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Camera: 1946 Speed Graphic
🔍Lens: Nikon Nikkor W 180mm F5.6
Filter: Deep Yellow
⚙Settings: f8 1/60 ISO 125
Film: Fuji Super HR-U X-ray 4x5
Shot with a 50x50 cm camera onto 16x20 inch ilford paper as a negative with a Voigtlander 480mm f4.5 lens. Then digitized with a nikon d750.
This is the lens removed from the lens mount and tube. The tube, when installed, is recessed inside the body. The lens is inserted through the back, and the ring in the lower left corner holds the lens in place. There is a similar ring glued inside the tube to keep the lens from falling out the front.
The copy lens has f stops from 4.5 to 16, which are selected by turning a ring around the middle. Unfortunately I can't get to this ring without removing the lens from the tube. This means I have to focus at whatever f stop I've selected. I could conceivably do this from the back of the camera when the focusing screen is removed, but I'd risk messing up the focus. In my test however, f8 was plenty bright. We'll see if this is a problem or not.
Crazy Aspens- cant decide which way they want to go. Near Telluride, Colorado
July, 2011
TMAX 100
Canham 4x5
Suffering from a whole lot of light leaks, but slowly learning the Linhof‘s correct exposure.
Ilford FP4 125 in D-76.
My boss gave me this beauty as a present.
It was very much appreciated :-)
Picture taken with Mamiya 645, Sekor C 90/1.8, Tri-X 400
There are myriad ways of ruining a shot when working with a view camera, and I have added several to my life list during the intensive shooting spate I've been on recently.
At left, two looks at a light leak (close crop). Same film holder, fortunately. I have earlier shots from the same holder with no leak, but I guess this one is toast now.
In the middle, two examples of overly-aggressive lens shading. Top, a hand-held dark-slide barely clips the corner (this is a close crop, so the shot is still usable). Bottom, a lens hood spans the frame. Worked fine on this lens with minimal movements! Guess I'll need to shell out for a proper compendium hood.
Top right, I think this is a hair that got into the film holder. (Again, close crop). Bottom right, crop from a double exposure.
Shot for an accessories brochure for BMW on a 10x8 camera decades before Photoshop became ubiquitous. It is made up of three elements: the roller skate and wheels were shot in one studio on one transparency. The car was then shot on another transparency with exactly the same camera moves to give it the right perspective. These two shots, and an Australian sunset shot were combined by a team of genius retouchers working for several days. Of course, photography was affected by the computer age, but Photoshop completely annihilated the retouching industry worlwide. I remember the retouching invoice for this one shot was £1200, or several month's wages.
(Rescanned with an Imacon!) ambient reading from a minolta meter, overexposed but it holds. my first try with astia 100f
Film: Ilford FP4+ 4x5
FIlm: Ilford FP4+, 4x5
Nakia stopped by today. We did some portrait work. I photographed him with my 4x5t, he shot me with his 35mm.