View allAll Photos Tagged BTZ
Thornton Brothers, Ashington:
Arriva North East Ltd.:
Ex-Arriva Arriva London South (VLA149)
Please note, photos were taken outside the property, through the fence!
Thornton Bros., Boiler Road, North Seaton Industrial Estate, Ashington
Bank Holiday Monday 2nd May 2016
“No amount of ability is of the slightest avail without honor.” --Andrew Carnegie
The St. Anthony Park Branch Library was built in 1917 as part of a $75,000 grant to build three libraries in St. Paul. The ornate Beaux Arts style building was designed by St. Paul City Architect Charles A. Hauser. In 1999 a large circular rotunda, matching the original structure’s style, was added to the back of the building to house a children’s section. The building continues to serve as a public library.
This is part of a continuing project to photograph the remaining 48 Carnegie library buildings in Minnesota.
Дорогой, решено! Я порву на ленточки этого мерзкого ретро-папарацци! Дорогая, заткни фонтан, ты же знаешь, что фотографы состоят по большей части из дерьма. Можно забрызгаться...
2nd Historic Bike Ride 2014 (07 June)
Второй Исторический Велопробег 2014 (07 июня)
Web site of Event / Веб сайт мероприятия
Event Report / Отчет о мероприятии
..
<Note: Hit "L" to bring large format to Full Power!>
Not what I had in mind for the place. I wanted to do longer exposures on b&w but screwed up two pretty quickly. Having only the Verito soft focus lens didn't help. So I edited this Portra version. I'll have to go back with the Tessar and try a long exposure again. I should have just used my infrared film for the long exposure.
Speed Graphic
4x5 Kodak Portra 400
Wollensak Verito @f/22
~1/4 of a second
Developed with BTZS tube and Rollei / Compard Digibase c-41 kit.
Speed Graphic
4x5 Arista EDU Ultra 400
Wollensak Verito 9" @f/4
1/125
Stand developed in Rodinal 1:100 for 45 minutes in BTZS tube.
Getting a little better at framing through the rangefinder with the Speed Graphic. Surprised this is sharp at the shutterspeed I was at. I also broke down and bought colorperfect for converting color negatives. It just works so much better than any other method for me. It is consistently great where as the 3 or so other methods I'd use would work well one time and not the next.
Speed Graphic
4x5 Kodak Portra 400 (converted to b&w)
Wollensak Verito Soft Focus 9" @f/4
1/250 or so
Developed in a BTZS tube with the Rollei / Compard digibase c-41 kit.
The Pettigrew Home and Museum. Richard Pettigrew was one of South Dakota's first U.S. Senators and an important figure in Sioux Falls history.
This was the first appearance of the name ShortLines used by this privately owned rail freight company. ShortLines teamed up with Bayerische Trailerzug to present themselves on the same day NS Cargo opened the Seaport Terminal in Moerdijk (NL). In the end, BTZ did not became active in the Netherlands, but ShortLines did.
('Here among the hazel scrub')
Whichford Wood, Warwickshire Cotswolds
5th July 2019
Chamonix 810V
Nikkor-M 450 f/9
Ilford FP4+ 8x10
8” f/32
Front swing
N development, BTZS tubes, Pyrocat HD 2:2:100, 9’27”, 22ºC
Acetic acid stop, TF-4 Fix, Hypoclear, 30min wash
This is the Marathon Oil Refinery on the Mississippi River in St Paul Park, MN. I think Marathon may have sold it last year though. On the left is the Rock Island swing bridge which opened in 1895. It was closed in 1999 and almost completely demolished in 2009. It was bought by Inver Grove Heights and converted into a pier/park.
I prefered this duotone edit over straight b&w.
Calumet C1
210mm Kowa Graphic
8x10 Ilford HP5+ @320
f/64
1/30th
Developed in a BTZS tube with Pyrocat HD at a dilution of 1:1:100 for 13 minutes. I think I am going to try the two bath / divided Pyro method next time.
Could have given it more exposure for sure. I was mainly interested in the 8x10 Velvia I shot. I am sending that out tomorrow, hopefully it turns out. I don't think b&w fit this scene as much as color. With the featureless sky there isn't much going on and obviously the color doesn't come through. I am hoping the Velvia captured some great color as the sun was just coming up behind the right bit of smoke and lighting everything up pretty good.
Great Coxwell Barn, Oxfordshire
29th July 2019
6:47pm
Chamonix 810V
Nikkor-SW 150 f/8
Ilford FP4+ 8x10
25mm front rise
15 minutes f/45
N development for Argyrotype, BTZS tubes, Pyrocat HD 2:2:100, 12’20”, 21ºC
Acetic acid stop, TF-4 Fix, Hypoclear, 30min wash
(I now estimate that this is probably about 2/3 stop overdeveloped: I'm now trying out a film test for Argyrotype to settle on a solid go-to time.)
Lotus 12x16" contact printing frame, Bergger Cot320 11x14" paper in Krystal Clear envelope, 3ml Fotospeed sensitiser with 1 drop of let-down Tween 20 (1 drop per 5 drops distilled water).
10'10" exposure in mid-morning sunlight, freshly coated but allowed to dry for a few minutes, no prehumidication, full sun with some cloud.
5 mins wash in distilled water with squeeze of lemon juice,
5 mins wash in tap water
3 min wash in 2% hypo solution
1 hour float in tap water (30 mins face down, 30 mins face up).
Dried for a day on clothes rack, then flattened under mount boards/tracing paper for a week (NB very significant dry-down over a few days).
Majority of chemistry from www.wetplatesupplies.com apart from Fotospeed sensitiser and Adox acetic acid (Silverprint), and TF4 fixer (www.stillphotographic.com). Lotus printing frame from linhofstudio.com.
I shot this scene a few weeks ago with my Nikon Coolpix A. I really love this tree, though and wanted to get it with the big camera, too. The company I work for had our company picnic in Parker on the 22nd of June. I took Co. Hwy. 83 back to Colorado Springs on the way home and made a stop at Castlewood Canyon on the way.
There's one glaring problem with this shot (other than the fact that I have conceded that my old changing bag has more dust than a 19th century attic and I need to figure out another option for loading film holders...). There was a tiny bit of wind while I was there, so I was trying to balance shutter speed and aperture to get enough depth of field and a fast enough shutter speed to stop motion. I tried 1/25th at f22. Alas, it was not enough and at full resolution, there's the tiniest bit of both motion blur and lack of depth of field in the nearest branches. Not a deal breaker, but not quite as perfect as I would have liked if I had my druthers.
Korona 8x10
Bausch and Lomb 9 1/4" f6.3 Series VIIa Protar
Ilford FP4+ developed with DD-X in BTZS tubes
1/25th @ f22, metered at ISO 125
"Scanned" with Nikon D800 and Micro-Nikkor 55mm f3.5
pictorialist style 5"x7" B&W photochemical print of "Eclipsed Dreams"
Lumsden, Saskatchewan, Canada
--
Ilford 5x7 Multigrade IV resin coated glossy paper, Beseler 45MX enlarger, Schneider Kreuznach f4 75mm enlarging lens, PQ Universal paper developer
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Toyo View 45F Large Format 4"x5" monorail view camera - bag bellows, Yankee fresnel ground glass
Nikkor W 150mm f5.6 lens in Copal #0 shutter (~45mm effective vs 35mm film)
Ilford FP4+ 125 ISO B&W sheet film exposed at f8 for 1/500 sec. with front tilt & rise
negative stand developed in BTZS tube at 20 C for 1 hour with slow inversion every 3 mins and no agitation in "PQ-MAX" Development details on FilmDev:
7.5ml Ilford PQ Universal, 2.5ml Kodak T-MAX Developer, 1L water
Ilfostop at 1:19, Rapid fixer at 1:4 for 10 minutes, Ilford Washaid in rinse
scanner Epson Perfection V500 at 6400 dpi 48 bit
Just spent a pleasant couple of hours making two 10x8 macros with flowers from the garden.
This is the gear I used to to make them.
Chamonix 810V 10x8" view camera, with standard Chamonix film holder
Arca Swiss Cube GP geared tripod head
Gitzo 3540LS tripod fitted with Gitzo levelling base
Rodenstock Apo-Sironar S 240mm f/5.6
Sekonic 758D spot meter
(Other items missing: notebook, BTZS dark cloth, Silvestri 4x loupe).
Some notes on choice of gear here, esp. for macros.
Fast and excellent lens with relatively short (for 10x8) focal-length: needed for wide-open portrait-style macros; short focal length = relatively manageable bellows extension and working distance for setup.
Why a levelling base with the Arca Cube when it's got geared pan on top and pan on the bottom? Because if you level the base when setting up, this means that if you want to pan you can do so without totally messing up the composition.
Geared head is necessary for stable and accurate composition when the whole camera is tilted downwards - for these shots the camera was tilted down 65º from horizontal.
A new edit of an 8x10 negative of Sorbus leaves.
Initial intent was for a horizontal 4x10 crop, as previously posted. Now, vertical panoramic strips seem like a great idea, since the image has too much detail and chaos to take in as one single 8x10 image, but I wanted to show more.
23rd August 2019 11:00am
Chamonix 810V
Nikkor-W 300 f/5.6
Ilford FP4+ 8x10
33” f/22
450mm bellows
large amount of front tilt, front shift for composition
N+1 development for Argyrotype, BTZS tubes, Pyrocat HD 2:2:100, 20’48”, 21ºC (NB vastly overdeveloped for Argyrotype: but still scanned ok!)
Acetic acid stop, TF-4 Fix, Hypoclear, 30min wash
Staffordshire Police, Ford Transit Collision Investigation Unit, BX18 BTZ, seen at the Staffordshire Police HQ Open Day on the 3rd of June 2018.
Whichford Wood, Warwickshire Cotswolds
5th July 2019
Chamonix 810V
Nikkor-SW 150 f/8
Ilford FP4+ 8x10
8” f/32
A few degrees of front swing
N-2 development, BTZS tubes, Pyrocat HD 2:2:100, 5’40”, 22ºC
Acetic acid stop, TF-4 Fix, Hypoclear, 30min wash
Complete 4x5 setup:
- Tachihara 4x5
- 4x5 BTZS focusing cloth (very good)
- Fujinon CMW 125/5.6 (image circle 204 mm @ f/22)
- 2x FIdelity Elite film holders
- 3x NEW Toyo 4x5 film holders
- 6 filters
- Cokin P filter system + 121M filter
- cable release 2x
- Ilford FP4+ 4x5 FIlm unopened box of 25 sheets (Exp. 12/2014)
I need to ask Carl and Oren about this...in the old days there was some technical test you could do on films that involved a box with white and black surfaces. The white side was placed where sunlight fell on it...ah, I just forget what it was.
I was never one for testing. I just tried stuff and looked at the results. My late friend Phil Davis, Emeritus Professor of Photography at the University of Michigan and the developer of BTZS (Beyond the Zone System), used to (rather accusingly) refer to me as an "eyeballer." A parallel existed in the foundational Group ƒ/64—Ansel Adams was a tester and Edward Weston was an eyeballer. Each understood the other, though. The same was true of Phil and me.
If you have windows near your computer, try looking at this in the daytime, when there's a lot of ambient light about, and then look at it at night with subdued lighting in the room. In my office (a porch, with windows on three sides), it looks rather flat and drab in the daytime. At night, with subdued lighting in the room, it pops nicely.
[UPDATE: Dear Butters died on June 6th, 2025, after a long illness. I miss him every day but remember him with great fondness.]
I saw the shadow here and tried to work a composition out of it. I need to start trying to visualize the final print before making a photo. I've been only seeing the composition and not even thinking about my goal for the tones of the image.
Calumet C1
Kowa Graphic 210mm
8x10 Ilford HP5+
f/45
3 minute exposure
Developed with BTZS tube in Rodinal r09 for 4.75 minutes. The highlights in the window held incredibly well.