View allAll Photos Tagged largeformat
Taken last winter here in Austin. Alice is one of my oldest friends, we've known each other since first grade. I think she's beautiful.
Yes, that would be my diagnosis...
Another title might be Thuribula Altovadensis.
4x5 Bergger Pancro negative (in EFD)
Polychrome print on Fomatone 131, quick toning dip in MT5 Sepia
I remember being in a hurry setting up the camera but then I suddenly fell asleep.
Lith, ansco 70, Forte paper
graflex speed graphic with Tessar 13,5cm
Agfa Aviphot pan 200 in Monobath
Near the exit to the famed "wall street" section of the Virgin River Narrows, lies the Imlay Boulder. This boulder is frequently photographed, as you must pass it to enter or exit this section of the Narrows, and in the afternoon for a short time, the sun filters down into the 1800 foot deep slot canyon creating this gorgeous reflected light.
In July of 2013, after visiting the Narrows for the first time, I returned a second time to explore and photograph the entire 16-mile length of this canyon, and made my first version of this image. At the time, I'd never seen any photograph of this scene, and was simply captivated by the scene and this seemed the best composition. Only over a year later did I see images from other photographers of the scene.
In January of 2016, I decided to switch back to film for my fine art work, and purchased a 6x4.5cm sized medium format film camera to begin getting used to exposing film instead of digital sensors again. Later in the year, I switched to a 6x7cm format camera, to get used to bellows focusing and a larger image capture plane. Finally, in early fall of 2016, I switched to 4x5in format, and a wooden view camera - technology that has existed since the 1800s, but which has not yet been surpassed in the digital age.
In November, I made this trip to Zion National Park for the fall colors, and decided to take the opportunity to recreate this image on the vastly improved quality of large format color transparency film. Arriving on-site, I captured 4 exposures of the scene, 3 on Kodak Ektar 100, and 1 on Fujifilm Velvia 100. Other large format photographers told me the Velvia wouldn't be able to contain the wide range of light in this scene, from the brilliant highlights to the deep shadows. However, I decided to give it a try anyway, and the result is what you see here. I love the way the Velvia renders this beautiful canyon scene.
Own a signed limited edition print of this image at: lowerylandscapes.com/zion
Stoolstands rocks Grand stairways escalente park Arizona Intrepid 4x5 mk2, Ilex Agugon 90 mm f8, Ilford Delta 100 developed in Rodinal 1+100
I got my first batch of Colour RVP slides back yesterday from the developing lab. 4x5 colour slides are pretty amazing to look at on a light box. I decided to scan this one in at full optical resolution on my scanner (6400dpi) and it gave me an image that was 661 megapixels (and a TIFF that was 3.69 GB). Hmmm, somewhat overkill I think.
Taken with my Tachihara 4x5, Nikkor 210mm on Fuji Velvia 50. Taken from the summit of Akadake in Nagano, Japan.
vistansproject.com/participants/004
Exposed on Ilford HP5+ 4x5 film and developed myself in Xtol. Captured with my Intrepid 4x5 camera with a 150mm lens. Printed 12x16 on Ilford MG glossy fiber, and toned in selenium. Done in my home studio in Vista, CA.
US Life project
Scan from Vintage Negative
Kodak Safety Film 4x5
Large Format
Scan: Epson V800
© All Rights Reserved
From Sunday's Live Draw event. Was doing instant oilgraph portraits and these were the negs that came from them. I mounted and painted the polaroids and either sold them outright or put them out for auction.
Most of these were portraits of the patrons at the event.
Haven't shot 4x5 in years. It's like shooting with a cow, but I began to get my stride soon. I wasn't going to add any of these actually since it's not my usual thing and a bit more static that I am used to, but I figured why not.
Recovering the lifeboat. Shot on Fomapan 100 with the Toyo D45 4x5 view camera. Film developed in Xtol.
Exciting day today, received a bundle of my negatives from the lab. Here's an image from my local woods taken last summer. Taken on Delta 100 black & white medium format film with a green filter, loaded in to a Horseman 6x7cm back on an Ebony 45S camera.
Apparently, I have a 5x7 camera. It's like I forgot. Now, rusty and ill fitting to it, I start again. Blessings to you, wherever you walk. This one is a Karl-size scan...
Note: I am happy to say, this image was selected to be included in the 2015 National All Media Juried Exhibition, at the Chico Art Center.
My wife is posing when I use my Linhof Color 4x5 camera.
Lens is Computar Symmetrigon 150mm f6.3.
It was taken with Kodak Plus X pan that expired in 1987.
Developed in FX39 1/14
This one is exposed at f8 and 1/60 sec
I could walk these washes for days, and on the Zion fall color trip, that's exactly what I did – 6 days in fact. This photograph was made as the last light was fading on the very end of my very last day in the park. I ran into Ben Horne and Michael Strickland here, and the three of us all had our cameras set up on the same spot. I have no doubt their images will be far better than mine, both because they are both more skilled large & medium format film photographers than I, and because I had both the wrong lens and the wrong film for this image. It was the end of the trip, and the only color film I had left was a single sheet of Ektar 100, which is ideal for bright wide dynamic range scenes, but fairly terrible for dark scenes with low dynamic range. I was using the only 4x5" lens I had at the time, a 90mm Super-Angulon. These trees are located up on a steep bank above a wash, and you can't get close enough to them to fill the frame with a wide-angle lens (90mm is very wide on 4x5"). So the image you see here is actually a very tight crop from a 4x5 negative, and I had to do a fair bit of color and exposure correction on the scan to get it to look decent, and I still think I only did a so-so job of it. I'm sharing it online because that is the best use for this image. I will not be doing any prints of this one due to the reasons above, but I thought it would be perfectly enjoyable on screens. I have since purchased a 180mm lens which will be far better at isolating scenes like this, and I bought a bunch of brand new film holders as well, bringing my total to 16 (32 sheets of loaded film).
Intrepid 4x5 Field Camera, Schneider 90mm lens, Kodak Ektar 100. 32s @ ƒ/45, CPL.
