View allAll Photos Tagged largeformat
Kodak Recomar 33 folding plate camera, side view.
9x12cm format, Schneider-Kreuznach Radionar f6.3 135mm lens (datable to 1938), Gauthier Telma shutter with 1/125th. 1/100th, 1/50th, 1/25th, 'T' and 'B'. Double extension bellows, wire frame sportsfinder, brilliant viewfinder with spirit level, ground-glass back, rise and cross lens movements.
shortly after I posted this photo this wall was painted over. the final result is not nearly as cool, but it is for child daycare so I suppose they didn't want the parents to think their kids would be snacking on snowcones and playing pool and video games all day.
Brassnwood 45 large format camera, Wolensack Optar 135/4,7. Foma 100@25 4x5, Rodinal 1+25, 20oC, 6 minutes rotation dev in Jobo 2523.
Graflex Speed Graphic ; 4x5" Shangai 100;Schneider Xenar 13.5/F3.8
t 1/ 8; f 8; Rodinal 1:50; 20 C; 13min
I had to get a shot of this little shed out in a field after I was heading back to Highway 416 after stopping in at an Antique Shop
Pacemaker Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Kodak Plus-X Pan @ ASA-125
Kodak Microdol-X (Stock) 8:00 @ 20C
Camera: 1903 Century View 8x10
🔍Lens: Fujinon W 250mm f6.7
Filter: Cokin Yellow 001
⚙️Settings: f16 1/125 ISO 125
Film: Fuji Super HR-U X-ray
Omega 45D, 210mm Schneider, Arista EDU 100. Unknown Dev 1:1 10mins.
Michelle, Petaluma. August 2013.
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
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.