View allAll Photos Tagged LargeFormat
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
Remastered from my film archive. While the quality and convenience of modern digital capture are undeniable, I sometimes miss the craft of photographing on film with a view camera. Ebony 4x5ins field camera, Schneider 80mm Super-Symmar, Fuji Velvia 50.
Original photograph copyright © Simon Miles. Not to be used without permission. Thanks for looking.
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.
This hollow old ash tree stump is still has some healthy growth. Photographed beside a path in Shadwell Wood Ashdon in Essex.
MPP Micro Technical 5 x 4in and Schneider Kreuznach Xenar 1:4.5/150mm, Fomapan 100, f16 at 1/2 sec. Scanned with Epson Perfection V800.
Inverness Shipwreck (Reprocessed)
Sinar Norma 4x5
Ilford HP5+ ISO400
Fujinon 90mm F8
Reprocessed using wetscan on my Epson v800, and alternate editing to preserve detail and tones
Making progress with #Cyanotype gelatine on glass prints of my XRay film negatives. #largeformat #largeformatphotography #cyanotypeprint #studiothreegallery #clevedon #pier
Cyanotype - washed in citric acid solution, hydrogen peroxide, washing soda and then toned in black tea.
"Struwwelpeterbrunnen"
by Franziska Lenz-Gerharz
Frankfurt, Germany
Hybrid large format 40x40 cm
Meyer Görlitz Epidon 3.6/420mm
Tulips in our garden...
MPP Micro Technical camera with Fujinon 150mm f6.3 lens, Fomapan 100 film, f22 at 1/8th sec.
Finished with Nik Collection Analog Efex Pro 2...
Lock down gives us plenty of time to explore post processing techniques...
Salt Print
8in x 10in
- Digital negative made from original 4x5 Kodak TMAX 100 negative shot using Calumet studio camera
- Fabriano Artistico paper
- Sodium Chloride and gelatin base
- Silver Nitrate with one drop of potassium dichromate for increased contrast
- Gold Borax Toner
- Dual Sodium Thiosulfite fixer baths
- Sodium Sulfate clearing agent
IN ENGLISH BELOW THE LINE
Provant la combinació Trousse Parisienne, d'entorn l'any 1900, que permet tenir multiples objectius en un de sol. Aquesta disposició forma un gran angular de 200mm. Calcular els diafragmes adequats (doncs aquests cambien per a cada combinació) és complicat, però m'ha sortit prou bé.
Fotografia feta amb una Sinar P, fabricada cap als anys 70; obturador Sinar-Copal; objectiu combinable Trousse Parisienne (probablement fabricat per DeMaria), d'entorn 1900; Fomapan 100.
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Trying the Trousse Parisienne combination, from around the year 1900, which allows you to have multiple lenses in one. This arrangement forms a wide angle (grand angulaire) of 200mm. Calculating the right apertures (as these change for each combination) is tricky, but it worked out well enough for me.
Picture taken with a Sinar P 4x5 camera, manufactured around the 70s; Sinar-Copal leaf shutter; brass Trousse Parisienne combine lens, made c.1900; Fomapan 100.
Sigüenza, Guadalajara - Castilla la Mancha - España
Chamonix F1 : Nikkor-W 150/5.6
Adox CHS 100 II : HC-110 (e)
A view of the large corn crib barn and main barn on the Joseph Poffenberger Farm within the grounds of the Antietam National Battlefield in Sharpsburg, Maryland. On the morning of September 17, 1862 many of the men of Union Major General Joseph Hooker’s First Corps of McClellan’s Army of the Potomac met their demise near here during a key battle of the American Civil War. Later that same day, the farm was used as a field hospital for soldiers wounded in the battle. Antietam was the scene of the bloodiest one day battle in American history.
From my ongoing "Farmscapes of the Civil War" book project.
Technical details:
Toko 4x5 wooden large format field camera.
150mm F6.8 Rodenstock Geronar lens in Copal BT shutter. Yellow/Green filter on lens.
Ilford FP4+ B&W film, shot at ISO 100.
1/15th second at F32.
Developed in Pyrocat HD at 1:1:100 dilution for 8 minutes @ 20 degrees Celsius in Jobo Multitank 5 with 2509N sheet film reels with drum placed on Unicolor Uniroller 352 auto-reversing rotary base.
Negative scanned with Epson 4990 on holders with ANR glass.