A large oak tree backed by haze-obscured winter hills.
On a Christmas Eve when large sections of the country are freezing and dealing with blizzard conditions, it might seem almost cruel to share this Christmas Eve Day photograph from here in the San Francisco Bay Area, made on a brief hike in our local hills earlier today. In fact, I was wearing short sleeves. On the other hand, perhaps some of you would like to be distracted by a scene from a warmer, drier place?
This scene, odd as it may seem to people who aren’t from here, is typical of winter in this part of the West. The trees lose their leaves, though later than in other parts of the country, but then winter grasses begin to grow. The period from now through the next four or five months is our green season. Today the atmosphere was hazy, and the backlight made it luminous.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.
A dense grove of old- and new-growh coast redwoods, Humboldt Redwoods State Park.
When photographing new locations, there is a tension between knowing enough and knowing too much ahead of time. In most cases, some preparatory research about a place is useful — it lets you find your way to (and back from!) interesting locations, and it alerts you to their existence. On the other hand, knowing too much about a place limits opportunities to experience the feeling of “discovering” something unexpected. When we arrived at this grove near the end of an exploratory loop to the far Northern California coast, the unexpected stillness and quiet of this magnificent grove was magical.
Another tension concerns the best way(s) to interpret coast redwood forests in photographs. For me, the path usually lies somewhere between the (hopeless and uninteresting) idea of “capturing” supposed objective reality and fascinating and extravagantly subjective and even fantastical interpretations that may be problematic. I don’t think that there is a right answer, but extreme cases raise important questions. On this visit I focused on carefully considering what I see without the camera — how cool/warm the light appears in these places, how much detail can I really see, how much light is really in the scene. These observations inform how I render these subjects — and my thinking about the boundaries between what was there, how the camera “saw” it, and how I want you to see it.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.
Large leaves photographed in shade, Portland, Oregon.
This is an update and a little bit of a reinterpretation of a photograph from 2012 and rediscovered during my pandemic review of old image files. I made the photograph back in 2012 on a vacation visit to Portland, Oregon. Photographically speaking, I travelled light on the trip, carrying only a single lens and no tripod. I made this photograph on a visit one of the many Portland-area public gardens.
Photographs of foliage like this both attract and challenge me. I’m immediately attracted to the overlapping forms, the textures, and the colors. But often as I look at the subject more closely I find “issues” that turn what had seemed like easy, obvious photographs into something more challenging — a flaw in the leaves, a gap opening to detail-free shadows, issues with light, and so forth. But this little scene — with a bit of post-processing assistance — seemed to work.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books and Amazon.
The following charts summarize various data that are useful when comparing formats, either film or digital. (Not all possible comparisons are shown.) Some additional background regarding some of the traditional film formats known as “medium format” is found at the end of this post.
Basic Formats Data
Comparisons Normalized to Full Frame Format
Comparisons Normalized to miniMF 33×44 Format
Comparisons Normalized to 645 Medium Format Film
Comparisons Normalized to Full Frame at 4:3 Crop
Comparisons of Square Formats Normalized to 6×6 Medium Format Film
Comparions Normalized to 6×17 “Panoramic” Medium Format Film
Visual Comparison
The following illustration shows the relative sizes of some common digital and film formats. (Not all variations are shown.) The leftmost group includes common digital formats. The next group — indicated in yellow — includes common traditional formats collectively known as “medium format” film. At the far right is 4×5 “large format” film.
A chart showing the relative sizes of several digital and film photography formats ranging from micro-four-thirds to 4×5 film
Notes on this illustration:
645 film is shown in both the “landscape” and “portrait” orientations in order to make clear that it shares the 56mm dimension with the other types of medium format film. (The portrait version is partially hidden the landscape version.)
There are multiple variations on “large format film.” Shown here is the most common 4″ x 5″ size, the smallest of the large format film formats typically still in use.
About Medium Format Film
While those of us who have “done photography” for a long time are familiar with the traditional “medium formats,” those without that perspective may be less (or not at all) familiar with the meaning of the term. Medium format” traditionally (for many decades) referred to film formats using (primarily) 120/220 film with a 6cm (60mm) physical width. While details of these formats are included in the tables above, here is a brief contextual overview:
645 format (1) is the smallest of the traditional common film medium formats. It is named based on “6cm x 4.5cm.” In actual use the frame size is slightly smaller than the 6cm film width at about 56mm. (This is typical of film medium formats — the “6” always refers to the physical film width, not the smaller actual image size.)
6×6 format produces a square image of approximately 56mm x 56mm, and is the next larger film medium format above 645.
6×7 format uses the 56mm width-determined dimension for its shorter side, and thus has a larger area than 6×6. (It approximately replicates the 5:4 aspect ratio of LF film.)
6×9 format also keeps the 56mm dimension its shorter side, but expands the longer dimension to produce a 3:2 aspect ratio – like 35mm film and full frame digital.
6×17 format (also known as “panoramic format”) is the largest common medium format. It also uses the 56mm dimension for its short side but greatly extends the long dimension to produce a 3:1 aspect ratio.
(1) While Pentax names its miniMF digital cameras using the “645” term, they do not use 645 format sensors. They use 33mm x 44mm sensors, just like Fujifilm, Hasselblad, and others. Additional note: On a few occasions, Fujifilm has referred to 33mm x 44mm format as “super full frame” and even… “large format!”
(For comparison purposes, note that the dimension that is 56mm on 645 film format is 44mm on miniMF. When comparing to the other medium formats, the analogous comparison is between 56mm and 33mm.)
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books and Amazon.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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