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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.
I had a great day shooting yesterday. My new cambo 6x9 roll film back arrived to use with my 4x5 Intrepid camera :) ..My plan is to use colour roll film and 4x5 B&W sheet film as colour 4x5 sheet film is crazy expensive.
I persuaded model Shane to meet me in Birmingham and I took along my 4x5 camera and new 6x9 back (plus other backs and cameras),
Portrait shot with Kodak Ektar in direct light... loving the soft colour palette :)
4x5 Intrepid Camera (wooden view camera) + Rodenstock Grandagon 90mm f4.5 lens + Cambo 6x9 roll film back + 120 Kodak Ektar film
Super Happy! :) Can wait to use the 6x9 back for my usual shoots now.. and I might have to shoot more Ektar from these results / skin tones. Pleased.
Home developed with C41 Tetanol kit, Epson v800 scan - mrleica.com/2016/11/04/c41-colour-film-developing/
I took this shot on Saturday to finish my roll of film after my model shoot in Digbeth. The afternoon sun came out and lit up the artwork just as I was composing the shot. If you follow me you'll know i'm not usually a building person but something about big 4x5 cameras, I just wanted to shoot detailed scenes as much as simple portraits.
I had the tripod fully extended so it was a bit hard to focus on tip toes but it came out OK. (I was trying to clear the parked cars and get a clear shot of the artwork).
4x5 Intrepid Camera (wooden view camera) + Rodenstock Grandagon 90mm f4.5 lens + Cambo 6x9 roll film back + 120 Kodak Ektar film
Loving shooting colour roll film in the 6x9 film back..
Home developed with C41 Tetanol kit, Epson v800 scan - mrleica.com/2016/11/04/c41-colour-film-developing/
Yesterday I went up to Tantalus to take a break, and also to celebrate the new year. While there I briefly talked with a tourist who had this very interesting setup.
He had a nice large format Linhof camera with a Schneider lens. However, instead of shooting 4x5 film he had an adapter to his Canon EOS DSLR. It took a great image.
I was intrigued by the setup as I love using old gear, especially lenses, so that was kind of tempting. On the other hand, that is a lot of gear to schlepp around. Hmmm.....
Pandani (Richea pandanifolia) and Pencil Pine (Athrotaxis cupressoides) in morning mist, Cradle Mountain - Lake St Clair National Park, Tasmanian Wilderness World Heritage Area
16x20" silver gelatin print on Foma fiber-based paper
Relicts - Exploring the Flora of Gondwana
18 March - 15 November 2020
Cradle Mountain Wildness Gallery
www.wildernessgallery.com.au/relicts-exploring-the-flora-...
Arca-Swiss F Line Field 4x5, Rodenstock Sironar S 150mm, Fujifilm Neopan Acros 100 4x5 rated 100 EI; developed in Hypercat catechol developer
contactprint from 8x10’ Foma film
Printed on hahnemuehlepaper paper with kallitype process no toned
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#parconazionaleabruzzo
Pear on a slate. Working to avoid highlights I followed Edward Steichen’s example (36 hr exposure in his case) and made a cloth tent and bounced light off the the sides rather than using direct lighting.
Preflashed KODABROME II RC paper negative. ISO 2, F45, 5 hours exposure
New Countess 10x8 full plate field camera with Beck Symmetrical lens c1900.
Standard Ilford Bromophen Powder Developer chemistry
#largeformatphotography,
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#papernegative,
#vintagecamera,
#largeformat,
#darkroomprint,
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Flowers in a glass, 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
contactprint from 8x10’ Foma film
Printed on Arches paper with Ziatype process
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#parconazionaleabruzzo
I took this photo of a plastic skull with my experimental scanner camera in March of 2020, a week or so before the lockdowns began. Afterwards, it seemed too morbid to post. Now a year on, I find the image a fitting reminder of dark days full of uncertainty and fear. God was good to me in 2020, but there were times when I was extremely ill or when my imagination ran wild about what could happen to the world, that still feel like a cold spike in my chest. There were a few weeks there where the world felt like it was falling to pieces and my small apartment felt like a combination of a warm stronghold, a dark prison and a place where I might even die alone in my bed. Memento mori.
Lost Path, 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