View allAll Photos Tagged largeformat
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.
For more behind the scenes, blog and tutorials visit my site:
My homeland is characterized by agriculture. Farming, green fodder and grasslands lined up next to each other. Even though this could be boring you always find some interesting views.
Schneider-Kreuznach 8/90 Super-Angulon
Red Filter
Intrepid 4x5 Mk IV
Fomapan 100
EV 11 incident light metering (f 1:32, 1/2 sec)
Dev in FX-39, 1+9, 7min@20°
Epson Scan V 850 @3200dpi, croppped to 4000/3200px @300dpi
the intrepid camera
fujinon SW 90mm f/8
kodak portra 400
An abandoned bus stop by the abandoned coal mine.
IN ENGLISH BELOW THE LINE
Ambrotip en vidre transparent, de format 13x18cm, realitzat amb una càmera Konrad G. Seitz fabricada cap al 1895; objectiu Konrad Seitz Universal Aplanat f8; col·lodió Quinn's Quick Clear de fabricació casolana.
Les plaques de col·lodió es realitzen al moment, cobrint una placa de vidre o planxa metal·lica negra amb col·lodió i sals de iode i/o brom, sensibilitzat amb nitrat de plata. Aleshores s'ha de fer la fotografia i revelar-la en uns 5 minuts, abans no s'assequi la emulsió. És un dels processos fotogràfics més antics del món, inventat el 1851, i que dominà fins el 1880. Però ara ha resorgit, ja que les imatges, molt treballades, que dona són úniques, màgiques i i irrepetibles.
ca.wikipedia.org/wiki/Col%C2%B7lodi%C3%B3_humit
==========================================
This is a 13x18cm clear glass ambrotype, made with a Konrad G. Seitz tailboard camera, made in Nuremberg c.1895; Konrad Seitz Universal Aplanat f8 lens; Quinn's Quick Clear collodion, made by me.
The collodion plates are made covering a glass plate or black metal plate with collodion and salts of iodine and / or bromine, sensitized with silver nitrate. Then you have to take the photo and reveal it in about 5 minutes, before the emulsion dries. It is one of the oldest photographic processes in the World, invented in 1851, and which dominated photography until 1880. But now it has resurfaced, as the images, very elaborate to create, that it gives are unique, razor sharp, magical and unrepeatable.
en.wikipedia.org/wiki/Collodion_process
intrepidcamera.co.uk/blog/rikard-osterlund-guide-to-wet-p...
One of the many small reservoirs in the Bavarian Forest formerly used for log driving.
(Linhof Kardan Super Color; Schneider Symmar-S 150mm/5.6; Ilford FP4+ developed in Moersch eco film developer; digitized with DSLR+hugin; edited with GIMP)
Lakewood Cemetery Memorial Chapel, 1910
Minneapolis, Minnesota
Architect: Harry Jones
Interiors: Charles Lamb
Scan from 4"x5" Kodak Plus-X
90mm Lens on Calumet
For Exhibit & Symposium
Sacred Sites \ Sacred Sights: Architecture, Ethics, and Spiritual Geographies
University of Minnesota, College of Design
April 4, 2008 through April 30, 2008
Fëschmaart Lëtzebuerg (Fishmarket Luxembourg)
Photo taken on 4x5 Fomapan 200 and developed in Kodak X-Tol
Twisted hawthorns, Jægersborg Deer Park
Camera: Toyo Field 45A
Lens: Fujinon-W 135mm f:5.6 (yellow filter)
Exposure: 1/8 @ F/22
Film: Ilford FP4+ in 4x5" hand developed in Xtol Replenished
Untoned Kallitype on 8x10 Strathmore 300gsm paper, film contact negative. Going to tone a bunch of these in Seleinium later today.
This is the second shot I took - the initial one had a figure at the vanishing point. The first I had set up, ready to go, and a woman and her little mutt walked right into my tripod and got the leash tangled AS I WAS FIRING THE SHUTTER. It was hard enough to try to accommodate the lighting conditions, timing and then deal with errant pets and people sneaking up behind me. At the end, just had to laugh it off.
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
Wow! Finally I stepped into the world of 8x10"!!
A dream come true, and I guess I'm ready for this by now. Due to personal circumstances, my photography has been a bit inactive for a while, but I'm excited to get it all up and running again. Really large this time!
This is one of the first negatives I shot with my Intrepid Mk 1 and Symmar 210mm lens.
I plan to get into salt printing later on, for now this is a negative scan (with a small colour correction).
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.
...Bugong NP.
Cf 52rolls.net/2015/04/06/rain-is-inevitable/
Chamonix 045F1, Nikkor-SW 90mm f/8, Shanghai 100, Xtol(1:2)+Adonal(1.170)
model: www.instagram.com/lisia.dama/
Intrepid 8x10 + Rodenstock Sinaron-N 210mm/5.6
Fomapan 100@160 + Caffenol-CM(RS)