Handheld Large Format Camera
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Sinar F
Schneider-Kreuznach 150mm F5.6
Shanghai GP3 100
Kodak HC110 1+31 19C 8:17mins
Epson Scan V800
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Sinar F 4x5 camera
Schneider 150mm F5.6
Shanghai GP3 ISO 100
Blazinal 1+25 20C 10mins
Fix 5mins.
© All Rights Reserved
Graflex Speed Graphic Large Format 4X5
Lens: Cooke Telephoto Anastigmat F/5.6 320mm 12 1/2 Inch Series III (Made by Taylor-Hobson England (Maybe Year 1906-1923)
120 film Back
Kodak EPP
CineStill D9 First Developer Bath 1+1 9mins 15 Sec)
Rinse 6 Lifes or 6 Inversion Cycles
Color&Reversal Bath 7mins
Rinse Fill and Empty Tank 6 times
Bleaches & Fixer Bath 8mins
Wash fill and Empty 10 times
Stabilizer: 1min
Scan：Epson V800
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Toyo 45G Fujinon A 240mm/F9 Yellow Filter. Ilford FP4+ 125 ASA.
1/30s F25. Mangrove Base Zone II; Cloud Highlights Zone VIII/IX.
Standard development Ilfosol-3.
11 AM, Bright sun. The cumulus clouds had built up through the morning, and blew off soon after I finished shooting.
again in the east side of the Zion National Park autumn 2019
Chamonix F2
Rodenstock Grandagon-N 90mm f/4.5
Kodak Ektar 100
Epson V800
Paper negative
Self-made film holder still lets in light.
But the effect of it makes the picture almost picturesque.
The thin strip of light only hits the elevations in the paper.
Linhof color 5x7 (by adapter from 4x5), Computar Symmetrigon 150mm. one second exposure in the wind.
Fomaspeed 311 with yellow filter and exposed at ISO3.
The time is up now.
Days are getting shorter and the darker moments become more strength. For the most people this could ne a mental problem. So it’s important to have periods like this week where people can find some happiness and warmth for their heart like here on the autumn Polaroidweek.
Have a nice week ✌️
Roidweek Day 1, Image 1
Paper negative, overexposed and underdeveloped. The uneven development makes a really nice effect. Linhof Color 4x5, Computar Symmetrigon 150mm f6.3.
I originally said it was a Direct positive, but I was mislead by a wrong prefix in the name of the file from 2018. (Silverfast repeats the prefix from previous session unless you change it)
The picture was finished long time ago and when I put it out here, I was misled by the prefix.
I am sorry about it, but now I have corrected it. I found the result a bit difficult to explain and had to check the original. But at that time I treated both paper negatives and positives the same way, with highly diluted paper developer.
January 2026 Entry
Date: December 5, 2025
Camera: Nikon Df
My love and fascination for the Field Camera began in the early eighties and still continues today. What started as a hobby has now evolved into a Photographic Zen Experience. I truly enjoy creating photos with b&w sheet film, following in the traditions our pioneers of Group f/64 paved for us.
Looking forward to new compositions in ‘026.
…in my Field of Dreams,
-Thomas Alan Nakashima
Paper negative
Linhof color
f27 and 30 sec
The paper negative can give excellent results, but it also requires respect for the light and the right exposure.
I am beginning to suspect that I should go for exposure closer to ISO 8 thant ISO 6.
Toyo 45G. Nikon 120mm/5.6 AM*ED Macro Lens. Ilford FP4+@100. F16@ 1/30s.(3.5-stop bellows factor.) Normal development in Rodinal 1:50 for 15 minutes.
Speedlight with softbox, left. White V-flat right.
2:1 Magnification.
Older 4x5" negative I stumbled across during my most recent darkroom session :)
It's been quite some time since I've last enlarged 4x5". This print here is 24x30 cm in size and looks virtually grainless, what a beauty to behold ;)
Print onto Ilford Ilfospeed 4.44M using Moersch Eco 4812 @ 1+14
Toyo-View 45G + Schneider-Kreuznach Symmar-S MC 210mm 1:5.6 + Fomapan 100 @ 64 in Rodinal 1+50
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Everyday you can see
Changes in her hair and smile
I can wait a million days
While her smile goes away (Mazzy Star – Roseblood)
Lith Print onto Forte FN14 Fortezo Museum using Moersch Easy Lith @ 1+20
Toyo 45G + Schneider-Kreuznach Symmar-S MC 210mm 1:5.6 + Ilford FP4+ in Rodinal @ 1+50
Print scanned on a Heidelberg/Linotype-Hell Saphir Ultra II using Vuescan.
Father and daughter...
Toyo45G Fujinon A 240/9. Red Filter 2.3 stops. Ilford FP4+ @100. Standard development in Ilfosol-3 @1:9. Negative scanned on D850.
Speedlight with grid and black flag above left.
Baker Nevada just outside of the Great Basin Range National Park. This is a re-edit of a large-format film photo I took several years ago.
Van Dyke - Large Format 6x8 (Full Plate) Negative - UV Light Exposure - Gold Toned - Arches Aquarelle
Every time i enter the #gate to the #forest it is like something is #soaking me in. I #enter a #special #world. It is filled with #mood, #easy #vibes and #simple #living. It is like coming #home. I #love this #feeling. It #heals my #heart.
#polaroid 59, #4x5 #ebonycera
waiting for new developer and fixer.
these were 4x5 paper negatives taken ????
I used the wrong developer. sigh..
but they're fun to play with.
5 more after this.
of course, no comments needed.
some paper, dunno which.
see what you can see.
**wednesday I was playing with the LF camera and managed to screw up four more negatives. I'm glad it's photo paper and not 4x5 film.
this is how I learn, and in this case, relearn.
From a small street in Åsgårdsstrand in Norway, leading towards a house where Edvard Munch had his studio and lived during summer time.
A contact print made on Fomaspeed 311.
Taken with Linhof color, Leitz EPIS 400mm f4 at f8 and 5x7" Fomapan 200.
Callie is known locally as 'black jesus' - he is kind, a deep thinker, ridiculously easy company.
Six days a week, his long gangly legs and endless ropey arms make their way around the island by bicycle, (often balancing a variety of fruits and coconuts on his handlebars to sell), easily traversing 20km-30km a day.
On this day, he told me that he had recently had a stroke and that he had some paralysis down his right side. The doctor told Callie that it was a good thing that he took one of his epic bicycle rides shortly after the stroke had hit, because doing so had minimised the lasting affect of the heart-event on his limbs.
Before the portraits, I showed Callie the images I had taken of his sister Anna - he got emotional: there she is...there she is'...
Callie, and ordinary men and women like him, make you feel part of something that matters. That a world of decency, respect, hard work, honesty and self-sufficiency, can and does still exist.
Whenever I speak to Callie or see one of his enormous hands lift from a handlebar to waive as I pass him, his give-everything smile beaming, I realise that 'god is one of us' and that our blessings are too many to count.