View allAll Photos Tagged largeformat
Linhof Technika III
Angulon 90/6.8
Ilford HP5 Plus
Scanning by Lyosha at Urbana Museum of Photography.
(1200dpi/8bit TIFF)
Korona view camera
type: 5x7 large format
circa: 1910s?
Lens: Grundlach amastigmatic F6.8 (serial 213830)
shutter: Betax #4
stamped on bottom: 399
condition; needs work
Camera owner: Charlie Graf
film holder: Eastman portrait film holder
Halibut Point State Park, MA. Canham DLC45, Nikkor SW 90mm f/8, two stop graduated neutral density filter, Ilford FP4+, Max Pyro. View Large.
GOMZ Fotokor, 9x12. Digitally inverted paper negative. Paper: Fomaspeed matte, ~ 4 ISO.
F4.5, 120 seconds.
Another view of the awesome antique bisque doll head I received recently as a birthday gift from my daughter. I just set the head down... I can't help that it looks (at you) like this ;-).
Cambo 4x5 monorail view camera
Expired Ilford RC paper
Developed in Ilford paper developer.
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Mill Point Park, Eaton St., Hampton, Va
Cambo 4x5 monorail. © Anthony Prater, 2009. All rights Reserved. No Use, copying, etc. without explicit consent.
taken with Nanjing JTS 340mm f2.4 ultra speed lens on 8X10 format, with SMARTFLEX 810 reflex 8x10 camera and full size curtain shutter
This lens show the ultimate bokeh with standard angle of view on 8X10 format, currently I have no chance to get any more lens faster than f2.4!
shoot with APOLLO 300mm f2.8 large format lens on 8X10 format.
The depth of view is sooooo thin.
Kodak Aerocolor2460
Restored Seneca 6, 5x7 panchromatic paper negative (ilfospeed rc), ~6 sec @f22 (U.S. 32!)
#LargeFormat #PaperNegatives #BelieveInFilm #BelieveInPaper
First step is to build the film/plate holder. This is the main frame, without darkslides or end caps. This holder is designed to hold wet-plate callotypes, although it can just as easily hold film or photo paper.
Two sheets of 8x10 paper are inserted in the middle section, squeezed together by two pieces of glass, with either black construction paper (film, photo paper) or ruby lith film (wet plate) between. Darkslides on either side keep the film or paper unexposed until the holder is put into the camera, at which point one is removed in preparation for exposure.
After one exposure, the darkslide is re-inserted, the holder is removed from the camera and flipped around, and the process is repeated for a second exposure.
Built from plans in the book 'Primitive Photography' by Alan Greene.