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1891 Rochester Optical Company Universal - G-Claron (Dagor Type) 210mm - f/45 - Fomapan 100 - 4x5 Film - HC 110 1+100 - Unaltered Negative Scan
With Kallitype print process on Bergger cot 320
Ammonium Citrate & Sodium Acetate 2:1
Platinum toned
8x10' analogic film
Anzac Bridge, Sydney, NSW, Australia.
January 2021.
Instax Wide.
Chroma Camera Carbon Adventurer 4x5 + Nikkor W 135/5.6.
1/15sec f/5.6.
sunpak 611 , camera right in medium softbox, up high,1/4 power,tripped with optical slave by on camera 580ii,1/128 power
©2003 Gary L. Quay
I took this picture from the Franz Lake Wildlife Refuge, Washington, in the Winter of 2003. I think a wider lens would have been helpful, but I did not have one at the time. I was still fairly new to medium format, and was still learning composition.
Camera: Hasselblad 500CM
Lens: 80mm Zeiss Planar
Film: Kodak TMax 100
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This is the Christ Evangelical Lutheran Church in Stouchburg, PA, taken in June of 2012, when Gaia and I were back East to visit the relatives. It was good to get out on occasion for some pictures.
Many of the older buildings in this part of pennsylvania were built with that light, gray stone, and sometimes with the limestone for accent as is seen here (at least, I think it's limestone). They really are beautiful, but they are still being torn down when they should be preserved.
Camera: Speed Graphic 4x5
Lens: 90mm Nikkor
Film: Kodak T-Max 400 developed in PMK Pyro
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6x17 field camera using 120 roll film in a Horseman 6x17 film back. Full movements, both front and rear. 300mm max focal length on these bellows.
I bought a new camera today. It needs a little work. The lens brass has a ding on the front, and it's missing a piece of hardware on the front standard to secure the lens plate. The good thing is the leather bellows is light tight, and it has no termite damage. A little love and it will be making images again. What should I name her?
Strobist: AB800 with HOBD-W camera left. Gold reflector camera right. Triggered with Cybersync.
IN ENGLISH BELOW THE LINE
Aquesta càmera tipus "tailboard" o "reisekamera" com en diuen en alemany, de format 13x18 cm, és d'un model força estandard i molt practic. Per això la vaig escollir. Però a sobre té la particularitat de conservar la plaqueta del fabricant i a sobre un objectiu a joc també amb el nom del fabricant. Això la fa especialment atractiva.
Aquesta reisekamera, doncs, fou fabricada i venguda per Konrad G. Seitz a Nuremberg, a finals del s. XIX o principis del XX. Per raons que detallaré, crec que data d'entorn el 1895. Encara fa més gracia que el negoci fotografic de la familia Seitz encara existeix avui en dia, encara al costat de la St. Lorenzkirche: Photo Seitz GmbH.
L'objectiu és força interesant i representatiu del seu moment. Tot ell lacat en negre i amb detalls cromats, s'allunya ja de la estètica de llauto que va dominar els objectius fotografics del s. XIX. Tot i portar el mateix nom del fabricant i venedor de la càmera, dubto molt que també fos fabricat a Nuremberg. El text del objectiu, parcialment en lletra gòtica, diu:
"Konrad G. Seitz, Nürnberg,
Universal Aplanat, Extra Rapid, 16981".
La clau aquí, es que si busqueu "Universal Aplanat Extra Rapid", veureu que hi ha molts objectius identics, amb el mateix lacat negre i text similar PERO amb noms i ciutats diferents. La majoria d'Alemania i Austria, però també de França i Catalunya i tot. De fet, vaig trobar un article sobre dos objectius com aquest però indicant dues botigues de Barcelona. Gracies a aquests noms podien saber que es tractava de objectius fabricats just a finals del s. XIX (quan estan documentats aquells negocis barcelonins). Per això crec que aquest objectiu data del entorn del 1895. Tant pel nº de serie anterior als mencionats objectius com per tenir diafragma amb "stops" senzillament numerats 1-2-3-4 etc, i no f8-f11-f16-f22...
No sé on es fabricaren aquests Universal Aplanats, però tot apunta a Alemania, tant per la distribució com per l'us de lletra gòtica en el text. Deurien ser fets per encarrec d'aquells que els venien amb el seu nom inscrit, i obviament això sembla indicar optiques més aviat barates. Si un objectiu Zeiss, Vöigtlander o Dallmeyer, calia pagar més.
Entre els que he trobat per internet, n'hi ha que diuen "Rectilineaire Extra Rapide" en comptes de "Universal Aplanat", però vol dir bàsicament el mateix i en el mateix tipus de lletra. Els nº de serie van des del 9093 fins al 19920. I especialment interessant, els noms dels "distribuidors" inclouen: Stolze&Stuck (Hamburg), Felix Neumann, Adler&Cie., Josef Wahaus (tots Viena), Alb Glöck (Karlsruhe), Gaertig&Thieman (Görlitz), Falz&Werner (Leipzig), Soennecker&Co., Optischer Anstalt, Otto Wernhard (tots de Munic), Gertrude Junghans (Dresden), M. Grabner (Graz), A. Scheller (Münster), Hess&Sattler (Wiesbaden), Bernard Moock (Berlin), W. Kengott (Paris), i Vda. de F. Rius i Hijos de A. Busquets y Duran (tots dos de Barcelona).
Aquesta càmera la vaig comprar perque anava en conjunt amb 3 portaplaques de tipus "bookform", perfectament utilitzables per a fer plaques de col·lodió. I funciona molt bé!
en.wikipedia.org/wiki/Reisekamera
www.girona.cat/sgdap/docs/b3ljavifoix_2018.pdf
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This large format tailboard camera or "reisekamera" as they say in German, format 13x18 cm, is a fairly standard early XX Century model and very practical, as in folding position the ground glass is protected. That’s why I chose her. But on top of that it has the particularity of keeping the manufacturer's plate and even a matching lens also with the manufacturer's name. This makes her especially attractive.
This reisekamera, therefore, was manufactured and sold by Konrad G. Seitz in Nuremberg, at the end of the XIX or early XX Centuries. For reasons I will detail, I think it dates back to c.1895. It is even more interesting to know that the photographic business of the Seitz family still exists today, next to the St. Lorenzkirche, in Nuremberg: it's Photo Seitz GmbH, in Pfannenschmiedsgasse.
The lens is quite interesting and representative of his time. All lacquered in black and with chrome details, it is already moving away from the brass aesthetic that dominated the photographic lenses of the XIX Century. Despite bearing the same name as the camera manufacturer and seller, I highly doubt it was also made in Nuremberg. The text of the objective, partially in gothic letter, says:
"Konrad G. Seitz, Nürnberg,
Universal Aplanat, Extra Rapid, 16981 ".
The key here, is that if you search for "Universal Aplanat Extra Rapid", you will see that there are many identical lenses, with the same black lacquer and similarly styled text BUT with different names and cities. Some also have Waterhouse stops, others, diaphragms. Most indicate cities of Germany and Austria, but also France and even Barcelona, in Catalonia. In fact, I found an article (in Catalan) about two lenses like this but named after two retailers in Barcelona, long gone ("A. Busquets y Duran", and "Vda. de F. Rus"). Thanks to these names they could know that these were lenses manufactured just at the end of the s. XIX (when those Barcelona businesses are documented). That is why I think this lens dates from around 1895, just a few years before the others. Both for the serial number lower than those lenses and for having a diaphragm with "stops" simply numbered 1-2-3-4 etc, and not f8-f11-f16-f22. ..
I don't know where these lacquered Universal Aplanats were made, but everything points to Germany, both for the distribution and the use of Gothic lettering in the text. They probably were made by order by those who sold them with their name inscribed on them, and obviously this seems to indicate rather cheap optics.
Among the ones I've found on the internet, some say "Rectilineaire Extra Rapide" instead of "Universal Aplanat", but it means basically the same and in the same font. Serial numbers range from 9.093 to 19.920. And especially interestingly, the names of the "distributors" include: Stolze&Stuck (Hamburg), Felix Neumann, Adler&Cie., Josef Wahaus (all Vienna), Alb Glöck (Karlsruhe), Gaertig&Thieman (Görlitz), Falz&Werner (Leipzig), Soennecker&Co., Optischer Anstalt, Otto Wernhard (all from Munich), Gertrude Junghans (Dresden), M. Grabner (Graz), A. Scheller (Münster), Hess&Sattler (Wiesbaden), Bernard Moock ( Berlin), W. Kengott (Paris), and Vda. de F. Rius, Hijos de A. Busquets y Duran (both of Barcelona). Somebody should do a historical research about this.
I bought this camera because it came with 3 "bookform" type plate holders, perfectly usable for making collodion plates. And it works great!
©2021 Gary L. Quay
I recently stumbled upon a new place to take pictures. The area around Mt. Hood is dripping with moss, and is mostly a wonderful mess. I like that. It's so full of decay that the ground there eats tea leaves in about 15 minutes.
I had a 8x10 camera there in January 2021, and this is the result. It is featured in a new post about my ongoing darkroom saga on my website
This picture is unlikely to look good on a small screen. The nuance will be lost. It's better viewed on a computer monitor.
Camera: Deardorff 8x10
Lens: 12" Goerz Dagor
Film: Bergger Panchro 400 developed in Kodak HC-110.
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©2013 Gary L. Quay
This is from last week's Columbia Gorge Trip. I finally had a day off, and was dying to get out and do some photography. Gaia and I drove out to the Mosier area, which is 6 miles past Hood River, and visited Rowena Crest. I saw the light on this hillside on the way back down the hill, so I stopped to take a picture. I used my ancient Cook Anastigmat: an uncoated brass lens that I picked up in 2011. It's an excellent lens to use when a modern lens would give too much contrast.
Camera: Super Speed Graphic 4x5.
Lens: 8" Cooke Anastigmat.
Film: Kodak T-Max 100 developed in PMK Pyro.
©2013 Gary L. Quay
Replaced image 6/23/24 for better metadata.
# #columbiagorge #mosieroregon #myoregon #pnwexplored #oregonexplored #cascadiaexplored #onlyinoregon #mosier #filmphotography #largeformat #garyquay #viewcamera #traveloregon #easterncolumbiagorge #kodak #oregon #tmax #pacificnorthwest
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1905 Korona View - Schneider G-Claron 240mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
Artist: Paul van Bueren
Model: Fariëlda
Cambo SC-1
Fomapan 400
Copyright by Paul van Bueren
Want to work with me? Just let me know!
Originally known as Rosebank, but became better known as the Kerosene Castle. The home of Richard Shaw Wood betrays the industrial past of Oakville. Wood established one of the largest coal refineries for the production of Kerosene on the Sixteen Mile Creek and across he built a mansion for himself and his family. Known as Rosebank, Grand Old Lady, or the Keroscene Castle. The Shaw Refinery operated until 1866 when an explosion and fire destroyed the plant. The Creek even caught fire as Kerosene floated ontop of the water. In 1980 it became home to MacLaughlan College.
Graflex Crown Graphic - Fuji Fujinon-W S 1:5.6/150 - Arista EDU.Ultra 400 @ ASA-200
Ilford Ilfotec HC (1+47) 7:30 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
1905 Korona View - Schneider G-Claron 240mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
1897 Ak-sar-ben Camera - Kodak Commercial Ektar 300mm- f/45 - Fomapan 100 - 8x10 Film - HC110 1+100 - Unaltered Negative Scan
The rocky face of Pilot Mountain
Taken at my recent artist residency in the mountains at Penland School of Craft. 1905 Korona View - Schneider G-Claron 240mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
Friday 3rd September 2021.
Camera: 1956 Linhof Super Technika 4 x 5".
Lens: Schneider 90mm Angulon f/6.8.
Film: Ilford Delta 100 4x5" sheet black & white negative.
Exposure: 30 seconds @ f/22; lens focused to 5 metres.
Development: ID-11 1 + 3 22 min/20C.
Copyright 2021 Tasmania Film Photography
All Rights Reserved
One of the more difficult parts of establishing a settlement was the planning and surveying. For Oakville that work fell to Merrick Thomas, son-in-law to William Chisholm. The Thomas House, built in 1829 is the oldest surviving home in Oakville.
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Arista EDU.Ultra 400 @ ASA-200
Ilford Ilfotec HC (1+47) 7:30 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
Looking East from Rowena Crest
June 21, 2017
Albumen Print
Ikeda Wood View, 90mm Super Angulon
Fomapan 100 in Caffenol
Albumen Print 6/24/2017 from digital negative
Arches Platine paper, 145gsm
Sodium Acetate Gold toner
This is meant to have a 19th century look, with no filter used and light sky. The paper texture intrudes more than I'd like in the sky, so next time I'll try to make a bigger print of this sort of subject (this is on 5x7 inch paper). Also, the Interstate Highway tends to dilute the photo's 19th century aura.
Yosemite National Park, California
May 1978
Ikeda Wood View, 210mm Symmar S
Tri-X in HC110B
Taken in my naive youth when I was studying to be the next Ansel Adams.
Ilford Delta 100, 4" x 5", 64 iso, estimated development in Rodinal developer, 1:50, 12:00minutes, 24C. Taken October 2018. Ebony SV45TU. Nikkor W 150mm.
Allstones Bay, Abraham Lake, Clearwater County, Alberta
1897 Ak-sar-ben Camera - Schneider G-Claron 210mm (Dagor Type) - f/45 - Fomapan 100 - 8x10 Film (5x10 Mask) - Legacy Pro L110 1+100 - Unaltered Negative Scan
The Dalles Dam has been a fovorite spot for me for almost a decade, and, now that I have moved away from Hood River back into the Portland area, I look back on being minutes away from The Dalles with not a small amount of nostalgia. I really loved living there. It was the 52 mile commute to Gresham every day that did me in. I needed to reclaim that time.
So, now, I am going through my reams of negatives to find some that may look good on other peoples’ walls. I like this one.
Camera: Sinar Alpina 4x5
Lens: 12” Bausch & Lomb Anastigmat
Film: Ilford HP5+ developed in Clayton F76+
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Anyone who knows me well enough knows that Grant Park is one of my most treasured areas in Milwaukee. Since I was 9 years old I've been coming to this location and have had many awesome memories here.
This photo marks one of those amazing moments.
September 2011
Lake Michigan
Grant Park
South Milwaukee, WI
4x5 Calumet View Camera
75 mm Schneider-Kreuznach f/8
Kodak E100 G Color Transparency Sheet Film
Cokin P121 3-stop Graduated ND Filter
Scanned on the Heidelberg DC3000 Drum Scanner
More like Creek Run.
Pacemaker Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford HP5+ @ ASA-200
Ilford Ilfotec DD-X (1+4) 7:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
5x10 from yesterday: 1897 Ak-sar-ben Camera - Kodak Commercial Ektar 300mm- f/45 - Fomapan 100 - 8x10 Film - HC110 1+100 - Negative Scan
[EXPLORED 22nd May 2013]
A DIY project I´ve been at for the past couple of weeks. The bare bones 600SE body has been lying around for a while, originally bought for a Super Wide project.
The camera is simple enough, does not fold, and does not have a geared focusing rack. Just push and pull, though it does have focus lock.
Has front movements only (understandably). Shift, swing, tilt and rise. Fall too, but only if you also tilt.
Designed for smaller (in size) lenses, so no large rear elements here. Will work with 114mm and up to 175 or so, though no movements to speak of before 127-135mm. Seen here with Tominon 127mm f4.7
The Polaroid 600SE fasteners will allow all sorts of backs. Polaroid 100 type of course, but also 120 up to 6x9, and even 4x5 (though not with full coverage)
Hopefully I can afford a proper focusing back for it at some time. As it is I have made a ground glass insert for a CB103 back, which works, but not overly well.
Bellows work, though could be prettier. At least now I know what I did wrong, if I ever get round to making a new set.
Quite compact without back and carrying handle. Less than 130mm x 135mm x 160mm. And very light. Used as little materials as possible, and as light as possible. Weighs 840 grammes net, 1450 with Polaroid back and Tominon lens in Copal press shutter.
All work has been done with hand tools, and a drill.
Captured with Fuji X-E1, Canon FD 50mm f1.8
IN ENGLISH BELOW THE LINE
La Gundlach Korona View és una càmera nord-americana de gran format, força lleugera i de gran qualitat.
Aquesta càmera en concret és la Korona View de segón model, fabricada entre 1909 i els anys 30; en tot cas aquesta data d'abans del 1926, ja que la companyia canvià de nom. És de format 5x7 polzades i la vaig comprar amb un objectiu Plaubel Anticomar f4.2 / 210mm montat en un gran obturador Compound; junt amb la càmera anaven tres portaplaques dobles amb el nom del antic propietari, Dr. H. B. Wright. Tot plegat sembla indicar que fou venguda als Estats Units als anys 20 o 30.
És molt curiós perquè la vaig comprar amb la idea exprés de fer-la servir per a fer plaques de col·lodió, i un dels tres portaplaques estava precisament adaptat per a col·lodió (i marcat com a tal).
Per cert, només em vaig adonar a posteriori que havia comprat una càmera que porta per nom KORONA just aquest any 2020.
www.piercevaubel.com/cam/gundlach/view.htm
camera-wiki.org/wiki/Korona_View_Camera
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The Gundlach Korona View is a large format American camera, quite light and built in high quality materials.
This particular item is the 2nd. model Korona View, made between 1909 and the 1930s; but this one was made before changing the name of the company in 1926. It is a 5x7 format camera and I bought it with a Plaubel Anticomar f4.2 / 210mm lens mounted on a large Compound shutter; along with the camera were three double plate holders with the name of the former owner, Dr. H. B. Wright. All this seems to indicate that it was sold in the United States in the early 1920's.
It’s very curious because I bought it with the express idea of using it to make collodion wet plates, and one of the three plate holders was precisely adapted for collodion (and marked as such).
By the way, have you noted that I bought a camera named Korona precisely in this 2020? The year of what...?
www.piercevaubel.com/cam/gundlach/view.htm
camera-wiki.org/wiki/Korona_View_Camera
www.historiccamera.com/cgi-bin/librarium2/pm.cgi?action=a...