Freight through Muggensturm
300 mm doesn't sound much but if you're shooting medium format you end up with four pounds (or 2 Kilos) of glass on your camera.
In this case it was a Meyer-Görlitz 4/300 custom-fitted for Mamiya. Wide open the DOF was shallow as a beer coaster. You'd better knew where to release.
One fine afternoon in summer 1997 I set up the gear at the Muggensturm station in the upper Rhine valley. I lived in the hills (beyond the ridge) in the background at that time but it was the first time I went to Muggensturm to shoot a few trains. Traffic is dense and runs like clockwork.
The milestone was my release point so I didn't need to look through the viewfinder, everything should be fine.
In the low afternoon sun 155 264 had a freight to Offenburg in tow with a high load right behind the locomotive.
Yes, sometimes I miss the old gear. But I don't miss film (and dust).
Freight through Muggensturm
300 mm doesn't sound much but if you're shooting medium format you end up with four pounds (or 2 Kilos) of glass on your camera.
In this case it was a Meyer-Görlitz 4/300 custom-fitted for Mamiya. Wide open the DOF was shallow as a beer coaster. You'd better knew where to release.
One fine afternoon in summer 1997 I set up the gear at the Muggensturm station in the upper Rhine valley. I lived in the hills (beyond the ridge) in the background at that time but it was the first time I went to Muggensturm to shoot a few trains. Traffic is dense and runs like clockwork.
The milestone was my release point so I didn't need to look through the viewfinder, everything should be fine.
In the low afternoon sun 155 264 had a freight to Offenburg in tow with a high load right behind the locomotive.
Yes, sometimes I miss the old gear. But I don't miss film (and dust).