Światłocień - Chiaroscuro - Tenebrism
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So here is a close up in colour of Peter's beloved camera. Its picture quality was extraordinary, and in the hands of a master it produced timeless masterpieces.
Whereas Ansel Adams photographed his wilderness in magnificent monochromes, Dombrovskis brought the Tasmanian wilderness to life in glorious colour.
But like Adams, Dombrovskis used a large format camera. In his case it was a Linhof Master Technika 5 x 4 inch flatbed field camera. He used three lenses; a 90mm Nikkor F4.5, a 150mm Schneider Symar-S (standard lens), and a 300mm Nikkor MF9. As difficult as it was to lug equipment like this around (and some people think the Nikon D850 is too heavy!), Peter felt the picture quality made it worthwhile.
If I tell you that Peter Dombrovskis is one of only 76 photographers (and the only Australian) elected posthumously to the International Photography Hall of Fame in 2004, then you know I am speaking of a giant. But Peter stood on the shoulders of a giant too, in Olegas Truchanas, and together they have changed the way we see the world. iphf.org/inductees/peter-dombrovskis/
Prints of Peter Dombrovskis' work can also be obtained here:
Taken on a foggy morning at the forest around Frankenstein Castle; Linhof Technika 23, Ilford Delta 400
📷Linhof Super Technika IV 6x9
🔍Schneider-Kreuznach Symmar-S 180mm F5.6 MC
Fomapan 100 Adox FX-39II 1+9
Linhof Technika 70 , Planar 100/2,8, Panf revelada con Ilfosol escaneada con Plustek 120, copia en papel 27x40
IN ENGLISH BELOW THE LINE
Foto presa amb una càmera Linhof Technika II, fabricada entorn 1947; objectiu Schneider-Kreutzag Angulon f6.8 / 120mm; pel·licula Fomapan 100, f13 durant 6:15 minuts, compensant la fallada de reciprocitat
Primeres ocasions per a fer una mica d'urbex.
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Picture taken with a Linhof Technika II 13x18 cm. camera made c.1947; Schneider-Kreutznach Angulon f6.8 / 120mm lens; Fomapan 100 film, 6:15 min. of exposure, at f13 compensating for the large reciprocity failure (the photo meter indicated only 30s., at EV 2).
First trials at urbex.
TaylorHobsonCooke_Picture 070-071-072-073-Pano-LrPs
www.flickr.com/explore/2023/07/14
Taylor & Hobson Cooke lens Series III, 6½ x 4¾ inches, Eq focus 7.57 inches, A =6.5, Brass Lens, Nr. 7061, F ca. 192 mm
Glad to be able to go on the road again finally. Taken from last trip to Scotland. Thank you to all of you for visiting my stream. Kindly leave your note and comment. Have a good week end...
Linhof Technika III
Nikkor W 150mm F22
Fujifilm Provia 100
Fujihunt E6 Chemical, Self Developed
Epson Perfection V750 Pro
Linhof Super Technika IV 6x9
Schneider-Kreuznach Tele-Arton 180mm (handheld)
Kodak Ektachrome EPT 160 tungsten expired 2001 cross processed
Seconic L-308 @125ASA
I thought I was good on "infinity"... apparently I was wrong.
Thanks and regards to Brkati Krokodil and Sibin Arsenijevic for technical support and "flashing" :)
This was a 16 sec exposure at f/11 with several flash strokes around the excavator.
Linhof Super Technika IV (6x9), Schneider-Kreuznach Tele-Arton 5.5/180mm
Fuji Velvia 50 (very expired), exposed as 125ASA. cross processed
Charming old-fashioned sign on a general store downtown.
Linhof Super Technika IV 6x9
Schneider-Kreuznach Tele-Arton 180mm (handheld)
Kodak EPT Ektachrome 160t expired in 2001 cross processed
Seconic L-308 @125ASA
Linhof Technika III, Rodenstock 65mm f/4.5, Portra 160
sometimes, art is made in a vacuum...
Prints are available for purchase right here!
This is a color version of an identical B&W image posted on August 29th... "Miss Marla" moored beside the drawbridge that spans the small channel connecting the box shaped inner harbor to a tidal pond beyond. This small pond area, full at high tide, drains completely at low water, any boats present resting on the bottom. Ross Durkee Road is in the background, beneath the bridge. I spent about 15 minutes shooting from this position, hoping to get a pic with a gull sitting atop all four bridge supports, but had to settle for one where just two were occupied.
Taken with my old 6x9 Century Graphic, 180mm f5.5 Voigtlander Technika-Telomar lens in Synchro-Compur shutter, Kodak Ektachrome 100 film. The faded and color shifted transparency was copied using a Nikon D3500 camera, 55mm f3.5 Micro-Nikkor, with a Nikon 4T close-up lens on the 55mm, a Sigma 1.6x achromatic close-up lens on the 4T. VERY low contrast was a problem with this chrome... possibly due to something happening (or that DIDN'T) in processing. A number of rolls processed back in the 1980's have shown a significant amount of density and color shifting, despite being stored in archival materials, in a temperature and humidity controlled environment.
DSC-0362-COL-M
www.linhof.de/master_technika_classic_e.html
the Linhof display at Focus On Imaging 2012
cameras you cant afford or know how to use are so CLICHE dont you think
HCS