 Good morning. Today we're exploring some of the Inland Areas on the Oregon Coast. Let's get along for the ride. My name is David Patton. When I started photography, I wanted to make art. I wanted to be a landscape photographer, but with a family to feed and bills to pay, I decided it would be better to be a working photographer than a starving artist. So I took a job as a photojournalist. 25 years and thousands of assignments later, it was time to go back to my first love. It was time to follow my passion. Come along on my journey to become the best black in my photography career I can be. Whether it be film or digital, I will be sharing what I learned through my successes and my failures in hopes to inspire and educate. This is my journey. This is Bright in the Edge. Working on my first shot, I'll trip over to the Oregon Coast. I'm going to be exploring some of the inland areas of the Oregon Coast. Some areas I've not been. Kind of in the Equina Bay area, on the backside of it. Right now I'm just lining up a shot of these pylons. A little bit of the history of the area here. This is your typical dog days of summer type skies. Not all that interesting. This is really more of a scouting trip. See if there's something here that I might want to come back to a little closer to sunrise or sunset. I didn't get out as early this morning as I'd like to have. But it's going to be a nice day to just drive around and make a few images. Right now I'm working on a roll of Delta 100. I haven't shot a lot of Delta 100, so I'm trying to get a little more familiar with this film. So I'm going to take this shot and drive one down the road and see what else I can find. I timed my trip today to hit low tide thinking that there might be some of this kind of stuff out here. The low water giving me a little more graphic element to some of these scenes. I think I made the right choice. I used Google Maps. I did an aerial view before I drove out here and I knew these pylons were going to be out here. So I kind of thought that that would play a big part into what I shoot today. So the lens I'm using on this shot is 150mm. I can compress these scenes a little bit. Since I don't have a flip screen on this camera, I can't tell what I'm shooting at. I'm starting in the foreground with this little patch of dirt or sand or whatever it is in the foreground. Using the leading lines out to the reflection and then the pylons moving across. I think this one has potential. I think I'm shooting about F22. I did try one at F32, but I think I'm far enough back that I could probably even get away with F16. Why chance it? This is film, so you don't know if it's going to be sharp until you get it developed. So I tend to bracket as much for focus as I do for exposure sometimes with film. On my last video where I was shooting film, I was discussing film grain and the possibility of going up to a larger format. I've been thinking about it quite a bit. I'm thinking I'm going to stick with this format for a while because these camera bodies are still pretty affordable on eBay. Since this one is starting to make me think it may not last all that long, I might pick up a newer version of this. Maybe the N version, the 645N. There is also a 645N2, but the main difference is one has mirror lock up and one doesn't. And from what I've been able to determine with using this camera, the mirror slap is very minimal. I have not lost a shot due to mirror slap yet. Now I probably jinxed myself today. But they put this dampening system on these cameras and they really did a really good job. You would think a mirror that large would cause all kinds of vibration. Plus I'm using a pretty heavy duty tripod. So I'll probably go with the 645N if I do stick with this format. And not worry about mirror lock up. Because like I said, the dampening system in this really is pretty good. I don't think I'm going to get a lot of different kinds of compositions. Most of them are going to deal with these pylons today. The sun's already getting pretty high. But I definitely want to finish this roll. So I'm going to drive around a little bit more. I'm a little hesitant to go 4x5. A lot of it is just because the workflow is completely different than how I shoot. I'd have to slow down even more than I do now. And I'm not sure I need that big negative right now. If I want to go big I can go with my digital cameras. If I really want to make really large prints. Now I say all this and down the road if I see a good deal on a 4x5 camera I'll probably end up getting that too. So shoot both. But I'm really enjoying the film. I have been having so much fun shooting film nowadays. I don't know this is some of these trips I'm going on. I'm just shooting 100% film. It's just kind of liberating. No looking at the back of the camera. You just compose, take the meter reading, take the shot. Then you move on. I've seen a lot of people lately on the internet saying that they focus at infinity. I don't really know how well that would work with a larger format. With film and larger formats. Because I want this sharp. That's going to be sharp enough. It's going to be small in the frame. But I want my foreground when I'm shooting like this with my wide angle lens. This is what you see the most. This is what I really want to be the sharpest. So if I was to focus on infinity. I'm going to be losing a lot of the foreground here. If I focus a third into the frame. I'm maximizing. I'm pulling that area of focus into the most possible area on the film. If I focus on infinity on the background. I'm throwing away like a third of my depth of field. At least that's what it looks like on the charts. So when you're shooting film you can't check. So I would suggest focusing a third into the frame. Not at infinity. You might get away with it with longer lenses. And you're shooting with not much foreground. Because your depth of field is going to be pretty narrow. I mean you don't need a lot of depth of field for those kind of shots. But the type of shots where you're even with a longer lens. If you're shooting like the last frame I did. I was wanting some foreground detail and the background. So I had to focus about a third in. I couldn't focus on the background. Because the foreground had been completely blown out. It had been completely blurry. So this is like F-22, F-32. To make sure that the depth of field is going to be enough. So I think some of these rules for where to focus. Have come from the film eras. And they may not be as important in the digital era. Because you can check to see if it's sharp. Or you can focus stack or whatever you want to do. For this shot. I've got an old leached out log. And laying in here amongst these flowers. Kind of laying it out with the pylons and the water in the background. I'm shooting this with the wide angle lens. F-22, about the 15th of a second. I'm not sure if this is going to work. I mean in color this is probably pretty spectacular. But I'm shooting black and white. Well my roll is just about done. The sun is just getting really high. Losing my detail. The light is getting kind of flat. So I think I'm going to end this video here. It was a nice fun short little trip. Probably have a couple frames I can stick in this video. Fingers crossed. This is Delta 100. With my Pintak 645. So until next time. Thanks for coming along for the ride.