How did you first fall in love with photography?

Nature and landscapes have always played a big role in my life. I was born in the mid-1970s in a small town in Thuringia, on the edge of Hainich National Park, right in the middle of Germany, where I grew up very close to nature. Trips and vacations with my parents and grandparents often led to nature. I discovered photography very early in my childhood as I toyed around with my parent’s and grandparent’s analog EXA and Praktika cameras, which were made in GDR (German Democratic Republic). 

What started as a small hobby developed over the years into my job and my passion. While I was studying business administration, I also developed my love for travel. My fascination with landscape photography developed through various stays abroad in Canada, Mexico, and the US, all of which have very diverse landscapes.

From where do you draw your inspiration?

I draw a lot of inspiration from design or architecture, which surrounds me all day long here in Germany. I also draw from my friends who have a strong relationship with photography and/or architecture as well. Old-fashioned location scouting with long hikes in nature is another way I find inspiration. It is an essential part of my process to spend a lot of time in the nature to find new places to shoot. 

Do you have any specific influences you’d like to share?

I’m not the typical landscape photographer who draws inspiration only from other landscape photographers or artists. I tend to very often look outside the box. I admire the works of Sebastiao Salgado, Ragnar Axelsson or younger photographers like Kiliii Yuyan or Carsten Egevang. Most of their images can tell a story and have more of a photojournalistic approach. I’m also influenced by the minimalistic approach of photographers like Michael Kenna and Hengki Koentjoro.

If you were behind your camera and could choose anything you wanted to be in your viewfinder, where would you be and what would you be looking at?

I would like to go to Antarctica and shoot icebergs in that very special light you often have in the cold regions of our planet.  I’d like to get lost in a town like Valencia in Spain with all its modern architecture. And there is always Switzerland with its amazing glaciers, mountains, vast valleys, wild creeks, and picturesque villages. But I also feel that the location is not as important as being happy with where you are, and having inspirational people with you (that you like) while you shoot. 

What drew you to the Actus system and what do you like about shooting landscape photography with it?

With my classic camera setup, I was getting more and more frustrated because I felt stuck. I was not able to create the shots I wanted. Especially in landscape photography, I was frustrated with the look ultra-wide-angle lenses are creating. I constantly had to make compromises with lens distortions – mountains or waterfalls in the background started to look tiny compared to what the scenery really looked like. The game-changer for me was that, with the Actus system, I could shift the camera body – I was able to capture scenes as a panoramic shot with the right proportions. I’m very thankful that Richard Lotte from Cambo Netherlands gave me an Actus System for testing. After trying the Cambo Actus system for the first time in landscape photography, I was impressed by the ease of use, and it made it so simple to create panoramic shots, selecting the right depth of field. I’m just starting to understand the endless possibilities and how I can achieve a unique style in my photography. 

A lot of new photographers consider a view camera “Old School.” What are the advantages you see shooting with an Actus instead of a DSLR?

It looks a bit old school and intimidating at first sight but when you start using and understanding the view camera, everything feels easy and it becomes a very modern tool. In my opinion, the Cambo Actus system is superior compared to classic tilt-shift lenses because you have the additional function of the camera shift for panoramic compositions. When using longer focal lengths like the 60mm, you can use that lens, of course, for classic landscape or product photography but you can also use that lens for macro photography. With a system like the Actus, you have to be more thoughtful and you need to be more focused on the composition you have in mind. You have to set up everything in advance for the optimal shooting results – but that’s a good thing. The camera system slows you down a little bit while shooting, but in the end, it makes post-processing much smoother. I never had it so easy with stitching panoramic shots. Another advantage is that the system itself is very flexible. Not only was I able to use the Cambo Actar 24mm and 60mm, I can use the Pentax’ 45-85mm and Pentax’ 75mm medium format lens on the same system. Then when I’m not using my Sony A7RIII body, I can attach a Fuji GFX, EOS R, Nikon Z or a Hasselblad X1D Camera body. There are so many lens-camera-combinations possible with the Actus system.

What is the next path you see your creativity taking your photography?

With a view camera, your own creativity is getting back more in focus and with a tool like the Actus it is easier to achieve the style of photography I’m looking for. I will do more architectural photos, create more unique product photos with a more defined plane of focus, and of course, more panoramic pictures to get the right perspective of waterfalls and mountains. 

You can see more of Matthias Conrad’s work on Instagram @matthconphoto. All photos used with permission of the artist.

When I say the words View Camera, I can imagine that you are envisioning one of two things:

You either know and remember (and may even miss) the “old days” where you as the photographer were in complete control over your image, and the master of your domain.

Or if you are of the more modern crop of upcoming photographers, you may be thinking of some arcane monstrosity that is too big and complicated to lug around.

If you spent some time today searching the web for answers you probably came across the following definition on Wikipedia:

A view camera is a large format camera in which the lens forms an inverted image on a ground glass screen directly at the plane of the film. The image viewed is exactly the same as the image on the film, which replaces the viewing screen during exposure. It is comprised of a flexible bellows that forms a light-tight seal between two adjustable standards, one of which holds a lens, and the other a viewfinder or a photographic film holder.

The bellows are a flexible, accordion-pleated box [that] encloses the space between the lens and film, and flexes to accommodate the movements of the standards. The front standard is a board at the front of the camera that holds the lens and, usually, a shutter.

At the other end of the bellows, the rear standard is a frame that holds a ground glass plate, used for focusing and composing the image before exposure—and is replaced by a holder containing the light-sensitive film, plate, or image sensor for exposure. The front and rear standards can move in various ways relative to each other, unlike most other camera types. This provides control over focus, depth of field, and perspective.

Lets stop right there, before we go any further let’s get one thing straight– 

The current definition of a view camera is WRONG.

The image you have in mind of your Grandfather’s view camera is wrong because the view camera has changed.

In days past the view camera primarily was a tool designed to work with 4×5, 8×10 or larger pieces of film which at the time was the only way to capture extremely high resolution images. 

Typical sensor sizes today are very small comparatively to the size of the film from the past, however the resolving power today is incredibly close (or even better) than it ever has been. But resolution is only part of the battle. There are many other reasons to use a view camera that aren’t only about the size of the image captured.

A view camera can do the following things better than ANY other camera or lens can do alone:

• Change Perspective – Control perspective on products or buildings
• Plane of Focus – Maximize or Minimize Depth of Field

View Cameras have the ability to do something else that is extremely valuable even in today’s digital world:

Get things right in camera– Not in post. 

The theories and principals are the same, even though the medium today is drastically different.

Over the next few blog entries we hope to enlighten you to some of what makes a view camera unique and why even today they are still a valuable part of the photographer’s toolkit.

Shipping now, the AC-380 and AC-381 fine gear drives add yet another option for customers looking to get the most out of their existing Actus camera. 

This double gear knob kit for focus and tilt will be interchangeable with the current axle/knob/gear. The large knob controls as it does with the existing knob set, however this will add a smaller knob that reduces the movement to 1:5 gearing for more precise control and self locking. 

Because of the slight differences in tilt mechanism design, two versions of this upgrade will be offered. The AC-380 is for focus on all Actus cameras and for the tilt movements of the Actus-Mini. The AC-381 exits for those customers wishing to upgrade the tilt movements on their Actus-G or Actus-DB II. Both kits will be identically priced, and will be sold individually for users that only wish to upgrade one knob at a time.

The install process is fairly simple and straight forward, and both kits include all of the instructions and tools needed to perform the swap yourself without the need to ship anything back to Cambo.

Both the AC-380 and AC-381 are available now from any of or US Dealers.

When we set out to create what would become the 2019 Cambo Factory tour late in 2018 we sat and tried to create an event that both was visually interesting as well as something that would be stimulating for a fan of Cambo equipment (or someone who was curious about how a final camera is “born” from raw materials).

We started the first official day of our workshop at Cambo Headquarters and Factory in the small town of Kampen in The Netherlands.

Our hosts gratefully started with a brief history lesson which served to tell us how Cambo as a company was started, and walked us through some of the design ethos to help us understand where the company would be going.

We then were lead through a guided tour of the factory floor. We would see how each product begins as a digital rendering, which then gets fed into a computerized milling machine that transforms raw aluminum blocks into a final product.

We also just happened to be in the factory while some new products were making their way off the line. Our tour group were the first people outside of The Netherlands to see these upcoming camera accessories!

After lunch in the neighboring village we were back in the conference room and it was time for the fun to really begin. Each participant was given the opportunity to check out whatever equipment they could possibly imagine.

Each participant then received specialized one-on-one training as to how to best get the most out of what would be their tools for the rest of the week. As well as a special gift, a personalized camera bracket, that was laser engraved with each participant’s name and markings to indicate it came from our Tulip adventure that would commence the next day.

Our plans to capture Kampen at sunrise may have fallen short due to morning mist and cloudy skies, but that didn’t stop us from trying.

After a nice breakfast, it was off to the races!

We met with Pim Van Der Maden, a well known Dutch photographer, and Renè from Cambo who would be our local guides for the tour.

If we had waited another week all of these tulips would have already been harvested. The warm winter earlier in the year caused the bloom to start before we arrived. While we were shooting, the farmers were walking the rest of the fields removing any stray colored flowers that had made their way into the neatly organized rows.

After a full morning of Tulips, we went back to Pim’s studio for a much needed cup of hot coffee.

We then moved to the (former) island of Schokland, which back before the reclamation in the 1940s was known to have the North and South ends almost completely separated from each other every day during high tide.

Just 77 years ago, most of this area was under water as it exists below sea level.

We then moved to the seaside village of Urk for a chance to shoot some perspective corrected architecture of an old light house that no longer shines.

Urk is also the home of a functional port, as any good seaside village should be. The local population still makes a living by fishing and the maintenance of boats.

After Urk we returned back to Kampen for dinner, and to our surprise the city streets began to fill. We knew that the next day was going to be a big celebration for The King, but little did we know that the party started the night before!

Kings day proper was left open for everyone to explore the local celebrations. Booths lined the street offering games, treats, and a celebration of all things orange!

Later that night we were in for one last surprise. We were granted VIP access to a special concert at the medieval cathedral in the heart of Kampen where our host Renè was performing as part of the nationally celebrated Men’s choir.

The next morning it was time to pack up and head back to Amsterdam for our last day together. We all enjoyed the time we had spend with each other, and agreed that the adventure would need to continue again next year!

We have already started planning for our 2020 trip, which will be an all new adventure. Please keep checking back for more information as it becomes available. We can’t wait to have you join us!

The following blog post first appeared on the Cold Snap Photography blog and is re-posted here with permission from the author John Gregor.

Perspective Control In Camera

What is perspective control? How can you achieve perspective control in your images? 
In this article I will discuss the concept of perspective control and what it means in our photographs.

To achieve In-camera Perspective Control you must have either a view camera or a tilt shift lens. For the examples here I am using the Cambo Actus Mini B. More information about the Cambo cameras can be found at the end of this article.

Perspective control is the process of composing or editing of images to ensure that vertical parallel (or near parallel) lines remain parallel or near parallel.

Perspective Distortion

Perspective distortion doesn’t occur if the camera is kept level as shown in the camera position above. Typically however this might not result in the image we want. As shown in the image below:

Perspective distortion occurs when the sensor plane is not parallel to lines that are required to be parallel in the photo. Most commonly this happens when the camera is tilted or pointed upwards–typically to include the top of a building or more sky or as in this case more of the tree-tops. The resulting photograph is shown below:

Perspective Control

The camera and lens above are level but the lens is shifted upwards. This results in the the perspective of the trees to be maintained (vertical lines are parallel). Here is the resulting image below:

The most frequent use of perspective control lenses and cameras are for architectural photographs. Using the same concepts as the tree photographs above the images below demonstrate the use of perspective control:

Perspective control in camera is the most precise method of achieving perspective control. These methods can be replicated using the tools found in most post process programs, however, post processed perspective control can result in distortion in other areas of the image. I prefer to get it right in camera.

For more information about the Cambo Actus Mini or other Cambo perspective control cameras go to: https://www.cambo.com/en/actus-series/

ColdSnap Photography is the work of professional photographer John Gregor. In addition to fine art and commercial photography ColdSnap Photography is the Upper Mid West’s leading photography workshop provider. Hosting workshops on the shores of Lake Superior and beyond. Committed to guiding photographers to awe-inspiring places, where they can create masterful photos. For more information on his upcoming workshops you can visit
https://coldsnapphotography.com/workshops/

It was only a matter of time. First was the Fuji GFX, then came the Hasselblad X1D, The Leica SL and Nikon Z was soon to follow, and now even the new Canon EOS R can be a part of the Actus family.

Because of the smaller bayonet size of the Canon EOS-R it is able to be used across the entire Actus (Actus XL or Actus-G with Optional AC-78E Interchangeable bayonet) range. 

Just replace or attach the four mounting screws, and your EOS-R is ready to be used. 

Our design team is busy updating our lens compatibility list to reflect the latest camera bodies, so please keep checking back for more information as it becomes available. 

Contact your Cambo dealer of choice to get yours ordered!