View allAll Photos Tagged mediumformatcamera
I always enjoy to see artists at work painting, sculpting their own mini copy of masterpieces at the Met. Sometime I wish I'm good at painting and sculpting also.
Camera: 1952-1955 Rolleiflex 2.8C Zeiss Planar 80mm f2.8. Filter: Rollei Bay III Gelb-Mittel (Medium yellow) Film: Kodak T-MAX 400. Developer: Kodak D76 1:1 9.5 mins @ 20*C. Meter: Minolta Auto Meter VF. Digital conversion: Epson V550 and Lightroom 6
Салют-C = Salyut-S, means Salute
Manufactured by Arsenal Factory, Kiev, Ukraine, USSR.
Model: 1980, (produced between 1972-1980, quantity 30.000)
Medium format SLR film camera, film 120 roll, picture size 6x6cm
Lens: Arsenal Vega-12 B 90mm f/2.8, Salyut B mount (Hasselblad type),
semi-automatic, interchangeable, filter thread 58mm, serial no.801181
Aperture: f/2.8 - f/22, setting ring and scale on the lens
Focus range: 0.6 - 10m, +inf.
Focusing: Fresnel ground glass screen, via the ring and scale on the lens
Lens relese: a button on left front side of the camera
** The shutter must be released before changing lenses to prevent damage to the lens
Shutter: horizontal focal plane metallic curtain, speeds: 30 -1 /1000, + B
setting: combined with cocking knob, push-out and turn the knob clockwise only
** When changing shutter speeds, to prevent damage to the shutter system, the shutter must be cocked firstly
Cocking knob: also winds the film, on the right side of the camera
** When cocking and film winding there are some odd noises, this is normal
Shutter release: a knob on the right front side of the camera, w/ cable release socket
Frame counter: advance type, auto reset, small window, on the right side of the Film magazine
Warning signal windows: for shutter cock/release, and film non exposed/exposed, red or white, two, on the magazine and on the body, in foremost of the counter
Viewfinder: Waist level finder w/ a magnifying loop, interchangable
Mirror: not instant-return
Flash PC socket: left side of the camera, w/ X and FP settings dial, synch. 1/30
Exposure meter: none
Memory dial: a lid, on the back side of the film magazine
Red window: for checking the film advance, under the memory dial
Back cover: as a Film magazine, interchangable,
Dark-slide: metallic, the slot is on the left side of the camera
**Dark-slide must be removed for cocking the shutter
**Dark-slide must be in its place for removing of the film magazine
Film loading: via a special sliding-off part from the Film magazine, removing by a pop-up semi-circle lever, on the left side of the magazine;
**Winding to the first frame: by turning the semi-circle pop-up lever right side of the film magazine
** Install the newly loaded film magazine when the shutter cocked and dark-slide in its place only
Re-winding: by winding knob, pull-out and turn
Tripod sockets: two, old type 3/8'', on the bottom of the camera
Strap buttons
Serial no. 8002892 (stamped on the back side of the body, first two digits of the serial number indicate the production year)
+ LENS
Manufactured by Carl Zeiss Jena, Dresden, former East Germany
Model: produced between 1967-70
aus Jena S (Sonnar) 180mm f/2.8
aperture: f/2.8-f/32
focus range: 1.7-40m +inf, w/DOF scale
serial no. 1262450
The East German Zeiss lenses made for export, were marked from 1954 with different engravings. There was a trademark trial between Stuttgart and Dresden Carl Zeiss Jenas and finally Dresden left to use Carl Zeiss name.
The brand name Carl Zeiss Jena is replaced by C.Z. Jena or Jena or aus Jena.
The lens names Biotar, Biometar, Sonnar, Tessar, Triotar were replaced by the letter B, Bm, S, T, Tr.
+original strap
First models of Salyut were probably the near copies of Hasselblad 1600. Salyut-S is the very modified model of the first Salyut.
Kiev-80 cameras are the export type of Salyut-S with a new name plate.
The Salyut was the first attempt by the Soviet camera industry to produce a sophisticated SLR medium format camera.. The Soviets claimed that both the Hasselblad and the Salyut were derived from a Nazi prototype, however none of these supposed forerunners have ever been seen so this origin is dubious.
These cameras were very expensive at 400 Rubles, which represented 6 months salary to the average Soviet citizen.
more info: Fotoua by Alexander Komarov, Communist cameras by Nathan Dayton, Matt Denton
Shot on the Contax 645 using Kodak Portra 400 Film. Not to be used or blogged without my permission. This image is COPYRIGHTED.
J'ai souvent préféré la lumière de l'aube que celle du crépuscule. Quand on se lève tôt pour aller faire des photos sur la plage, sur nos côtes françaises, la plage est à l'ombre des dunes pendant un certain temps, ce qui créer une atmosphère, une ambiance particulière.
Lorsque les rayons du soleil commencent à laisser apparaître lentement le passage du l'océan où nous avons les pieds, nous plongeons dans une toute autre atmosphère, une atmosphère intemporelle.
Kodak Portra 160
Mamiya 645 Pro
Mamiya- Sekor c 80mm F/2.8 N
This photo is part of part three of my Paris series. This partis shot on two rolls of Kodak Portra 160, which I really liked. The decision to work with fresh film really paid off. Please feel free to click the links below and view all the different photo sets from Paris.
For those who are interested, I'm not done yet with Paris. Although I spent only one day in Paris, I managed to shoot 6 rolls of 120 film!
A temple and Buddhist Park in Kanchanaburi.
Camera: Hasselblad 500C/M (1973 vintage) Lens: Hasselblad 80mm f2.8 Plannar T* chrome with Hasselblad polarizer. Film: Kodak Portra 400. Meter: Minolta Auto Meter VF. Digital conversion: Epson V550 scanner and Lightroom 6.
The magic hour light in spring is to die for and lights this mundane scene elevating it to some much more eloquent. Making the fennel and artichokes slightly less unpalatable.
This image is from my recent solo exhibition entitled, ‘The natural the constructed & the in-between’ opened on the 9th of February and ran until the 7th of March. It was exhibited at Sunshine Artspaces, 2 City Place Sunshine.
Part of Open House New York (OHNY) 2017, where on a weekend once a year many beautiful architectures and spaces normally not open to public are open for people to see.
This year I visited the Brooklyn Navy Yard. An old navy yard with long history that have been converted to commercial spaces.
Again this year photography wise I decided to go with my Hasselbald 500 C/M, 50mm, 80mm and 150mm set, and left my digital home. So, all were done on film. It was a fun afternoon walking around and taking pictures in there.
Camera: Hasselblad 500C/M (1973 vintage) Lens: Hasselblad 50mm f4 Distagon T* chrome. Filter: Kodak series VIII #8 yellow. Film: Kodak T-MAX 400. Developer: Kodak D76 1:1 10.25mins @ 20*C. Meter: Minolta Auto Meter VF. Digital conversion: Epson V550 scanner and Lightroom 6.
I never got to use Efke films much before they stop production. I do have a few rolls left in my freezer and I took one out for a little walk with my Rolleicord III. Although expired 2/2015, the result is still good. I really love the tone of this "old fashioned" B&W film. I missed Efke films, I don't think there's any B&W film on the market today like this.
Camera: Rolleicord III 75mm f3.5 Zeiss Triotar. Meter: Minolta Auto Meter VF. Film: Efke 100 (expired 2/2015) Developer: Kodak D76 1:1 10 mins at 20*C. Digital conversion: Epson V550 scanner and Lightroom 6.
aspen, colorado
november 1977
hunt breakfast
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
One of two photos I took on film while on vacation in West Virginia, August 2017.
Mamiya 645 Pro TL
Mamiya 80mm ƒ/1.9
Fujifilm Acros 100
The Find Lab
Andrew H Wagner (C)2018. All Rights Reserved.
Complete with 105mm f/3.5 Sekor.
Excellent system camera, still going strong today, as can be seen here in use by my dear friend on a photoshoot to Port Sunlight, UK.
The C3 was one of several twin-lens reflexes of the last century produced by Mamiya from 1956 to 1983 - for further info the "C" range, see :
Light painting my Mamiya C330s.
I used my Metz 45, firing through a white umbrella to provide a crisp, wrap around back light, and lit the front of the camera with "broad brush strokes" from my blue/white LED bicycle light, with particular attention given to getting the lenses to glow.
Cuireadh daoine i gcré na cille i i Machaire Gathlán den chéad uair sa bhliain 1765. Roimhe sin bhí ar an phobal na mairbh a iompar ar thuras cúig mhíle dhéag trasna chnoc Thaobh a' Leithid fhad le reilig Thulacha Beaglaoich in aice leis an Fhál Carrach. Tá sean-bhallóg le feiceáil sa reilig. Deirter gur teach pobail a bhí anseo a thóg ord na bProinsiasach.
The old cemetary in Machaire Gathlán, West Donegal, was first used as a burial ground in 1765. Prior to that, the dead had to be carried across the hill of Taobh a’ Leithid to the graveyard at Tulach Beaglaoich beside the town of Falcarragh. This was a journey of some fifteen miles. The ruin in the graveyard is reputed to be a Franciscian church.
Lens: SMC Pentax 75mm
Aperture: f/22
Shutter: 1/8 sec
Film: T-Max 100
One of two photos I took on film while on vacation in West Virginia, August 2017.
Mamiya 645 Pro TL
Mamiya 80mm ƒ/1.9
Fujifilm Acros 100
The Find Lab
Andrew H Wagner (C)2018. All Rights Reserved.
Erle (Germany) | January 2012
Hasselblad 500C/M | 150mm | f/8 | 1/30 | ISO 50
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Fabrizio Zago
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Rb67+tmax400, 127mm kl lens
#mamiyarb67 #tmax400 #127mmkllens #blackandwhitephotography #mediumformatcamera #6x7
Avoir un petit camion, c'est souvent perçu comme une petite maison. C'est le cas. Mais aussi et surtout une grosse valise.
Quand on reste garés à un endroit pendant plusieurs jours, la valise à tendance à se transformer en une petite maison pleine de fouillis, une maison qui vit en d'autres termes.
The first Brownie was a very significant camera in the history of photography. It changes the way people take picture. Also, the No.2 was introduced with a new type of roll film, the 120 film of which still being made today and now know as medium format film.
I have soft spot for the Kodak Brownie box cameras after I picked up my first Brownie about 10 years ago, a No.2 Model E. Every since then I kept an eye out for nice Brownie and other box cameras.
And here is the first test roll from my new "old" Kodak Brownie No.2 Model F (1924-1933) all 8 frames from it (it is 6X9 format and you only get 8 shots per roll) After I did some restoration on it, cleaning, glued back the mirror in one of the view finder and etc the camera still work fine after all these years. (Picture of the camera coming soon)
Camera: 1924-1933 Kodak Brownie No.2 Model F. Film: Fomapan 100. Developer: Kodak D76 1:1 10mins @ 20*C. Digital Conversion: Epson V550 scanner and Lightroom 6.