Shooting houses and landscapes makes me nostalgic for the era of the 4x5 inch view camera...

...but  when I remember the workflow without the overlay of nostalgia I realize that I wouldn't have gotten very many photographs taken in the time allotted. When I first had the thought that it would be fun to make images again with transparency film and a Linhof, equipped with my favorite Zeiss 250mm f5.6 Planar lens the memory all seemed so---magical. So I did what I usually do when I remember optimistically, I dissected the process in a step by step fashion to help me rationally remember what a pain the ass it really was. 

To take the image above I would have had to extend the legs of the Gitzo tripod I used out to the sides in order to get the head and hence the camera close enough to the ground to get this comp. That presumes that I would be carrying my 18 pound 5 series tripod with me. Yes, it was required. I would have assembled the camera from its carrying case and mated it to the tripod. I would open up the lens shutter and open the aperture and then crouch behind the camera with a dark cloth so I could evaluate the image on the ground glass screen. I would figure out how much tilt I needed to add (positively) to the front standard and how much to detract (negatively) from the rear standard to use the Scheimpflug  principle to distribute the plane of sharpness correctly. 

Since there was no efficient way to correct for color temperature with transparency films (and many times we needed to send original transparencies to clients or magazine....) I would pull out the Minolta color temperature meter to figure out what combination of Wratten gel filters to put over the front (or the rear) of the lens in order to get the right color in the final image. Of course, I would pull out a different meter and use the incident dome to get a preliminary reading of the overall exposure. 

Since I am within 10x the distance as a ratio of the lens focal length I would have to modify any meter reading with a bellows extension factor. I'd want to verify that by using a Polaroid test or two. While I was waiting for the Polaroid to time out and to dry a bit before evaluating I would simultaneously be praying that the lighting would not change. That no clouds would come by and mess up both my exposure readings and the color temperature readings. A big change would require a "recalibration" and maybe a new set of filters taped to the front of the lens. 

Once we got all the metering just right I'd hop back under the dark cloth one more time to put a loupe onto the ground glass, stop down to the taking aperture (so I avoid focus shift) and then fine focus at the taking aperture before cocking the shutter.

When the stars all lined up I would grab four film holders from the case and proceed to do a bracket in 1/3 stops. Two exposures over. One exposure under and one right on the money. Then I would reverse the process, making sure I'd flipped the dark slides before re-seating them in the film holders, taking the camera apart and putting it into the case and an then gathering in the tripod. Sounds easier when you write it but I'd guess that each of the shots would require about 30 minutes after you discovered the subject and angle you wanted. The move to the next subject would most likely involve putting all the gear into the trunk of one's car and driving to the next location. Back then, on a good shooting day with a view camera we'd be happy with six of seven good images for consideration. And we would have truly earned anything we shot. 

The reality is that for most of our current presentations the image quality of the m4:3 or APS-C cameras we have at our disposal are nearing the same technical quality that we would have gotten from all the hard work back then but the time period from recognition of the subject to final shutter click could be measure in dozens of seconds rather than in dozens and dozens of minutes. 

And, of course, the image on the transparency was only share-able with one person at a time. Maybe two. It would still have to be printed in the darkroom or scanned and uploaded to achieve sharing "parity" with modern images. Ah. The large format image. A romantic memory of a process that was, in reality, fraught with hard work and, at times, heartache. I think I'll stick with digital for right now. 

We don't see many lawn jockeys in Texas. 

I'm sure the natives thought it funny to see an person bent over their camera and fixated by a lawn ornament. But that's really the nature of cross cultural explorations.