The film developing process is done in complete darkness to protect the film from light exposure. Sometimes he stores negatives of photographs that he’s taken for months before developing them. The film needs to be processed in a chemical developer.Ĭlyde uses the tank processing method to develop his sheet film. An 8×10″ camera uses a sheet of the film of the same size. T-max 100 – developed with T-max film developer with Kodak Rapid FixĮach photograph that Clyde takes is captured on an individual sheet of film. His most often used filter is orange which adds contrast to the sky and clouds. The filter is attached to the outside of the lens. A 210mm lens is considered a telephoto lens on a 4×5″ but a 210mm lens would be an extreme wide-angle lens on a 12×20″ camera.Ĭlyde uses a variety of filters including red, orange, yellow and yellow-green. These are relative to the format of the film being used. On occasion, he has used telephoto lenses such as the 1500mm lens on a medium format camera to capture wildlife images (such the Whilden’s Pond and Big Cypress Gallery series). The longer lenses are useful for western scenes, where there is more space between geological features. Some lenses which he uses in Florida are wide-angle – useful in dense, lush areas like the Everglades. Most of his lenses have a 90 – 120-degree angle of view. He calls it his ‘snap-shot’ camera),Ĭlyde uses a variety of interchangeable photographic lenses ranging in size from 35 mm to 1100 mm. 4×5” Clyde-O-Wide (this is a camera Clyde designed – it has no bellows, a fixed 38 mm Super Angulon XL lens that has helical focus. A tripod is usually used to support the camera, especially during a long exposure. The lens is attached to a shutter that controls the time of the exposure. Clyde can adjust the “shift” and “tilt” axis of the lens to control focus, depth of field, and perspective. Unlike most cameras, the film holder and the lens can move in various ways relative to each other. A light-tight, accordion-pleat, flexible bellows enclose the space between the lens and film. Clyde sees an up-side-down image when he frames and focuses the shot. The lens forms an inverted image on a frosted glass screen. A film holder located at the back of the camera holds a single sheet of film. View cameras were first developed in the mid-1800s. Below, you can see how Clyde maneuvers his 8×10″ view camera as he, chest-deep in the Sante Fe River, positions himself to get the shot. It has been in the last 20 or more years that he refined and perfected his technique of producing mural-sized prints.Ĭlyde uses a variety of large-format view cameras ranging in size from 4×5” to 12×20”.
Butcher began making large prints as early as 1968. If I am photographing something like the Ghost Orchid I use a 4×5″ view camera,” explains Butcher, who most often works with an 8×10″ view camera, but has a host of smaller and larger format view cameras. So, if I have a huge, broad landscape, I use the 12×20″ view camera. “I try to use the largest film possible for the particular subject I’m planning to photograph. By carefully matching view camera format size to the subject matter photographed, Butcher can make prints measuring up to 5×9′ feet that allow the viewer to more fully embrace the breadth and scope of the landscape as Butcher experienced it in the field. Beyond the aesthetic qualities of Clyde Butcher’s work, what distinguishes his landscape photography from that of other well-known photographers are the incredibly detailed mural-sized prints he produces on fiber-based silver gelatin paper.
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