The video below tells the tale:

One of the nifty things about the Sinar system is the forwards and backwards compatibility between camera models. Sinar used the same dimensions for their monorail on the Norma, the F, and the P line of cameras, so many parts can be interchanged between those camera systems.

For my Sinar Norma, I created a compendium shade using a combination of a Sinar F multipurpose standard, a standard bellows, a bellows clip, and a Sinar hexagonal rod. The F-line multipurpose standard sits on the front end of my camera’s monorail, and the compendium bellows, supported by the hex rod and bellows clip, extends backwards towards the camera’s lensboard.

Sinar Norma with compendium made from F-series multipurpose standard, hex rod, and bellows clip

Because I use many lenses that are can easily cover 4×5″ or 5×7″ film formats with my 6x9cm film back, I have a surplus of non-image light that enters my camera. This non-image light can reflect off the inside of the bellows and contribute to in-camera flare, so I reduce it as much as possible using a compendium mask.

Sinar Compendium Mask

I have been very pleased with this compendium arrangement in terms of functionality, but it is quite heavy. I haven’t put it on a scale, but it probably adds two to three pounds to the camera’s weight.

My friend John Wimberley shared the details of an elegant and lightweight compendium that he uses on his Sinar Norma, and I decided to duplicate it for my camera. This new shade is a Linhof Technikardan compendium that is adapted for use on the Sinar Norma.

The Linhof shade is mounted to my lensboard using a flash pivot bracket. This one: http://www.bhphotovideo.com/c/product/109450-REG/Kaiser_201200_Adjustable_Flash_Shoe.html. Note that I use a lensboard reducing adapter so that I can use the smaller Linhof Technika style lensboards in my Sinar. The lensboard reducing adapter stays put on the front of my camera and provides a flat surface to mount the flash pivot bracket to. The flash pivot allows the compendium to be swung out of the way when changing lenses or mounting or removing filters.

At the rear of the compendium, you will notice a contraption placed in the 4×4″ rear filter slot. It is a light baffle that keeps as much light as possible from entering the rear of the compendium. The circular ring of the light baffle is made from a 3/4″ length of 3″ ABS pipe that closely mates to the outside of the filter ring (67mm on all lenses) of my lenses. The inside of the light baffle ring is covered with black flocking paper.

Compendium mounted on camera, swung to side to access lens

To create the compendium mounting bracket, I simply positioned the flash pivot bracket such that the shade is centered over the lens, drilled a hole in the lensboard adapter board, and used a 1/4 20 bolt to attach the bracket to the lensboard adapter board.

Hole drilled in lensboard for flash pivot bracket

Well, that’s not all there is to it.

For the flash pivot to sit where I wanted it to go AND provide clearance for Copal 1 shutters (the largest I currently use), I had to put a 1/8″ thick aluminum spacer underneath the flash pivot.

The compendium shade puts two forces on the flash pivot mount:

• A downward torsion, resulting from the weight of the shade
• A circular torsion (around the axis of the screw that mounts the flash pivot to the lensboard), resulting from the off-center placement of the compendium rail.

To help with the circular torsion, I used a small length of 1/8 x 3/4″ aluminum bar next to the flash pivot mount as a brake to keep the mount from rotating. The 1/4 20 machine screw that holds the flash pivot mount to the lensboard adapter does all of the work of resisting the downward torsion and most of the work of resisting the circular torsion, but the aluminum brake helps with circular torsion as well. The mounting hardware is shown in the picture below:

The mounting hardware, showing the stop screw (left), brake (middle raised piece of aluminum with two small screws through it), and flash pivot bracket (right)

The nut-screw combination in the left of the picture is a settable stop to align the compendium parallel with the lensboard when the compendium is swung into place.

The picture below shows what the back side of the mounting hardware looks like. The brass strips under the head of the leftmost screw are there to provide a surface for the screw to sit on. Without them, the screw head would be sitting on a “ledge” only about 1/16″ wide, which is not very strong, and would encourage the screw to torque off center.

Back side of the lensboard, showing the mounting hardware

Because film reflects a significant amount of the light that falls on it, I believe it is important to cover the back side of the lensboard with flocking paper, to reduce in-camera flare caused by light scattered off the film during exposures. To this end, I’ve covered the back of my lensboard adapter with black flocking paper:

Back side of lensboard adapter covered in flocking paper

Here’s what it all looks like together on the camera:

Compendium mounted on camera, positioned to make an exposure

Front view of compendium

And finally, the front filter slot of the compendium accepts 4×4″ masks. I have several of these, sized for different focal length lenses. These masks allow me to adjust the compendium such that virtually all non-image forming light is blocked before it even enters the lens. The masks are made from .060″ copper-clad circuit board, covered on the rear with flocking paper.

Compendium with small mask mounted

The result of all of this is an efficient, lightweight compendium that has movements and does exactly what I want it to. What more could I ask for!

Whenever I discuss my flare reduction techniques with other photographers, they invariably ask “Does it make a difference?” or “Why go to that trouble?” I haven’t done any rigorous testing to back up my opinion, but my opinion is that reducing flare improves the tonality of the resulting print, and that is why I trouble myself with things like a really good compendium shade. After paying attention to reducing in-camera and enlarging flare, I’m making the best prints of my life (at least technically).

The subject of photographic creativity is, quite frankly, a frightening and difficult one to write about. I think that’s part of the reason that discussion of photographic gear (Canon vs. Nikon vs. Pentax vs Sony; camera shootouts; lens tests; etc.) and photographictechnique (how to pose portraits; how to use Photoshop; how to retouch pictures; etc.) probably outweighs discussion of photographic creativity 100 to 1, at least on the Internet.

I think that most photographers consider themselves very lucky when they make a beautiful photograph. (I might even extend this statement to all artists in general.) If they’re brutaly honest with themselves, most photographers would probably admit that they are missing a good 90% of the opportunities that regularly arise to make inspiring, interesting, or great photographs. I’d like to share a few thoughts as to why I think that is.

The goal of this article is to help get you thinking about some concrete ways to increase your receptivity to creativity. First, I’ll introduce you to some ideas from the world of psychology, then I’ll tell you what I think they mean in terms of increasing photographic creativity.

The Human System

In this article, I am going to borrow very liberally from some books by Stephen Wolinsky. If you have any interest at all in psychology, you owe it to yourself to check out Wolinsky’s writings. I’ll recommend a few books at the end of this article.

According to Wolinsky (and modern quantum physics!), everything is made of the same underlying substance. This substance would appear to the human perceptual apparatus as nothingness, or emptyness, or a void. Out of this one substance, the perceived manifestation arises in a way that is like gas (water vapor) condensing down into a liquid (water, or H20), and then further condensing down into a solid (ice). Seemingly solid things in the perceived manifestation then “thin out” into what appears as nothingness. And this is the cycle of living, as we directly experience it. We might have ideas or concepts to the contrary, but the actual direct experience of living is pretty much the successive arising and subsiding of apparent objects, sensations, and thoughts within our awareness. And there is also the arising and subsiding of awareness itself as we awaken from sleep and return to sleep.

If we classify the ways that nothingness manifests into “something,” we might get a classification like the following:

• The Outside World (other people, the computer screen, the desk, the house, etc.)

• Thoughts (mental images, the voice(s) inside your head, memories, concepts, beliefs, etc.)

• Emotions (anger, sadness, fear, etc.)

• Human Biology (the needs of the human body, the nervous system, fight/flight responses, survival responses, etc.)

• Spiritual Essence or States of Grace (unconditional love, peace, compassion, pure beingness, etc.)

• The Collective Unconscious (the realm of archetypes, the forces that connect the whole human family, etc.)

• The Void of Undifferentiated Consciousness (the state of the one underlying substance before it has condensed into something we can be aware of)

• And finally, we’d probably create a catch-all bucket for everything that exists but is beyond classification. All sorts of labels could be chosen, including: Universal Intelligence; God; The Universe; The Self; etc.

To get something from this article, there is no need for you to accept the particular classification system above. It’s just labels for the un-labelable; categories for the indivisible anyway! At the end of the day though, I think that most people agree that a human being is made up of many parts, or forces, or experiences that feel related but different. That’s what makes being a human being so interesting in the first place!

Now, as a human being, would you be happy if you woke up one morning missing a part of your body? I doubt most people would be happy at all about that! Butevery day most of us amputate huge portions of our daily experience for one reason or another. Read on for some ideas about how we do this psychic amputation.

Trances

Most people think of Trances as unusual states, where a person becomes semi-unconscious and has some strange or mystical experience that only they are aware of. That describes less than 1% of the trances that actually happen.

The other 99% of trances happen all the time to everybody.

A trance is a state where a person’s attention is narrowed (focused on only one thing) and fixated (not free to focus on other things).

Milton Erickson gives us the following definition of a trance state:

Trance is a condition wherein there is a reduction of the patient’s foci of attention to a few inner realities; consciousness has been fixated and focused to a relatively narrow frame of attention rather than being diffused over a broad area.”

How many times does that happen to you in a day? For most people, at least 100 times per day!

Here’s an example that might apply to some of us: You are at work and unexpectedly called into your manager’s office. Your manager explains that your work performance has been lower than expected, and asks you how you plan to fix this problem. Immediately, you begin to hesitantly talk about how things have been difficult with a family situation, and you are sure this is temporary and things will get better. As you talk, your palms begin to sweat a bit, and you have this awful fear that you’ll be fired if you don’t come up with a good explanation.

Later, in thinking about this situation, you realize it reminds you of how your father, when you were young, would call you into his study and get on your case about your grades. You realize that you had an age regression trance, and you began reacting to your work supervisor in the same way you learned to react to your father when you were young, combined with a narrowed and fixated focus.

For example, while you were explaining things to your supervisor, you realize you didn’t notice the comfortable chair you were sitting in, the sunshine and the birds signing outside your supervisor’s partially opened window, or the delicious aftertaste of the special lunch you treated yourself to. Although the sensory data for those things was present, your awareness was narrowed and fixated on something else!

By the way, a trance is not necessarily a bad thing. A trance state that helps you survive a truly dangerous situation is certainly not a bad thing. I would suggest, though, that a trance that happens automatically in a non-survival situation may not be allowing you the full freedom possible in that situation.

Let’s take another example. For a long time, I was a huge fan of Edward Weston. I’ve read his Daybooks (the published version of his personal diaries), seen every photograph of his I could get my eyeballs on, visited Mexico City to see some of the neighborhoods where he lived, and photographed at Point Lobos where some of his most famous photographs were made.

For a while, I was living an “Edward Weston” trance! This was a time where my attention was fixated on comparing my life with what I knew of Edward Weston’s life. My attention was narrowed so that I looked for photographs that reminded me of Weston’s photographs, I tried to live in situations that reminded me of his bohemian living situations, and I idealized a life that looked like his. In the process, I partially lost contact with what was real and what was happening in my personal world moment to moment.

Any perceptual input that arose to me and did not fit my “Weston filter” would have been immediately discarded, before I could even freely decide whether to discard it. I was truly living an “Edward Weston trance!” Any uniquely creative photographs that were asking to be made by me would have to slip past the filters of this massive trance state of mine. Who knows how many creative opportunities I missed during that time!

Perception and the Human System

The human nervous system comprises the ability to see, taste, touch, hear, and smell. The primary purpose of the human nervous system is to ensure the survival of the human species, and especially the particular member of the human species attached to that nervous system! Although the nervous system makes possible many awesome experiences (enjoyment of delicious food, enjoyment of a loving caress, smelling the provervial roses, etc.), it’s primary purpose is to ensure human survival.

80% of our attention goes to the sense of sight. Most photographers rely exclusively on their sense of sight when finding, selecting, and composing photographs. Well, that and their mind.

The mind is an outgrowth of the human nervous system. Although the human mind is the primary reason that life today is so much more comfortable for so many (those above the poverty level) than it was hundreds of years ago, the mind is truly an outgrowth of the nervous system. Most people have almost no control over the thoughts that go through their mind.

Prove it to yourself: think of nothing but the chair you are sitting on right now for the next 5 minutes. I’ll be back in five minutes to check how things went.

Well, how did that experiment go? Do you still believe that you control the contents of your mind?

Here’s the point: if you only rely on your optical system and the contents of your mind for photographic inspiration, creativity, or guidance, you are missing a huge slice of potential sources for photographic creativity! Have a look again at how I categorized the world of manifestation:

• The Outside World

• THOUGHTS

• Emotions

• HUMan Biology

• Spiritual Essence or States of Grace

• The Collective Unconscious

• The Void of Undifferentiated Consciousness

• Universal Intelligence; God; The Universe; The Self; etc.

Notice that in this list, I have bolded Thoughts, and part of the word Human Biology. This is to point out that the normal way of guiding photographic creativity is to look to the mind, and to a part of the human biology (the optical system).

Here’s what I’m really trying to say (sorry I had to give so much background information to get to this point): Every item on the list above is a potential source of guidance towards amazingly creative, inspiring, beautiful, and simply GREATphotographs!

Relying only on the eyes, or the eyes plus the mind, for photographic creativity is a bit like being in a trance state: your attention is narrowed and fixated compared to what it could be if your were receiving perceptual data from the other aspects of our world.

Can bodily sensations guide creativity? How about dreams? What about a recurring interest in stories of a mythical or imaginary nature? Could an ability to be grateful for or at peace with or in love with everything you experience moment to moment be an opening to creativity?

The answer is YES. Nothing is unconnected. Every “thing” that manifests in your awareness is a potential opening or guide towards creativity in photography (or artmaking in general). It doesn’t have to be just a thought or a visual perception.

On the other hand, let’s think about the things that can be corrosive to creativity. How about unresolved emotional issues? How about a nagging pain in your body that the doctor’s haven’t been able to explain? How about a mind that obsessively or compuslively focuses on problems that “must” be solved?

Can these things diminish your access to creativity? The answer is YES. Every thing that reduces your ability to experience the totality of your personal world moment to moment is a potential restriction on creativity.

Can you dissolve these blocks to creativity? The answer is YES.

John Wimberley

I met master photographer John Wimberley in 2006. I had signed up for a brand new weekend-long workshop he was putting on: Sight & Insight. That workshop opened my awareness to some of the things I’ve discussed in this article. And it started me on my own personal exploration of how I could be more open to creativity.

The results have been truly transformative. I’m going again to John’s Sight & Insight workshop this October (2009). John tells me that the workshop has evolved every time he’s taught it, and I can’t wait to see what new insights he presents in Newport, OR this October!

John also tells me that there are only a few spaces left in the workshop (as of this writing in September). Click here right now to sign up for one of these spaces!

P.S. Many accomplished photographers teach excellent workshops. I’ve been to several John Wimberley workshops, and two things stand out: the EXCELLENCEof the teaching and the information provided. And second, the PRICE! I’ve never had to pay more than $300 to participate in a John Wimberley workshop and I can tell you that they’d be a bargain at three times that price.

My own photographs have improved dramatically as a result of John Wimberley’s workshops, and all I can tell you is that if you’re serious about improving your photography, you need to sign up now for the Sight & Insight workshop. I’m planning on encouraging all of the artists I know, photographer or not, to attend!

Click here for more information on concrete steps you can take to open to creativity!

My Sinar Norma

There are several reputable shops that will service a Norma, but because I sensed that I will be using this camera for many years to come, I decided to learn to CLA her myself.

My friend John Wimberley is a longtime Sinar Norma owner, and he helped me through the CLA process by answering lots of questions by email.

During the CLA process, I took notes, pictures, and used them to produce The Rough Guide to Cleaning, Lubricating, and Adjusting the Sinar Norma. You can download this guide here:

The Rough Guide to Cleaning, Lubricating, and Adjusting the Sinar Norma

I intend to update this guide over time, with new pictures and more accurate descriptions. As it stands, I believe it is a useful document for Sinar Norma owners who wish to service their own cameras.

Air Travel

You board an airplane. Three minutes before the plane pushes away from the gate, a computerized announcement airs: “There are four unsold seats in first class. Bidding for these seats is now open. Please use the touch screen in the seatback in front of you, along with your credit or debit card, to place a bid.” 90 seconds later: “Bidding has now completed. The passengers in seats 7D, 14A, 3C, and 12A may take their seats in first class.”

The computerized bidding system would simply choose the highest bidder(s).

Shipping

You purchase something that is shipped to you. Initially, you choose the slow-boat shipping. A day or two later, your eagerness to have this item increases. So, you go to the shipper’s tracking site, enter the tracking number, and click Upgrade Delivery Time. After keying in your credit card digits, your package is expedited so that it arrives faster.

I don’t know much about the inner workings of shipping companies, but it seems to me that packages get handled at least every 24 hours during transit. If that is true, there should be ample opportunity to upgrade an in-transit package to a faster delivery service.

I bet shipping companies could get away with charging a premium for these kind of upgrades.

Other Applications?

Well, that’s all I’ve come up with for now, but I bet this principle of in-flight upgrades could be applied elsewhere. It seems to me like an untapped revenue source for companies that deliver a service that takes a while to complete.

“Companies with IT teams of one to four people or firms with 60 or fewer employees often don’t have the level of sophistication required to make virtualization pay,” said Chip Nickolett, president of Comprehensive Consulting Solutions that has helped several small businesses take their first steps into the virtual world. “In these environments, the benefit of virtualization would be marginal at best.”

These are not hard-and-fast numbers, of course. Tiny firms in financial services, law and other sectors sometimes have both significant IT requirements, the budget and the staff required to make virtualization pay big dividends.

The use of virtualization technology is expected to grow rapidly in the coming years, especially among the SMBs. Virtualization vendors, who have primarily been targeting the larger businesses thus far, have now started paying more attention to SMBs. Similarly, SMB channel partners are also developing the required skills to offer virtualization-related services. Thus, many SMBs will start using some form of virtualization in the near future and the use of its technology will be fairly common in the next three or four years.

When it comes to disaster recovery with virtualization, you get what you pay for. If your IT budget is too tight to accommodate the most expensive VMware or Citrix packages, don’t expect continuous availability during a disaster.

Using virtualization for disaster recovery makes perfect sense. Virtual machines (VMs) can be packaged with your operating system, applications and configurations and sent off to a secondary location and take over immediately during a disaster at the primary data center site.