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Salted Print on Bergger 320 gold toned after fixer. beeswax&lavander coated.
Digital negative from 6x6 analog negative. Pentacon six.
Arca-Swiss 4x5 F-Line & Universalis hybrid, Schneider Super Symmar XL 110mm, Fujichrome Provia 100f 4x5
Turn a Fujifilm GFX camera into a digital back for your 4x5 view camera with our new 4x5 GFX Stretch Stitching Adapter! Learn more: fotodioxpro.com/products/4x5-gfx-pro
18x24cm Agfa HDR xray film.
Symmar 240mm at f32 and 3'min
Rodinal 1+100 at 22C for 8min in glass plated 10x12" tray.
Scan from negative, finished in PS.
…refining more and more this fascinating alternative print technique, saltprint
8x10 film printed on Berggercot320 paper
Borace gold toned
Ginger Beer, captured with my Travelwide 4x5, a Schneider Angulon 90mm ƒ/6.8 lens and my new 4x5 scanner digital back. Click here to see how I made the digital back: youtu.be/sbNW4IHiXxU
Still developing and scanning my backlog of B&W film before I move onto colour film processing
This photo was me testing a new lens I bought for my 4x5 Intrepid camera a few months ago now. The well regarded Schneider APO-Symmar 120mm f/5.6. A tiny lens considering the size of the film format!
Photo is of a bike I built which I enjoy riding to keep fit. Single speed + freewheel so I fitted brakes (not a fixie)
4x5 Intrepid Camera (wooden view camera) + Schneider APO-Symmar 120mm f5.6 lens + Horseman 6x7 roll film back + 120 Fomapan 100 film
I had overlap issue with the film back (probably my inexperience using it) so it chopped off the top of the image but I still like it just for the resolution captured if nothing else
Developing - 750:250 Xtol + 5ml Rodinal, 15min at 26 degrees, Epson v800 scan.
We mounted a modified scanner on the back of a 4x5 camera! Click here to see how we did it: youtu.be/sbNW4IHiXxU
This is my full 800mm setup, 550m above Hong Kong on fei ngo shan, waiting for the sun to set.
What a hike this was! I was totally exhausted, and the worst thing was getting down in the dark, since you really have to climb some rocky steep paths.
I hope the photos will be worth the trouble :)
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become a fan on facebook and see behind the scenes shots: www.facebook.com/ThomasBirkeUrbanPhotography
Junior Thomas Sanderson Half-Plate camera c 1910 - used to make these images with antique dry plates - old-unopened packet of Ilford Zenith Super Sensitive dry plates treated as ISO 2 due to age
I met Carlo a few months ago as I was looking for some honey and I discovered this passionate beekeeper lived only half a mile from my home.
As we got to know each other over time, I found out that this amazing 84 years old was a true genius in building anything out of wood and metal in his well-equipped workshops.
I asked him to help me tame the biggest and heaviest lens I own, so that I could finally mount it onto a 4x5 camera and give it some use.
A few years ago I actually devised a way to mount this beastly lens, but I was never entirely satisfied with the results, as they lacked the solidity such a heavy piece of glass demands.
Carlo was able to quickly solder together a metal cone, permanently attached to a clone of a Plaubel lens board (which he cut and carved by hand !) where the heavy 12 Inch Aero Ektar f2.5lens would snugly fit.
The lens was to be further supported by a metal bracket that Carlo created, inspired by a plastic telescope lens bracket I had showed him earlier, but much, much sturdier than the original one.
Now came the shutter: we opted to drill a hole in a pine wooden board the size of the large packard shutter we were going to use (1/10th of a second maximum speed !!!).
To attach the “shutter board” to the lens Carlo hand-carved a slot of exactly the same diameter of the lens front element rim on the back. Once the rim slid into this groove, a couple of elastic bands were sufficient to stabilize and firmly attach the entire contraption to the camera body.
The heavy 12Inch Aero Ektar Lens can be a wonderful tool, giving you a very Shallow Depth Of Field and a Creamy Bokeh at a great Focal Length for portraiture (at 12 Inch FL this lens does cover 8x10 although I prefer using it on 4x5 and even 6x9, something I am able to do on the old Plaubel Supra camera by just changing the back).
It’s just that the lens is freakin’ big and heavy to mount anywhere but on a military aircraft!
Carlo was able to find a really good and elegant solution (in a retro-post-industrial style) that I truly love !!
My heartfelt THANK YOU to this wonderful, genial, inventor friend of mine!
USS Intrepid, Commissioned in 1943, NYC
Photo for my Instagram @MrLeicaCom #touristinnewyork
Leica M 240 + Voigtlander super Wide Heliar 15mm f4.5
My first ever 4x5 camera turned up today. Cheap but cheerful.
I still need a lense... and some film backs... and some film... and possibly a 6x7 back too. But it's a start!
Taken with my lensbaby.
My new 4x5” camera arrived today:))) It looks super cute with its red bellows. While I still have (and love) my Sinar, I was looking for a lighter 4x5” so that I can carry both, the camera for taking photos *and* my pochade box for painting. I will see how it works for me :) The camera and the pochade box will mount to the tripod with a quick release adapter thingy. OK, the film cassettes are loaded, XTol-R is seasoned, a new red (!) cable release is also there, I just have to mount the lens to the (Linhof style) board. A dark cloth I have also sewn in a soft, dark blue fabric... I think I am ready! :)))
An outbuilding from the Samuel Mumma farm on the Antietam National Battlefield in Sharpsburg Maryland.
During the September 17th, 1862 battle, a group of Confederate soldiers from North Carolina under the command of Brig, General Roswell S Ripley set the main house on fire fearing it would be captured by approaching Union Army troops. The house was later rebuilt on its original foundations as were the main barn which had been inadvertently burned by artillery shells from the Union attack. Antietam stands as one of the key battles of the U.S. Civil War and the single bloodiest day of fighting in American history with over 22,000 dead, wounded and missing. Over 700 of the dead from both sides of the battle were buried afterward in the fields on and around this farm. From my ongoing "Farmscapes of the Civil War" project.
Technical details:
Eastman View No 2 8x10 large format wooden field camera from 1918.
300 mm Commercial-Astragon f6.3 Lens in Copal 3 shutter.
Carestream Ektascan B/RA single-sided X-Ray film shot at ISO 80.
1/2 second at F32.
Developed in Pyrocat HD 1+1+100 dilution for 14 minutes @ 21 degrees Celsius using 20th Century Camera QL810-P two-sheet film reels inside Paterson Universal 4 developing tank using swizzle stick with 30 seconds initial agitation and 5 seconds each minute.
Negative scanned on Epson 4990 using VueScan scanning software.