View allAll Photos Tagged largeformat
Tri X 400 ca 1983, Rodinal 1:100
The featureless sky doesn't do it for me. I was hoping it would be darker, pretty there was a filter, I just didn't note it at the time.
The vintage stall I found late on.. I don't remember names but these folk fascinated by the camera came out to talk to me, and I ended up staying with them until past sunrise the next day..
The linhof did not look out of place among these things
4x5 large-format negative test shot
Calumet CC-400
Ilex 8-1/2" f6.3 at 1/25 f32
Ilford Delta 100 developed D-76 1+1
This Italian gentleman is my photography teacher's father who is also a hobby photographer. He invited students who were interested in large format photography to his beautiful house, gave a little workshop and let us use his large format camera with which I took this photo. When I asked if i could take his picture, he asked if I'm a pervert.
My roommate in my old dorm room in Savannah Georgia. He love's his guitar and his Bart Simpson slippers.
-4X5 Graflex Super Graphic
-Ilford FP4 Plus
-Gelatin silver lith print 16"x20" ©2011
-Kentmere Fineprint VC F.G. Warmtone Matte
This is about as relaxed as she gets.
Shot with the Linhof Technika III 4x5 camera. 1952 150mm Schneider Xenar lens. Flash-in-plastic-milk-jug illumination. Ground glass focus.
HP5+ @ ISO 400 in DDX
Chamonix 45n (borrowed), Nikkor-W 180/5.6, exposure not recorded, Fuji FP-100B45 instant film.
Shot February 17, 2008. Saitama, Japan.
Maybe beige with white background wasn't such a good idea.
Crown Graphic 4x5
HP5+ in D76 1:1 13 minutes.
My sister and family are emigrating to Australia later this month... I made them stand out in the cold (this being January and York) so that I could immortalise the scene in a 4x5 sheet of film...
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MPP Micro Technical mark VI,
Fomapan 100
Developed in D76 (1:0) 6'30"
(Reflective-scan of negative, crop and levels in Gimp)
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.