View allAll Photos Tagged largeformat
Another early AM shooting session, experimenting with Arista Ultra 100 shot at box speed. Fairly wide light capture here with somewhat harsh shadows and cloudless sky. This combination doesn't quite pull out the details in the shadows as much as I'd like, despite some very favorable comments about this film with D76. Will likely go back to Xtol in the next round.
Lone tree beside an old taxi-way on the (Ex) RAF Little Walden...
MPP Micro Technical 5 x 4 and Schneider Kreuznach Xenar 1:4.5/150mm, Fomapan 100, f11 at 1/50 sec. Scanned with Epson Perfection V800.
Another shot taken on Cayman's Mastic Trail, the largest contiguous area of untouched, old-growth forest in Grand Cayman - an area where the woodland has been evolving undisturbed for the last two million years. It houses all manner of wildlife - exotic native birds, hermit crabs, frogs, snakes and one or two mosquitoes. This day, there were parts of the trail were littered with fallen fruit from wild mango trees.
Båstnäs car cemetary.
Toyo metal field camera.
Fujinon-w 150mm/f5.6
Yellow filter.
Adox CHS 100 II 4x5
Rodinal 1:50 11.30 min.
This scene has such a magical dream-like quality to it for me. The leaves on the trees glow and almost seem disconnected like they are floating in space like a cloud of glowing fairies. As I made this image, I stood beneath an overhanging weeping wall covered in dripping water, wrapping over me like a cave. The trees were illuminated by sunlight filtering into the depths of the canyon from above and reflected light filled the colossal majestic space.
Details:
This image is a 0.8% sized export of an 180MP scan from a large format film image made on Fuji Velvia 100 with The Intrepid Camera Co. 4x5 Field Camera and my Schneider-Kreuznach 90mm ƒ/8 Super-Angulon lens. 10am, 8s @ ƒ/32, CPL
In other words, this thing will print to 40x50 inches with enough quality that you can put your face right up to it with a magnifying glass and only see more detail. These large format film images contain approximately 20x the level of detail of my digital images made with current generation DSLRs, and I've printed those to 40x60" with good results! This is one of many reasons I am now working in large format film instead of digital. I also prefer the aesthetic qualities of these films. Additionally, the experience of working with the silent elegant simplicity a wooden view camera in the field is so much better than dealing with scrolling menus, flickering lights, and glowing screens while in the wilderness.
By all means, zoom in and pan around. I don't make these things to be consumed as thumbnails!
Another photo with graphic arts film. You seem to get a lot of compression of highlights. I think this looks quite like a wet plate collodion image
Predawn from Namsan.
Just came back from Hong Kong, what a week. I managed to get 74 exposures, despite the rainy and stormy weather. I'll start uploading these, once I am done with Seoul!
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Camera: Toyo Field 45A
Lens: Fujinon-W 135mm f:5.6 (yellow filter)
Exposure: 1/4 @ F/22
Film: Foma Fomapan 100 Classic 4x5" hand developed in Xtol Replenished
model: www.instagram.com/lisia.dama/
Intrepid 8x10 + Schneider-Kreuznach Symmar 300/5.6
Fomapan 100@160 + Caffenol-CM(RS)
Crown Graphic w/ 150mm Rodenstock Sironar APO lens / Arista EDU 100 film / developed in Kodak HC-110.
Camera: elliptical coffee can
Paper: Ilford Ilfospeed 1.1M, 9x21 cm
Exposure: 3-5 min
Developer: D-76 1:1
Scanner: CanoScan 9950f
As a few of you may have noticed, I haven't been around here at all for some time. I felt it was time to take a break, and I've mostly been out walking instead of shooting and making pictures. I will continue to do that for some time to come, but sooner or later I'll try to catch up and be more active. I do miss seeing your pictures, so it will probably be sooner :-)
Was wandering (trespassing) behind some buildings and stumbled upon these trailers. Apparently, they are rented out 'anonymously' but they don't change the monikers on the sides. I spent some time lining up the image tilting and shifting to get as much of the image in focus as possible at the same time keeping lines reasonably straight and not distorted.