Nye Simmons – A Journey Into Tech Cameras

June 30, 2011 | Guests

Editors Notes: The following are the thoughts and musings of one of our favorite customers, Nye Simmons, who recently made a major change of equipment. All images shown are © to Nye Simmons and are available for sale as Fine Art Prints. Contact Nye (nyesimmons@chartertn.net) for more information. All images below were taken using a Phase One P45 and Arca Swiss RM3Di camera. The 47XL lens referenced is the Schneider 47mm XL Digitar lens. The “stitching” technique used is “flat-field stitching” in which the lens stays stationary and the digital back is moved left/right or up/down to capture different sections of the same continous image circle. This technique will be covered in-depth at our upcoming New England Workshop.

A Newbie in the Land of Arca

There was a bit of a leap of faith involved… After lurking on the forums at GetDPI.com and Luminous-Landscape.com it became clear that this new beast was manageable, but there would be a learning curve. It has been quite an interesting journey. My camera and two lenses arrived a few short days before a scheduled trip to the Lake Powell area, where I have photographed many times. Arriving fatigued and with inadequate time to make all the needed presets, I spent the first 2 days resting and making presets with a couple of short afternoon photo sessions. I am not quite clear at what point I thought I could focus adequately on the ground glass, but with a laptop that was intermittently allowing tethered capture, I decided to give it a shot.

The Making of Alien Skin Redux

This first image was a revisit to an old favorite area near Coyote Buttes, a fairly easy walk once I got my bearings – flash floods had changed the appearance of the entry point. I had planned both vertical and horizontal stitches in this area but was foiled early on when a knob came off – more on this later. This image is a vertical stack of three horizontals using the rise / fall in the camera. My Rotaslide had not yet arrived, nor would it have worked for this configuration other than to mount the back. Actually that would have been huge as the [focus > remove ground glass > place back on camera > reverse after the shot] sequence became rather tedious. The sliding back is more secure for the digital back and much faster from a workflow perspective (also as an added advantage more dust/rain/mist resistant).

I used my presets for this and tweaked slightly for the upper part of the image. That area is a tad soft, but considering the geometry of the scene – the top being at over a 20 degree angle form the base , I was pleased overall. And “soft” with the Schneider 47XL isn’t far off from what I got with the Mamiya 45 non-D glass when focused properly. OK I’m sold.

I reverted to the Mamiya for a while, and the freedom of SLR versatility certainly has its strong points. A call to Rod Klukas and he was able to walk me through a field fix of the knob that came loose from the RM3Di, and back in business. The shift knob is held on by 2 lock screws. There was only one on mine and it had loosened. Guess they have Monday at Arca just like in Detroit. Anyhow – for those who need to know it’s a TorX – 6 (T6) screw. You can get a driver set at most auto stores for about $5.95. Many thanks to Rod who dissected his own camera to determine the needed fix and walked me through it. Try that for service and customer support!!

The Making of What Kind of Place Is This?

Another day and a side trip to White Pockets – a hard to reach area near Coyote Buttes for those not familiar with the Arizona Strip. This is a favorite haunt, but I was on a compressed schedule, scouting in blue sky and had an evening image in mind. I was hoping this mid-afternoon image might work with the intermittent soft light I was getting. This was a fairly tight three-panel vertical with the 47XL lower to the ground maybe 3 feet off the ground and maybe 3 degrees of lens tilt. The very tops of the near rocks get a little soft – but usable with additional selective sharpening. Some post processing, drawing off the extra dynamic range of the digital back, salvaged the sky. The tilt just barely worked; which is fortunate as I wasn’t eager to do a focus stack on an image requiring multiple panels.  In this situation I wished I had the 35XL or 24XL as an alternative option.

The Making of Chinle Skeleton

Another stack with the 47XL, 3 horizontals to produce a vertical image. This was another “exercise” image which could have been done as a single capture with a wider angle lens (which I did not have). But it proved to me that I could 1) focus on the ground glass accurately enough for f/16 to take up the slack and that 2) stitching was easily doable when I needed a wider focal length than I had with me. If my 35XL had arrived in time I might not have done some of these stitches using the 47XL. But it did prove the possibility of selecting wider spacing of the lenses in your kit and using stitches for the times that you need to bridge the gap.

The Making of Antelope Glow

On to Antelope – the land of “been there”. Well it was mid day – clear sky – so either sleep, scout or work in the slot. I chose the latter. Both for fun – and to try to answer some more questions. The Arca Swiss focus card was arguably all I needed for this setup, but I focused visually, then confirmed with the focus card. This is another 3-panel stitch to get a wider angle perspective than the 47XL allowed in a single capture. The larger native file size is an added bonus.

The Making of Antelope Wave Box

OK – acid test #1. Could I, aim upward, focus on a near object (5 foot), and tilt for the far successfully? It’s an unusual situation, in an extremely dark setting (the bottom of Antelope Canyon). The tilt was necessary as DOF wouldn’t cover this scene in a single capture. And it’s a stitcheroo – 6 vertical in 2 rows of 3, cropped to 30×30. the near spine is a tad soft – but only a tad – and usable with a little touch up. The far is spot on. The upper right rib and upper left close in are a little soft as well – but it’s a view camera thing – the geometry of the scene vs. the cone of sharp focus when tilted. Possibly there is a focus / tilt combo that covers it all at f/16 – though I would probably just stop down to f/22 next time. Yeah – I know – stay away from f/22 (due to diffraction) – but maybe that is only relative. Final impression – definitely doable though it took a lot of effort. A 6x loupe would probably help – I had a 4x.

The Making of Antelope

This was a (gasp!) 9-shot panel stacked and stitched cropped to native 30×40 from a 33 x 48 panel. There is a bright hot spot that is just barely within salvage using every post processing trick I could think of. But it did hold. This was a relatively simple set up. The focus card and Disto did the work – I confirmed focus on the ground glass but it wasn’t necessary. The eye can fool you because the 5 full revolutions of the focusing helical keeps the sharp “snap in – snap out” of focus from happening like it does on an SLR. So it takes more effort, but can be done. I am not sure the angle of view after all the shifting with the 47XL – somebody can calculate that one – but I suspect it’s around 24mm, maybe less. I didn’t have a 24XL – and the detail will be much improved with the longer focal length as well, though admittedly less important on sandstone than fine foliage. All in all, a lot of work. Better be sure the end result will be worth it unless you have lots of time to kill.

The Making of Pool Flood

On to greener pastures – literally – Spring in the Smokies. Having had a little more time to work things through and process the Southwest trip and learn what did and didn’t work, things went smoother. Big question – how would stitches work on moving water? And my Rotaslide had come in so needed to give it a whirl. The Rota makes everything much, much easier. The sliding back allows you to compose and then shoot while leaving the back attached. This minimizes the opportunity to drop the back and exposing the sensor to dust, debris and water.

I did take the precaution of making multiple sets of captures, in case one sequence of water pulsations stitched more easily than another. I used the best blend of water vs. tree movement. There was just enough wind to add an extra challenge. I worked on one set for hours in PS before moving to my second choice which stitched easily. Standing on the river bank several feet above water level, my eye level preset with tilt kept everything sharp. Hyperfocal might have covered it, but I wasn’t sure. I should have taken a backup set without tilt, but didn’t feel the need.  The original (uncropped) panel was about 46 inches wide.

The Making of White Oak Sinks Pano

If you need more DOF then tilt is the obvious answer, but what about the tops of the trees? Really close would suck, but I thought these were just far enough away to squeeze by. Wind gusts to 30 mph made focus stacks out of the question, even if I was so inclined, as everything was shaking, and I didn’t have time to go back another day. Some editing of the masks because of wind motion in the FG flowers and it all went together.

The Making of MST Junction

When the weather sucks how does the camera perform? This is near Craggy Gardens on the Blue Ridge Parkway, shooting in the rain with John Smith who I alternately curse and bless for getting me into Arca in the first place. It was raining and it was blowing fine mist. I had an umbrella rigged over my tripod and still had to wipe the lens before each and every shot, cover it immediately with a lens cloth, remove the cloth just in time to make the image. You get the idea; it’s possible, but in conditions this adverse: pack up and go home.

OK – first its not my strongest composition ever. But there were multiple messy field issues to deal with. The back stayed on the Rotaslide the entire time – and was safe – no water droplets. That was a huge plus. After making an image and tweaking with rise / fall – not “live view” but better than nothing (and usable actually as a workflow option) – the pan materialized. This was the acid test for tilt vs. tall near objects. This time it pushed past the envelope. Top half of the nearest tree on the left is quite soft. If you sharpen the living hell out of it, its not too distracting, but with loss of style points. Printable, just don’t linger on the warts. With the Rotaslide over into shooting position I kept getting water droplets on the inside of the ground glass – took me a minute – duh – that’s exposed to the blowing mist. 47XL again this pan was almost 48 wide before cropping.

Lessons Learned

1. Have a tool kit with you with a couple of spare parts. The x-sync pulled off my 70 Rodenstock HRW. Thanks to Steve Hendrix for cannibalizing one from a rental lens and bailing me out. My pending solution is a male to female PC extender to stay on the lens and attach to the wake up cord that way relieving repetitive stress on the lens connector. Cheap if you can find them. A $6.00 T6 driver will fix a loose knob for you. Carefully lift up the rubber knurled knob cover and slide it off to expose the screw sockets. Simple once you understand how it’s built.
2. Mark your ground glass with your focus area or have a mask. I used a mask that Dave Gallagher sent and scribed the inside of the ground glass with pencil like unto a red cross symbol for both horizontal and vertical. Works well. You can visually extrapolate for pans.
3. The Bogen 410 geared head for about $225.00 levels with micrometer precision and makes getting level much easier than with a ball head. Independent tilt pan and leveling. Needs some sort of Arca compatible clamp plate on top. Their plate I don’t like, but it’s an easy fix.
4. I use Really Right Stuff clamps on my gear. I like the lever clamps for quickness and ease of use, but the “bigfoot” – the Arca Classic mounting shoe – is loose in one of my clamps though fine in another. The folks at Really Right Stuff tell me the clamp is intended for proprietary use with their system, and might not fit other, including Arca, plates. A single layer of duct tape on the base of the foot made it nice and snug. Not a pretty solution, but another addition to the long list of things you can do with duct tape. Their traditional knob driven clamp doesn’t seem affected by a slight mis-sizing or manufacturing tolerance issue.
5. Keep the LCC raw files in case you need to reprocess the file. Easy to save the raw capture in the same folder so you can delete the LCC itself and avoid having a huge list.
6. It’s quicker to leave a cheap cable release on the lens. Cheaper the better – they are more flexible. The magnetic ones are OK to a point, but as soon as the shaft bends they become a problem, and they pop off at inconvenient times. And it’s extra time in set up.
7. Make a dark cloth for viewing the ground glass. So far the commercial ones I have seen are too big. Wouldn’t mind a reflex viewer if it had enough magnification for focusing but bulk is an issue as is eye-level use. Haven’t had one to play with.
8. Spend the time to make, check, and recheck your presets. It’s faster than ground glass focusing. Save that for when you are in unfamiliar situations or haven’t had the time.
9. Harold Merklinger has a downloadable spread sheet for estimating tilt needed relative to distance from the focal plane. Functionally that’s camera to ground distance but can be greater, if for instance, the focal plane runs some distance under the ground beneath your feet. This is old hat to view camera users but may take a little getting used to. http://www.trenholm.org/hmmerk/TABLESX.ZIP takes you to Harold Merklinger’s web site directly to the file download and http://www.trenholm.org/hmmerk/HMbook18.html takes you to his View Camera Focus page. On the latter page, scroll down to “spreadsheets” open the file and follow the instructions to make your own table for your lens set. Then test. You might have to tweak slightly, but these are great starting points. You will notice that as you get higher off the ground – i.e. farther from the focal plane – you need less tilt.

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Hyperdrive Colorspace UDMA Review

June 15, 2011 | Guests, Tech, Tech Features

- Video in this blog entry provided by Mark Esposito

One of our wonderful customers was kind enough to post a video review of the Hyperdrive Colorspace. This device allows him to download the CF card from his Phase One P+ digital back and visually confirm the images have been downloaded. This provides him a backup of the images when traveling without a laptop.

A few notes for clarity:

• Only the file extension .TIF is supported. Read this note about .IIQ vs .TIF file extension for clarity and how to change this on your back.
• This is likely not compatible with the IQ series (due to requiring a .TIF file extension)
• The lines you see on the LCD are a result of the way the video was captured.
• You can only view the embedded preview, not the raw file. So no zooming in on the image to e.g. check focus.
• The histogram is based on the embedded preview, not the raw data and may vary from the P1 histogram on the P+ LCD.

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Capture Integration in Carmel

March 1, 2010 | Guests, News

Last week, Don Libby of Iron Creek Photography in Tucson, AZ and Ken Doo Photography of Carmel, CA co-hosted the 2nd Annual Capture Integration in Carmel medium format digital workshop.  Capture Integration in Atlanta, GA and Miami, FL is a Phase One Dealer of the Year, and is widely known for its customer service and knowledgeable staff.  Stemming from its previous year’s activities, the informal and light-hearted workshop is also known as the 2nd Annual Pigs in a Blanket, where unbeknownst to most participants, last year Don Libby ordered everyone Pigs in a Blanket for breakfast at the Wagon Wheel Restaurant in Carmel Valley.  And a monster was born.

The workshop is primarily for those interested in medium format digital photography.  Participants are able to use the latest technology, such as the Leica S2, Leica M9, Cambo RS, Phase One P65+, P40+ and P45+ digital backs, and a host of the latest lenses from Rodenstock and Schneider, all of which were graciously provided by Dave Gallagher of Capture Integration (CI).   Although the focus of CI in Carmel is on landscape photography, many of those attending are also photographers that work in other fields, such as weddings, portraiture, commercial, and fine art—those that demand the finest in image quality for their clients.

Read More about Capture Integration in Carmel

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Cambo Wide RS w/ Rod. 40mm TS

February 9, 2010 | Guests, Tech Features

Editors note: If you have any interest in landscape photography, traditional or alternative film and print processes, or enjoy photo forums but find yourself sometimes turned off by the typical forum-bickering-and-posturing, we strongly recommend the GetDPI.com forum. They provide a positive environment for the discussion of photography, aesthetics, techniques and gear. The members are very knowledgeable and helpful and the discussions are very often the best place on the web to get advice.

Further Editors note: GetDPI also runs some of the best photographic workshops in the world. They have one spot remaining in their upcoming Salton Sea workshop starting Feb 28.

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By Jack Flesher of GetDPI.com

Thanks to our good friends at Capture Integration, I was able to borrow their Cambo W-RS tech camera with a Rodenstock Digiron HR lens mounted in a Cambo TS lensmount for a quick field test.

Some background. I have avoided investing in a tech camera kit since one of the main features I wanted was separate tilts and swings up front with rise, fall and shifts at the back, and only recently has that option become (readily) available. Sinar released the Arctech about a year ago, and to date I have not been able to even look at one, though I understand there are a few floating around. Arca recently introduced their RM3D tech camera that incorporates a front standard tilt with rear rise/fall and shifts, all while using a dedicated focusing helical on the camera for all lenses. Without going into laborious detail, both of the aforementioned solutions will accomodate my desires, but if I understand their operation correctly, require some added camera gymnastics to get a combination of swing, tilt, rise and focus at the same time. For me, that trio is an often desired combination of movements when photographing three-dimensional subjects with broad near-far subject distances. Which brings me to the main feature that intrigued me about Cambo’s TS lensmount solution — it allows separate tilt and swing adjustments up front on the lens axis while allowing rise, fall and shifts at the rear. (There are a few excellent view camera choices which offer all of these movements, even independently at both ends, which is an obvious advantage for precise adjustments. However a view camera makes for a significantly larger package to transport, is more complicated to set up and use, and is virtually impossible to use hand-held, so I leave them out of the tech camera discussion.)

So armed with the Cambo and 40 HR, I mounted my P65+ back and set out to photograph a decent test subject. In this case, an old passenger train car. I’m going to get straight to picture examples showing results, and leave out all the preparatory discussion on how to use a tech or view camera. While the how-to portion is a worthwhile discussion, it’s lengthy, and most folks considering a tech camera purchase will already know the basics of working them. For those of you who don’t, you’ll hopefully at least be able to see why a camera with movements is worth considering.

Click on the images below to view at 100%.

Here’s the “normal” shot. For this one, the Cambo is leveled and zeroed, meaning no movements of any kind have been made:

The first problem we note is my shadow is in the image, which is an absolute no-no. So the first movement I make is rise, or back fall. Here I used 5mm rise, and note it has the effect of moving the camera to a shooting position several feet higher — note that the camera has not moved at all, the only adjustment is 5mm of rise:

Note that my shadow is gone, and I have more room over the train car, all good things. The three red squares indicate where I’ll be pulling crops from. The far left is the “near” subject point, the center is the “focus” point and the far right is the “far” subject point. Our goal is to get all of them into acceptable focus. I shot all of these frame at f10 as that is near the ideal performance aperture for the lens before diffraction starts deteriorating the fine detail. Here are the crops from the frame with no tilts or swings and only the 5mm rise:

Read the rest of this article

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Capture Integration Brings the P65+ to Carmel

March 11, 2009 | Guests

Excellence is not cheap.  And neither is medium format digital photography.  But for those that seek the ultimate in image quality, Phase One offers many different medium format digital back solutions.  The latest iteration from Phase is the recently released P65+ featuring the world’s first full-frame 645 digital sensor and an incredible 60.5 megapixels.  What sets this digital back apart from previous generations is the proprietary Phase technology behind the Dalsa sensor.  Phase One calls it Sensor+ technology.  By default, the P65+ captures images at its full 60.5 megapixel resolution. Sensor+ technology, however, gives the photographer the option to shoot at 15 megapixels, and with pixel binning, use higher iso speeds with lower noise by utilizing larger 12 micron pixels during image capture.  In essence, the P65+ is like having two medium format digital backs in one.  For the ultimate in image quality, the P65+ is currently the pinnacle of excellence.  Did I mention that excellence is not cheap?

Deciding to Buy the P65+ or How One Loyal American Stimulated the US Economy

Continue reading Capture Integration Brings the P65+ to Carmel…

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Cambo RS 1000 – A User’s Report

January 2, 2009 | Guests

Moving Platforms

I had a conversation with Chris Lawery while on the way home from the South Rim of the Grand Canyon recently; part of the conversation centered on my thoughts and feelings of Cambos newest technical camera, the RS 1000.

I’ve recently made a move from what was my primary camera kit, Phase One AFD III and P30+ to a technical camera. I was able to test the RS this past October while at the North Rim of the Grand Canyon and the test, as short as it was sold me on the camera.  Coming back home to Tucson I returned the test camera to Capture Integration and immediately ordered one along with a 35mm lens.

I’ve had my RS now for just shy of 90 days and while it’s a short time I will state that I believe it to be one of the best landscape kits I’ve ever had the pleasure to either own or use.

It’s the end of December now and as I’ve already said above, I’ve used the RS1000 on two different trips, both to the Grand Canyon and on numerous occasions around Tucson.  The next major trip for me is at the end of January 2009 when I travel to Crescent City CA to photograph the giant redwoods and do some coastal imagery as well.  I plan on using the RS in the redwoods and probably switch to the Phase One AFD III for the coastal shots.

In moving to the Cambo RS1000 I also had to make a move from the digital back I had previously used, a Phase One P30+.  The P30+ had served me well during the time I had it allowing me to capture stunning landscapes throughout the Southwest as well as our recent trip to Alaska however it just wasn’t suited to be mated to a technical camera.  I had originally looked at and almost brought a Phase One P45 when I was researching my first digital back but for whatever the reason had decided to purchase the P30+, a move I never looked back on nor regretted.  Now with making the move to a technical camera I knew from my research I would be faced with either keeping the P30+ and buying another digital back – a move that just wasn’t financially smart or using the P30+ as a trade-up for the P45+ which I did.  Speaking of digital backs, yes the P65 looks great and yes I’d take one in a heart beat if given one (okay there’s a big hint Phase One) however there’s that financial thing again.

One last comment about the Phase One P30+ back as I don’t want to give the impression that it failed me in any way.  This back allowed me to produce a 2-shot image later merged into one panorama at 30×60 which is stunningly clear in ever aspect.  The image is so well regarded that it only hung on display at our gallery for one week before it sold.  And yes I see the same level of detail in the images taken with the P45+.  So here’s the end of this part – if anyone is thinking of buying a P30 or P45 my suggestion and recommendation is do it!  And to be completely honest and aboveboard you need to contact Capture Integration and no I don’t work for them nor do I own any stock in the company.

Continue reading Cambo RS 1000 – A User’s Report…

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Foundry Works

October 10, 2008 | Guests, News

We’re very proud to announce that today our customer Michael Schultz’s book has been released.  The images in Foundry Work are a mix of 35mm and Phase One P45 shots. You can learn more about his book at his website below.

www.michaelschultzphotography.com/publication.html

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Iron Creek Photography – Don Libby’s images and inspirations

August 7, 2008 | Guests

I primarily do landscape images; notice I said images instead of photography. I want to present what I felt more that what I saw at the time the photography was taken.  It is my firm belief that just about anyone can take a photograph be it a tree or rock or even a fig and it will come out looking like the object what was taken.  In other words here’s the tree or meadow I saw isn’t it nice?  What I want to convey is the emotion, the emotion of what made me capture the image as well as instill a level of emotion into the viewer.  I heard once that good photography incites emotion; that emotion can range from disgust to wonderment.  I hope my landscape invokes more of the wonderment side of the scale.

It takes a lot for me to take an image.  In some cultures it was once thought that you capture the soul of a person when you take their photograph; in some ways I feel the same way when I do my landscape images.  Standing at the edge of a canyon or in a meadow seeing what very few people have the privilege to see and experience is to me very moving experience.  What I attempt to do when I capture the image is not only take a decent photograph but know what I want to do with it once I have it.  Bottom line for me is that I want to pass on the feeling that I experienced standing there.  I want the viewer to feel the soul of image not just see yet another landscape.  I want the image to speak out and in some cases shout out to them to the point where the viewer wants to see the location for themselves and experience it first hand.   I have a small blog connected to our website and have had many visitors comment that while they may never been in the position to visit the Southwest or for that matter anywhere we photograph, they nevertheless thank us for sharing the beauty and experience.  I’ve had people see finished work that hangs in a local gallery at home state that our landscape images invoke emotions and memories that they had long lost.  That’s what it’s all about.  I consider myself an artist first and photographer a close second.

More images and workflow after the jump.

Continue reading Iron Creek Photography – Don Libby’s images and inspirations…

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Terra Incognita: Photographers of America’s Third Coast

May 9, 2008 | Guests

Update: Richard Sexton has been featured by Phase One. Download the Phase One Richard Sexton PDF.

A Seamless Film to Digital Transition

In mid-summer of 2005 I made a proposal to my primary publisher, Chronicle Books in San Francisco, for a fine art photography book of black and white landscapes of the gulf coast. I’d been photographing the gulf coast since 1991 and had built up a sizable body of work on the region. Though Chronicle was enthusiastic about the images in this series, they had doubts about the viability of the subject as one of national interest and appeal. However, they were willing to at least consider it. Then in August and September, hurricanes Katrina and Rita hit the gulf coast. Suddenly there was unrelenting national interest in this region of the country. Whereas the national focus was primarily on the devastation to the city of New Orleans, there was an underlying interest in the geography of the region and particularly how increased storm activity and global warming were impacting the gulf coast. Not only was the climate changing as it pertained to weather, but the book publishing climate was changing as a result of Katrina. Chronicle agreed in the fall of 2005 to publish Terra Incognita. However, the project was only about two-thirds complete in terms of principal photography. There would need to be new photography, particularly post-Katrina imagery, to complete the photo essay.

More from Richard Sexton after the jump.

Continue reading Terra Incognita: Photographers of America’s Third Coast…

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Multiple Strobe Pops for Interior Lighting with Phase One

March 4, 2008 | Guests, Tech

This article is was contributed by our valued customer, Jeffrey Totaro. You can check out his website at www.jeffreytotaro.com. If you are a customer and have a technique to share with the community please contact Doug Peterson.

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Digital photography provides many excellent solutions to photographic challenges. But coming from 4×5 film I missed one previously film-only technique: multiple strobe pops while shooting interiors. I have developed a unique switch-box that brings the multiple pop method to Phase One digital backs. The device is built by Kapture Group, and available for purchase from Capture Integration. The device can also be used for other long-exposure and multiple exposure techniques.

Continue reading Multiple Strobe Pops for Interior Lighting with Phase One…

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IAAP and Capture Integration team up

March 4, 2008 | Guests, News

Editors Note: This article was contributed by Thomas Bliss, the president of the International Association of Architectural Photographers. Steadily Capture Integration has been proving itself as the authority on specific markets in our industry. If a product doesn’t exist to solve a photographic problem Capture Integration will develop one, thus establishing our branded line of exclusive products. The combination of high ideals, customer service, and the superior quality of the Phase One line of digital backs has been integral in establishing Capture Integration’s reputation as the #1 source of information for the discerning photographer. Our expertise in the Architectural market has lead us to partner with an organization that is like minded. We look forward to a long relationship with IAAP and its members.

The International Association of Architectural Photographers was first launched by founder and “emerging” architectural photographer Thomas Bliss on January 1st, 2003 as NAAPA. The name was changed in mid 2003 to the IAAP to reflect a growing international membership.

Continue reading IAAP and Capture Integration team up…

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