View allAll Photos Tagged largeformat
Intrepid 4x5 mk2 Nikkor 90mm f4.5, Ilford Delta 100 @80 iso developed in Rodinal 1+100
Epson 4990 Fluid mount
Globica 13x18 + Zeiss 250/4.5
10sec f4.5
13x18cm Clear Glass Ambrotype
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Having neglected to bring the dark bag I thought I'd have a go at loading sheets in the cellar. A partial success.
We're Here, scarred negatives and all.
Hand-held wobble focused macro (Dah!) of a 4x5 negative laid on an LED lightbox dingus that I acquired for the purpose of digitising negatives with a DSLR. I haven't used this process for ages, so Thanks WAH!
WakaWaka Pelcomb Portraits.
Haven't been posting here for a while, but still playing around with light and chemicals.
I have been experimenting with the salt process over the last year or so, off and on, without great success until today.
The 8×10 negative from which this sun-exposed contact print was made is on Fomapan 100 sheet film, exposed in the Sinar P for 60 seconds at f64 and developed in TMAX developer (1+4) for 6.5 mins at 22 degrees C. The lens used was a vintage 9″ Apotal. It is a contrasty negative but seems well-suited to salt printing.
The paper is Daler Rowney Aquafine Smooth watercolour, sized with gelatin. After drying it was coated with an ammonium chloride base coat, tweaked with potassium dichromate, using a 3″ Japanese hake brush. When dry, a solution of silver nitrate was freshly made and the paper coated. A 3″ foam brush was used and the paper dried in darkness using a drying cabinet.
More info may be found on my site at real-photographs.co.uk/
4x5 Pacemaker Speed Graphic + Kodak Aero Ektar lens 178mm f2.5 + 2007 expired Fuji FP-100C colour instant film
I met will fellow photographer / model Elizabeth this morning to try my Speed Graphic outside. This was my favourite of those shot on colour film, shooting into the sun. You can see the unique bokeh from the Aero Ektar lens
Photo scan
mrleica.com/2014/11/29/large-format-4x5-pacemaker-speed-g...
Three Light set-up.
One overhead 22 inch beauty dish.
Two edge lights in small soft boxes from behind.
For more behind the scenes, blog and tutorials visit my site:
A ruined building on the site of Tangmere Airfield, a WW2 RAF base. Famous for being one of the bases Douglas Bader flew from.
Again, in the absence of some fresh stuff, I'm digging my relatively recent archives for those "underdogs" which I never posted out of God-knows what sort of dissatisfaction at the time when I was scanning it.
This place doesn't look like this any more, adding an emotional or nostalgic weight to the image. The bridge, the river and that neglected part of downtown were my source of inspiration whenever I didn't know at what to point my lens.
I was accompanied with a friend, also dedicated film photographer and seconds after I made that shot, some heavily stoned guy jumped in front of us, yelling - hey mr. TV, shoot me, look, meee... then insisted on buying us a drink in a bar just meters away, which we accepted because, I guess, we're both suckers for that crazy randomness and unexpected things that can happen to you... It felt like Tarantino and Jarmush ate some acid and then sat down to write a scene with two of us in a leading role... somewhat confused with all that, yet content cause we had a story to tell.
On a technical side this was made with Graflex, from a tripod and combined with Nikkor-W 5.6/135mm
Film was 4x5" Adox CHS 100, dipped in Rodinal at 1+50 ratio and (most probably 20C)