View allAll Photos Tagged largeformat
Where sea meets light, time seems to pause.
A summer sunset melts into the Atlantic Ocean while slender shapes emerge along the distant horizon.
Whether they are offshore wind turbines or a fleeting atmospheric illusion, they quietly mark the fragile line between sky and sea. Black and white does not erase color, it reveals the essence of light.
Happy New Year to all my friends! I wish that you will have much fun, prosperity and that all your dreams come true.
For me, my resolution is - to make at least one large format photo each week .... !
The illustration of my life in my beautiful Ukraine. The toughest year. The year of war. But we here, at home, put together pieces of our broken hearts, lives and souls and move, no matter what, to our dreams.
Toyo 45G + pieces of film (Fujifilm)
Life underfoot. Usually unnoticed.
So much talent has passed through the Universe, will the Universe remember?
Or just pass by unnoticed?
Ground cover. Variants 1 and 2.
Art 300 in lith.
Harman Direct Positive at 6 iso pre flashed, dev in multigrade paper developer. Toned for about 3 min in selenium.
this is my contribution for the May 2019 12.12 Project, the instant photography collective of which I am a member. Our theme is fragility.
"Real beauty is in the fragility of your petals. A rose that never wilts isn't a rose at all.”
― Crystal Woods, Write like no one is reading 3
Technical information: 1949 Speed Graphic with expired Polaroid type 55 film. Scanned negative (scanned in color).
"La vraie beauté se trouve dans la fragilité de tes pétales. Une rose qui ne fane jamais n'est pas du tout une rose."
-- Crystal Woods
This day started out cloudy but around noon the clouds started breaking up. I had a few places in mind to shoot some film and as I was driving some of the backroads near my home I encountered this scene. I'm a big fan of windmills and this one is nicely representative of ones you see in this part of the country. I don't think this one is still in operation, but many like this are. They are typically used these days to water livestock. I wanted to bring in some of the road and the trees in the distance to give a sense of scale. I was hoping for better clouds, but sometimes you take what the scene gives you. Image captured with my Linhof Technika IV on FPPs Frankenstein 200 film. Self-developed with Xtol at 1:1 dilution.
paper negative
scanned in color, inverted.
b&w below in comments
I'm having to tray develop to get any results.
2:20pm, 20th December 2022
Chamonix 810V
Rodenstock Apo-Sironar S 240mm f/5.6
Kodak Ektachrome E100 10x8
2” f/45
No movements
Bellini E6 / Jobo 3005 on manual base / Epson V850
1949 Anniversary Edition Speed Graphic, Kodak Ektar 127mm F/4.7 + 2X close-up filter, Ilford HP5, developed in HC-110 for 5 mins
Yesterday, I took my Speed Graphic for another spin. It had been over a year since I shot any large format photography. It felt great to see that I remembered how to do everything, from loading the film correctly in the film holder, to opening (and then remembering to close) the lens, to using the ground glass, etc. There are a lot of steps to follow in large format photography. Images are composed upside down and backwards. I have to use a magnifying glass to get a precise focus. It’s like calisthenics for the brain. Any mis-step along the way, and the photo is ruined, and you won’t have any clue until after developing the film. One success is worth all the time and effort though. It feels like a victory. :)
Beautiful Rafaella
Cambo SC
Rodenstock Sironar 300mm f5.6
Shot on Ilford HP5 4x5
Dev in Kodak D76
Epson V850 scan
Two light setup with Elinchrom strobes. Deep octa camera left, gridded reflector on the backdrop.
A small house in the forest by the river that you may rent for a night.
13x18 Fomapan 200, contact printed on Fomatone 131
Linhof color with adapter, Rodenstock Apo Ronar 360mm.
For Polaroid Week Spring 2021, Day 4, Photo 2.
Camera: Intrepid 8x10
Lens: Kodak Commercial Ektar 305 mm
Film: Polaroid Originals Color 8x10 (2019-04)
Happy Polaroid Week! This time I'll show two series in parallel:
One was taken on a guided tour in the former Austrian Postal Savings Bank, a building designed by Otto Wagner right at the start of the 20th century in the Art Nouveau style. The FP-3000B film fit the architecture nicely.
The other one is a series of 8x10 photos taken at our countryside place in a hot summer two years ago.
Shot with a Toyo D45 on Ilford Delta 100 sheet, developed in Xtol. Inside Saint Olave's Church. Ramsey, Isle Of Man. I think this one was 8 seconds at f11, forgot to write a note on the dark slide.
Even without religious belief, these places offer solace and quiet. A reminder that whatever we believe maybe we should all ask for peace. Pray for a future without wanton destruction. Desire a world fit for future generations. Kneel before the might of mother nature and beg forgiveness for the anguish we have already caused her.
Passo di Giau, Italy
Kodak Ektachrome 6121, ISO 32 (filter factor included). I must admit, CDUII is better than 6121.
from a recent lecture/demo. cc harrison on my toyoview; fullplate, the collodion was all over the place that night!!!
copyright steve wilson photography 2009
"Pathway to Paradise"
On day 4 of my Zion Fall Color Trip, I headed into the famous Virgin River Narrows at first light. Because the water was cold, I wore dry pants and thick neoprene socks, which worked very well to keep my legs dry and my feet warm for the entire day of hiking in the water. In all, I spent nearly 10 hours in the Narrows that day, and as always the time flew by in this majestic and awe-inspiring place.
This classic scene was my second to last image made that day. I had run out of Velvia, so I made the exposure on 4x5" Kodak Ektar 100 color negative film. The exposure was 1 minute & 8 seconds @ ƒ/45 with a CPL on my Intrepid 4x5" large format view camera.
This was a very tricky negative to scan, but the final result is an incredibly sharp, massive-resolution image filled with rich detail and color tones that could be printed to 40x50 inches at 300dpi (you could stick your nose right up to it and only see more image details and fine film grain, not pixels).
You can own a signed limited edition print of this image at: lowerylandscapes.com/zion.
*Click image to view detail*
Camera: Calumet 4x5
Lens: Fujinon W 150mm f/6.3
Film: Arista EDU 100
Developer: Rodinal 1:100 65 min (semi-stand)
Tank: SP-445
Visit davidwjohnson.tumblr.com/ for more work.
Last plate from this batch. Back to the darkroom to make new ones...
This one is developed in Selectol Soft 1+1, which gives a better, softer contrast than the earlier plates had.
A very rare Schneider lens, made in the early 1950th, it is one of the new computed Xenar lenses, made with the rare earth glasses.
I´am really surprised about the large image circle.
It is possible to tild the front of my Wista camera horizontal 15°, shift it a little bit and the lens covers the whole 4x5" frame.
It is more than the Xenotar 3.5/135mm can.
The only disadvantage is that this lens needs the larger Compur size II shutter, the Xenotar fits to a shutter size I.
But a Xenotar is an always available lens, this Xenar is a really rare gem.