and knowing who's who. That personal touch. John Paul Caponigro? A little too far into metaphysical art talk. Hard to feel connected to him. Jay Dusard? Now that is one plain talkin guy. Easy to become involved with. Ruth Bernhard? What a great story and wonderful photographer. And with a great approach to photography. Nothing hard about her approach. Ron Van Dongen? Flowers that are beautiful. You the architectural shooter. Landscapers, still life shooters. Guys like me that shoot hand held. With modernized old equipment. We LF photographers are all of these and more. I asked you to have a look at a site on the web and see what community means. The site is full of LF photographers, from those just learning to those of us who are already teaching it. Like this site. Large format photographers come here to learn and be a part of something unique. And you are listening to them. But what of the new arrival to large format? Your magazine should link that person to other places and other photographers with whom he can become aquainted and become a member of a larger community. Have you put the address of usefilm.com into your magazine? Just a one line recommendation to go have a look? How about Ed Buffaloes site? What a resource. How about the address of this site? I haven't seen them. But you come here and ask us to purchase your magazine. It deserves something from you in return. Link everyone together. Like a bookmark section. Doesn't cost you much space. Where is the sense of community? That's how you get it. Usefilm.com is such a place. Not a clique like so many yahoo sites. But a really good teaching site. A site that gives lessons and homework to do. Full of nice people willing to help a new arrival get their feet wet. And lots of images to look at. Like your magazine should have in it. So please give usefilm.com a look and find a small place in the magazine for an ad and include this site as well. Create a space for suggested e-sites. Links to large format photographers sites. Help make large format into a family. Link all the resources up. Be a leader in the field. You will find readership will increase dramatically because this will become "the" place to look for all things large format. And I'd like to see a lot more emphasis on images and how they come about. Why did Cy De Cosse start shooting still life and how does he achieve such beautiful results? How did Hurrell light those magnificent portraits? How does Karsch do it? How did Wynn Bullock get such high contrast into his images without blowing out the highlights. How does Tom Barril solarize his polaroid film before he shoots his Botanicals. How about books that are out there that will peak our interest in shooting? There are hundreds of them. Where in Joe Shooters area are galleries where a large format photographer can go see examples of work by other large format shooters. Places to stop when traveling like Dan Smith's gallery in Provo or the venerable The F Stop in Santa Barbara. Or where do you hang out in New Mexico. Make this magazine "The" resource and you won't begin to be able to fill the new subscriptions. And go to usefilm.com and take a look and see what community is like. I plug your magazine there all the time. And some of the other wonderful magazines out there like your companion Camera Arts and B&W and Lenswork. They aren't competitors. They are resources. Just like auto malls. Hint Hint. James Mickelson
-- bigmac (email@example.com), December 02, 2001.
I would like to see more articles about the specific aspects of the technique used by well experienced LF photographers,a "how I do it" type of article. I would like to see more european photographers featured,there are some wonderful people outside the US and their experience and take on LF photography would be of interest to me.
-- luis a de santos (firstname.lastname@example.org), December 02, 2001.
Thanks for asking.
Please continue to do articles about digital. Itís the future of photography, without a doubt. There may be other sources for information about digital, but the revolution that weíre witnessing deserves to be reported from many different viewpoints, especially the ones that VC can provide.
For instance, an article could profile a great digital practitioner, his or her techniques, how those techniques affect the final images, and of course, a portfolio of images.
Donít exclude the perspectives of the working professionals (for digital or film.) For that matter, why make a distinction? All practitioners, commercial, amateur, fine arts, young and old, are gaining experiences that are worth sharing.
-- Don Wong (email@example.com), December 02, 2001.
As others have said before, I would like to see articles that are directed at the relative newcomer to LF. Realizing that you have probably done these types of articles in earlier years does nothing to help us new subscribers to your magazine. We are seeking out new ideas (to us the beginner), new or used equipment, and more importantly to learn from those that have gone before us.
I sometimes feel that as a "newbie" I first have to resolve what your articles are about from other means such as the web before actually digesting the content. As James Mickelson has pointed out there are excellent resources on the web and you might choose to be a focal point for many of these. At the present time I see your magazine in danger of becoming less appealing to new LF photographers like others and myself.
Earlier you stated that the readers have claimed that 51% of them are professionals. This is probably true and if you wish to reduce your present readership downwards towards the 51% marker then you will continue to cater to their needs. As for me, my first year subscription has just become due and I have just finished asking myself what value your magazine has provided me for my hard earned dollars? What else might I have done with that money towards increasing my enjoyment in LF?
I carefully reviewed the issues I received and compared their useful content to the web, other magazines I subscribe to, and books I have bought. The conclusion I came to is not in your favor. I am now on the fence in regards to renewal and truly am hoping that your magazine may become one of my premier choices in my selected area of interest, which is LF photography. Believe it or not I have just as much "disposable subscription money" as any professional but I am doing it for "the pure joy of it" which would seem to be a very strong driving force.
Crossing my fingers and hoping that your magazine changes to include us newcomers.
-- GreyWolf (firstname.lastname@example.org), December 02, 2001.
I am pleased at so many responses. I will spend the next week or two going through them to see what common threads there are and how to achieve a balance in the case of competing interests (less digital vs digital is ok for example).
We are publishing an Article Index in the Jan/Feb 2002 issue covering all articles we've done between our first issue in 1988 through the Nov/Dec 2001 issue.
We plan to continue our coverage of the alternative processes, working in the darkroom, we will add more how-to info in each portfolio and do more how-to pieces, etc. We will also do more on table top photography including how-to kinds of articles.
-- steve simmons (email@example.com), December 02, 2001.
Steve, thank you for asking this great community we have here. From the responses so far, you can see that View Camera has many supporters here. Here is my $.02
Here is what I would like to see in future VC issues: Printing articles from 'master' printers, ie John Sexton. Getting started in LF architecture: an insight to equipment needs and techniques. How about an article from an emerging amateur?
Since I am new to LF (May of this year), I am unaware of articles pre-2001. Can you publish a list of past issues that you might have sitting around gathering dust? I also like the idea of putting together a digital darkroom for under $1500. I know I might get flamed for that request, but I am at a crossroads for printing, since I don't own my own printing equipment yet.
Your workshop this past May was my first exposure to LF, and you were very approachable regarding beginner's questions. I have learned quite a bit from VC Magazine and this forum ever since. Please keep up the good work, and visit here often.
-- Andy Biggs (firstname.lastname@example.org), December 02, 2001.
As another who has the magazines from the first issue I will add one more thing. Through the years I have questioned some of the articles & the slant of a number of issued. But over the years many of those I first thought of little interest to me get another looking at as I move forward, learn more and get more experience. A question comes up & I go looking through back issues & find it, often in one of the articles that didn't interest me the first time or a few years back. I see this as a tough balancing act for Steve, putting out a product people will buy & want to continue to buy while stifling the urge to focus it so narrowly that it covers one aspect completely at the expense of other areas. Each issue is interesting or at least has something of interest for me. I wouldn't mind seeing a few very in depth articles running over a few issues. One thing that might help is a reference box occasionally pointing out earlier issues that covered a similar subject...which might help sales of back issues as well. The format specific issues are fun though surprising in the lack of response from many of us when the call goes out months in advance for images in these formats. Try it again & see if it picks up. Your issues with solid contests are good as well and I wouldn't mind seeing more of them with some very specialized topics or formats mixed in with general 'open image calls'. I could easily see a photo call for infrared or Bergger warmtone or Ilford coldtone or such with prizes from the product makers or distributors as part of the awards. Product or format specific might help bring attention to certain aspects of the LF family. Heck, even announcing something like "Yellowstone in LF B&W" two years ahead of time might spur many who want to go there to shoot to finally get going and result in an interesting issue. I am not quite so worried about pixelography compared to photography but more so with the final image and am most interested in how the images came about, why some were taken and the thought that went into them during various stages of the process. And, I do enjoy the interviews of John Paul Caponigro but sure would like to see an in-depth retrospective of his father as well as some other 'icons of photography' still living, something past the interviews. Some have been done and more remain. Keep up the good work.
-- Dan Smith (email@example.com), December 02, 2001.
Dear Steve, hope you don't regret asking now!
My personal angle on this is from the point-of-view of a professional photographer (only occasionally get to use LF for professional work), most interested in the craft of large-format, 'fine-art' photography, for personal work. I have little interest in digital for LF.
The main reason I buy View Camera is for the articles on both big-name and lesser known photographers. Interviews, features etc. which get into the minds of the picture-makers, which talk not only about the technical and practical side of their work, but also about what compels them to make the work, the thought process, the philosophies behind the pictures. I can't believe people are so dismissive of John Paul Caponigro. Do they really want to read a magazine which talks only of technique or equipment, and not about the philosophical or spiritual process of making Art? I read and enjoy many of the articles on technique, but you could swap twenty of those articles for the feature on Sally Mann, or the interview with Richard Misrach, for example.
My only criticism, as an Englishman, is that the magzine has a very 'American' flavour. I'm interested, of course, in American photography. However, it would be great to see some work from the UK/Europe. There are some really great people working in large-format over here: Jem Southam, Thomas Joshua Cooper (American I know, but resident in Scotland), Thomas Struth, etc. etc.
Finally, I would very much like to see my own work in your magazi
-- Stephen Vaughan (firstname.lastname@example.org), December 03, 2001.
Sorry.....in your magazine :-) !!
howcome the end of my sentences always cut short?
-- Stephen Vaughan (email@example.com), December 03, 2001.
Who is Captain Ferricyanide? Perhaps he or another maven of Ferricyanide bleaching can offer some hands-on instruction in this process. I've been getting dark yellow stains on Ilford Multigrade paper when doing selective bleaching of dark black lines. Is this staining avoidable? Remediable? Thanks for asking.
-- Said Nuseibeh (firstname.lastname@example.org), December 03, 2001.
You should continue your coverage of both traditional and digital processes. However, most import, you should rededicate yourselves to showing fine quality images, and not those of here today-gone tomorrow gallery promoted trendies who lack technique and vision or those of moderately accomplished amateurs who get published primarily because they are famous for other things. There are many lifelong, highly accomplished, professionals who need and deserve greater exposure. At the end of the day we all learn the most from seeing great photographs.
-- Mark Lipton (email@example.com), December 03, 2001.
Here is what we are planning for the next few issues
an issue on portraiture in Jan/Feb 2002
an article comparing Azo with vc paper in Jan/Feb 02
an article index from 1989 through 2001 in the Jan/Feb issue
an article on color transparency films for outdoor work in jan/feb 2002
John Paul will continue to write as he has time. The reviews on him seem to be mixed but he does bring a context to his articles that no one else does
an article on using filters sometime in 2002 (for b&w)
an article on Thomas Joshua Cooper is in progress
an article on setting up the digital darkroom for less than $1500 sometime in 2002 (black and white and color)
an article on making the contact print and an issue showing photographers who only make contact prints - smetime in 2002
we are working on other ideas and reviewing all of your comments. Thanks
-- steve simmons (firstname.lastname@example.org), December 03, 2001.
Steve, thanks for asking. How about more coverage on photographic permanance, archival processing of B&W materials. What does Wilhelm say about this subject? How do the accepted masters in the fine art field process for permanence. What products improve archival permanence most effectively? I have been a subscriber for several years and look forward seeing this subject and the others suggested in upcoming issues. Ed O'Grady
-- Ed O'Grady (email@example.com), December 03, 2001.
Steve, I would enjoy a retrospective of Paul Caponegro's work.
-- Barry Trabitz (firstname.lastname@example.org), December 03, 2001.
I would like this opportunity to restate my opinion of John Paul Caponigro and his articles and interviews in View Camera. I reread my response about John Paul's interviews and it wasn't what I meant. I enjoy his interviews very much and his articles on digital printing. I was just using him as an example but failed to do a very good job. Please keep him on the payroll Steve. But also add other voices to your Magazine. Thanks. James
-- bigmac (email@example.com), December 03, 2001.
Gee, they came out of the woodwork on this one.
My rec's are; Portraiture(covered), competitions, in-depth camera reviews (especially older models for the new enthusiast), old/new lens reviews and test, centerfold (camera optional), handheld 4x5 article, 2x3 cameras article, Dunkin Donuts coupon, View Camera hats and t-shirts.
Get up a small budget and I'll produce a TV show for ya.
-- Wayne Crider (firstname.lastname@example.org), December 03, 2001.
Gursky, interview him and get him to talk technical. In view of the noise lately on this forum about the going-digital-trend and View Camera's role in this, this may be a useful illustration of combining the best of the two worlds. Also, does Meyerovich still use the same techniques as during his Cape Light project, or did he come up with novel insights?
-- Marcus Leonard (email@example.com), December 04, 2001.
Lots of good suggestions above.
Coming from the U.S., I'd also like to see more work on photographers in other parts of the world, where the aesthetic and historical influences are much different from those in the American tradition, Gursky just being one of the biggest names.
Hard to get enough info about classic lenses, but of course, I know you've already published articles on them and they aren't making any more of them. How about publishing a _View Camera Magazine Guide to Classic Large-Format Lenses_, compiling articles from past issues maybe with some solid comparison data, tables of resolution and coverage and--most importantly--photographs made with these lenses that show their special qualities?
Have you ever done something on repairing and maintaining classic shutters? That's something I would like to see.
-- David Goldfarb (firstname.lastname@example.org), December 04, 2001.
Well, I'll toss out an idea, in regards to some of the posts about preservation work. I know you all did an issue interviewing the 2 primary HABS/HAER guys, and some other preservation architectural articles in year's past, but I also enjoyed the article you did on the Chicago Albumen Works and the introduction of Centennial POP. Along the lines of archival storage, although there's a heck of alot of this info out there already ....anyways, maybe do an article about the Image Permanence Institute, the PAT and the updates to the ANSI specs....alot of people talk about archival storage, but really don't have an understanding of the "marketing" that goes on in some of the products out there....I'd also be interested in some more on the Chicago Albumen Works and the work they're doing in regards to preservation masters and conservation work on safety-based films....I know this isn't exactly "large format" shooting, but it still might be interesting to see an article about floating emulsions off decayed negs etc. Besides fine-art, the majority of the larger institutions around use sheet film, and I imagine will continue to do so as long as possible....my opinions here, not my employers.
-- DK Thompson (email@example.com), December 04, 2001.
With so much said, a few short comments: 1) Steve, don't be intimidated by the ludites that do not want to see more Digital stuff. They are probably the same ones that saw the portent of doom in such modern amenities as "artificial ice". For them you could have a few articles written by .....psychiatrists. 2) Don't limit articles to subject matter on the basis of equipment cost. The misguided pragmatism of those who propose such is the road to ignorance. A good magazine should open minds and be more than a Sears catalogue. 3) The LF community has a large population of the color blind or the pretentiously so. Humour them by all means, besides, it's cheaper. But do publish more articles dealing with color. We humans were given the great gift of a colourful world and the eyes to glory in it. Yes, colour photography is artistically more difficult as the good Ansel found out but that is no aliby for all the snobbery of the colour blind.
-- Julio Fernandez (firstname.lastname@example.org), December 04, 2001.
What I would like is a reason to pick up your magazine when I don't even have time to read it. The first two years I read your magazine I didn't even begin to undertand thoes articles on doing some complicated procedure or other -- now I go back and read them and I now they are there. If I am too tired or busy to read, I must pick it up for my archive and I will read it in six months. For the last near on year, there has been none of this in your magazine. I don't want to keep an archive of digital gizmoes that will be obsolete. Your magazine was a reference book bought monthly, now it is a "Dr. Tomorow" flyer. Dean Lastoria
-- Dean Lastoria (email@example.com), December 04, 2001.
I wish to again express my appreciation for all of the input I've received in the last week or so. Please be assured we are carefully reviewing all of the comments. Some articles are already developing out of the comments and I am sure that more ideas will develop as we review the suggestions.
In the next few weeks we will be updating our web site and one of the possibilities is that we will try an area where people can upload images and receive comments. However, before we try this I have two questions
is there any interest in us providing this type of service? should it be open to everyone or just subscribers? It is going to cost to create this service and subscribers are helping support our efforts.
Another question. Should we post articles on the web site? If so how current should they be?
-- steve simmons (firstname.lastname@example.org), December 05, 2001.
If there were a searchable archive online of back issues, that would take care of the problem of requests for older articles, and if it were available only to subscribers, that would certainly convert me from a frequent newstand purchaser to a subscriber. If it were a subscribers-only service, of course, it would really have to be well done with a good search engine, up to date, and a reasonably fast server.
-- David Goldfarb (email@example.com), December 05, 2001.
Steve, I've got every issue from the first, and still subscribe. To answer your questions: I have no interest in your providing the image upload service. It is available elsewhere, seems to bring out the worst in people and has the potential to tie you up resolving problems as an administrator. If you implement that capability anyway, do limit it to subscribers. Second, I suggest you don't publish articles on the Web site. There's no point in buying your publication if you give it away.
You are planning an article index in the Jan/Feb issue. If it's like those previously published, improving it is where I'd like to see you expend the effort you'd otherwise allocate to image upload/on-line publishing activities. All your previous indexes have been less than easy to use. They frequently don't place things in categories one would expect, and leave out many items, resulting (for me anyway) in time consuming manual searches. All this may be too late for the next issue, but please work on it before you publish another index after that.
Thanks again for listening.
-- Sal Santamaura (firstname.lastname@example.org), December 05, 2001.
As a relative newcomer to large-format photography and hence the magazine I'm looking forward to the article index; however, you already provide that on your web site so it would be nice to have a brief summary (in the magazine or web site) so I could decide if I would like to order it.
I would also like to see information about some of the older cameras, as someone suggested. I read about a lot of cameras that I don't know much about and it can be almost impossible to find any information about them.
Lastly, I'd love some "beginner's" articles. I read about all sorts of techniques that are easier to accomplish in LF than roll film, but find it hard to learn how or why to use a technique (such as flashing paper or film).
As for the online archive, I agree that you should not give something away for nothing, but having an archive online for subscribers would be great. I don't know how many people order old articles, so you may have to consider the # of subscribers you'd convert by adding the searching vs. the $$$ you get from people purchasing old articles.
Thanks for asking! and as for the digital issue, while it's not something I can seriously consider I did find the issue interesting to see where digital is taking the industry and how far it has come. Personally, I'm not interested enough in digital to buy digital mags, so having that show up in my mailbox was perfect.
-- Jennifer Waak (email@example.com), December 05, 2001.
Steve, As a long time subscriber whose indulgence in LF photography is strictly on a personal level, not commercial, what I like most about your magazine is when you share information on a broad range of topics. When your primary focus for an issue is on one subject, like digital in the last publication, you risk having many disgruntled readers who feel they get nothing out of it because it's not necessarily something they are intersted in. I am interested in digital output possibilities as long as they are within the financial grasp of a financially challenged photographer. Please do keep a focus also in B&W traditional processes, glad to hear you may be doing something with contact printing soon, love seeing portfolios with interviews whith the photographer which not only discuss the technical aspects of the images but what motivated the individual as well. Although John Paul Caponigra's articles may not be everyones' cup of tea, I do enjoy his interviews and hope to see more. And lastly, please continue to broach the topic of landscape photography. Although it is a well trodden subject I still find it most stimulating and facinating when done well. For the landscape is where we play out the drama of our daily lives, and it has shaped us in countless ways over the centuries. Today we are changing and influencing it more then ever and who knows where that shall lead. Thanks for the hearing me out.
-- Saulius Eidukas (firstname.lastname@example.org), December 06, 2001.
I think your magazine would do better if you provide the articles to subscribers, as a LF phtographer I want you to do well and I would certainly subscribe (now that I know you do take subcriptions from Mexico) if you would provide an expanded web site with past articles and photo uploading capabilities for subscribers. Since an expanded web site will cost you more, I think it is only fair you get somehting out of it.
I beleive your photo uploading is a good idea, this way you are more aware of what NEW or UNKnown people are doing plus it will allow other LF photographers to see what other people are doing specifcally in our area. I think in a sense you would be uniting LF photographers more thus making your magazine more valuable to us.
-- Jorge Gasteazoro (email@example.com), December 06, 2001.
Hey, here's an idea. See the thread:
currently active. How about hosting this forum (software and data) on your View Camera Web site? Pefect synergy!
-- Sal Santamaura (firstname.lastname@example.org), December 06, 2001.
One question Steve. Do you ever look at and track how many subscribers are longtime subscribers vs newer subscribers, vs subscribers who take your magazine for a year or two, stop for a year or two and resume for a year or two? Statistical marketing analysis? That would tell you a lot about what your audience wants to see. James
-- bigmac (email@example.com), December 08, 2001.
steve i would love to see an aricle by you about the process of large format portrature-the 2 examples of your 5x7 work that i've seen in the mag are slammin-would love to see more
-- rick zollo (firstname.lastname@example.org), December 09, 2001.
her isa better idea: tying this Q&A forum and View Camera's site to photo.net. Instantly a huge amount of exposure (check the photo.net stats) for "View Camera' and "Photo Arts".
-- Ellis Vener Photography (email@example.com), December 09, 2001.