View allAll Photos Tagged LargeFormat
One of the last large format studio cameras, in use until two years ago in southwest Michigan, was dismantled recently. This is a shot of the circuit board while still on the Itek Graphix 24x20" film-processing camera.
On my walk today I saw a teasel partly opened so I took one home and cut it half to photograph on X ray film (with my New Countess 10x8 camera from 1890). F45, 40s. Photographed and inverted in Photoshop Very pleased with the way this has come out
Fallen leaves and oak trees... MPP Micro Technical 5 x 4 and Schneider Kreuznach Xenar 1:4.5/150mm, Fomapan 200, f22 at 1/5 sec. Scanned with Epson Perfection V800.
"Gasthof Hirsch" lonley chairs waiting for customers and the Beer Garden season. Shot with Sinar 4x5 on Ilford FP4. Print 30x40 on Foma MG Classic 131 an dev in Moersch Eco 4812. By Mistake I printed 2 stops far to dark, so I decided to bleach until this interesting result and color came out. So I like it as my finish Print, and didn't do a second one.
Restored Seneca 6, 5x7 panchromatic paper negative (ilfospeed rc), ~6 sec @f22 (U.S. 32!)
#LargeFormat #PaperNegatives #BelieveInFilm #BelieveInPaper
Réparation de l'optique Som-Berthiot Color 360 F/4.
Vendue en l'état avec la chambre, les lamelles dans un sac.
Testée à pleine ouverture pour du portrait à 1m. Profondeur de champ de 0,009m. Juste l'oeil qui était net, le reste flou...
Bref, dégommage, dégraissage puis remise en place des 26 lamelles dans le fût.
Shot with Fomapan 200 with an orange filter. Quite a difficult shot to get in camera. I had to tilt the camera up then straighten the standards with a spirit level to get the verticals right.
This is the very first image I made upon arriving in Zion. As I explored the winter wonderland of Zion National Park shortly after this winter storm, this area was one of the first I encountered. This stand of Pines cloaked in the icy veil of winter formed a striking contrast against the vivid orange sandstone canyon wall in the background. Snow had accumulated on the cliff ledges, forming alternating stripes of orange and white, with the blue sky subtly reflected in the white snow on the evergreens rounding out the color palette.
To get a sense of scale, look at the tree growing on the wall in the left center of the frame, above the 2nd Pine tree. That tree is about the same size as the trees in the foreground - about 40 feet tall! That tree is a marvel in itself, growing out of almost nothing on the narrow cliff ledge. The wall is hundreds of feet tall, and is at least a hundred plus feet behind the trees. I am standing about 3 feet away from the trees on a hillside, standing in about a foot of fresh powder. This place is truly magical in winter!
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Have a question about film or large format? Message or comment below!
“We do not want merely to see beauty... we want something else which can hardly be put into words- to be united with the beauty we see, to pass into it, to receive it into ourselves, to bathe in it, to become part of it. That is why we have peopled air and earth and water with gods and goddesses, and nymphs and elves.”
– C. S. Lewis
@intrepidcameraco 4x5” Field Camera
Fuji Provia 100F
Fujinon W 180mm ƒ/5.6
1s @ ƒ/32, max front rise
Walking through this place was one of the most peaceful and enjoyable things I've had the pleasure of experiencing. The juxtaposition of vivid leaves with warm desert tones and geology makes an unusually beautiful combination. I love this scene because it captures an incredibly ephemeral moment in time. The wash had just been flooded, leaving the sand wet and forming gorgeous ripple and wave patterns. The vivid leaves fell onto the sand and rested there. A few days earlier, there would have been dry, loose sand and no leaves. A few days later, and there would be dry, loose sand and a bunch of dry, dead, colorless leaves.
This was a rather precarious scene to capture. I used my Intrepid 4x5 view camera, and view cameras are designed to be used perfectly level. They have a flat "bed" on which are mounted two moving "standards," one holding the film, and the other holding the lens, connected by a fabric bellows in between. Tipping that assembly on end so it faces the ground puts all the weight on the standard mounts, which aren't made to support it. It also makes viewing the dim ground glass under a focusing hood very difficult, as I had to lean out over the top of the tripod, which was balanced spread over these leaves, trying not to ruin the delicate mud with footprints or shadow, while focusing on the reversed & inverted ground glass. Then it began to rain! I was in a flash flood wash, where 7 people were suddenly killed by a flash flood a couple years ago. I hurriedly finished the image, and ran to high ground to wait out the rain before getting back to work.
By all means, zoom in and pan around. I don't make these things to be consumed as thumbnails!
Details:
This large format film image was made on Fuji Velvia 100 with my Intrepid 4x5 Camera and Schneider-Kreuznach 90mm ƒ/8 Super-Angulon lens. 2s @ ƒ/45, swing & tilt. It was my only exposure of this scene.
Own a signed limited edition print of this image at: lowerylandscapes.com/zion
IG: @vladyurkov
Kodak E100 4x5
Chamonix 45f2
135mm f28 1/30s
2 stop SGND + 812
Kodak E100 rendition of the scene I posted shot on Ilford Delta 100 last week.
As much as I enjoy the monochrome sheet of film, I feel this version mirrors my recollection of the scene far more vividly. The colour transparency realizes the subtle interplay between cool and warm tones which originally drew me to set up my camera in a far more representative manner. The glowing warm orb of the sun diffused by a cloud inversion layer behind the pines is also distinctly more defined in the colour slide.
This old fence at the Beechwoods Nature Reserve will be instantly recognised by anyone who walks there...
MPP Micro Technical 5 x 4 and Schneider Kreuznach Xenar 1:4.5/150mm, Fomapan 200, f22 at 1/10 sec. Scanned with Epson Perfection V800.
Today’s Collodion tintype test with Lars.
This is UV Photographics new X formula collodion (very fast compared to OWH!) and I’m also testing a new magic lantern lens a friend has offered me. I estimate it to be about f8. No waterhouse stops - just wide open chromatic aberration goodness.
Exposure was 6 seconds in open shade, cloudy November conditions.
MPP Micro Technical 5 x 4in and Schneider Kreuznach Xenar 1:4.5/150mm, Fomapan 100, f16 at 1/10 sec. Scanned with Epson Perfection V800.
Large format really shows me how easily I can become distracted despite slowing down and really looking around me. I missed a shot because other hikers wanted to interact as I was setting up a shot, and I totally screwed up and missed it since I lost my concentration. I'll go back (hopefully!) to see if I can recreate the shot. But I so value LF since it makes me more observant, and the details are just incomparable. This is the last of my expired HP5 so will need to pick up some more 4x5 - I'll be finishing up my Ultra 8x10 soon as well, so time to find deals on film! Thanks to all the flickeranians who continue to inspire!
One light in medium soft box. Shot on Polaroid Type 55 positive/negative 4x5 film.
This image is protected by copyright, no use of this image shall be granted without the written permission from Joel Grimes.
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Burke and James Grover 8x10, Wollaston 125mm f1.6 (@~f5.6), Expired Kodak RC paper negative (single strobe)
More tests with the super wide meniscus, in my lair, playing banjo.
#BelieveInFilm #LargeFormat #WollastonLens
speed test
4x5 dry plate.
no exposure, and one stop increments from 25 to 800 seconds, 25 seconds is at 1,5 asa.
3,5 minutes development,
Slow emulsion, no fog.