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Sinar P / Industar 51 / Agfa MCP paper negative
Want to shoot those fancy & exotic Exakta lenses? Can't cope with those Exakta cameras unable of right-handed operation? Here's your gizmo, the RTL1000: an "Exakta" made by Pentacon... Well, really, it is a Praktica MTL with removable prism (thank god there is an unmetered smaller prism for this camera) and a release lever on the right.
Now, seriously, if I didn't have this camera, the exakta mount would be dead for me. I love Exaktas: the looks, the feeling in your hands... but I can't operate one: I just don't have enought hands to hold, focus, and shoot one, even with a prism finder, it's beyond me...
1905 Korona View - Schneider G-Claron 240mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
Tropical Cacti Garden.
For this year's Pinhole Day, I converted my Kodak Master View 8x10 to a pinhole!
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Kodak Master 8x10 camera, fitted with a 0.46mm pinhole, at 120mm focal length.
30"sec exposure on 18x24 Agfa HDR xray film.
Developed in Ilford MG 1+50 for 8'min in a glass plated tray.
Scan from negative, finished in PS.
Karlos No.55 6x9 fixed flat bed SLV & Topcor Horseman 105mm f3.5 in a Seiko-SLV shutter. Cloth bellows, with lift, swing and tilt on the front and on the back, rise (giving fall on the front). Reversing back with the baby graflok fit. Horseman 6x9 film back.
This camera was going to be No.57 but I have had a bit of an accident. I have lost a bit of a finger building two pincams and getting blood out of wood is not easy, so I have abandoned the two pincams I was working on. Thus No57 has become Karlos No.55 :-)
weight: 1.7kg
Sinar P, 4x5 Large format film camera
Camera: Pentax 645z (Medium format digital)
Lens: SMC Pentax 645 120mm f/4 Macro
I also made a color exposure of this interesting plant under the illumination from the warm light of the 'Golden Hour'; but with the second exposure still remaining on that film holder I will not have that one developed for another few days. I hope that exposure came out well.
Cambo SC 4x5
Nikkor-M 300mm f/9
Ilford Delta 100
"You asked so now it's show and tell! Yes you see a pinhole on the table for two reasons: 1. It is a cheap way for a person to learn large format photography 2. There is no way to look through the camera, so you have to learn how to "see" the image you are taking without a camera to look through. As for the wide angle camera...I made that one. Friends call it the Clyde-o-wide . It has no bellows, is easy to set up, has great depth of field with a 38mm XL Schneider lens. I call it my point and shoot. And, as for the tiny camera, I also made that one. I graduated in architecture. When I built architectural models I used that camera inside of them and then used those images for design presentations. The camera is the same size as a single piece of 35mm film. I would tape the film in place. Turn out all the lights, place the camera in location then turn on the lights. It has a 24mm cannon rangefinder. I took the lens and put it in a small sleeve with a permanent f/stop." -Clyde Butcher
Given the strong agricultural background of Trafalgar Township, the earliest industries in Oakville were mills, with the Sixteen Mile Creek becoming home to many mills from the Dundas Road to Speers Road. While there are no real remains of any of those mills. But this steam fly wheel from Oakville Basket Company reminds both of Oakville's industrial and agricultural past.
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
Improved Seneca View Camera (1906), Carl Zeiss f4.5 210mm, DRP, Tessar lens (1914), Thornton Pickard wooden shutter (1905), 5x7, X-ray film
Toyo Field 4 3/4 x 6 1/2 Sakai Special
Fujinon W 125mm f/5.6
HP5 Plus 400
11:00 in Rodinal 1:50 @ 20ºC
2025005-03
Rolling out of the Montreal Locomotive Works in 1910, T,H&B Locomotive 103 is a 2-8-0 Consolidation locomotive that operated mainly as a freight hauler between Hamilton and Welland. In its fourty-four years of service it never had an accident. Retired in 1954 it lived in Hamilton's Gage Park from 1956-1977 when it was moved to its current home at Westfield Heritage Village.
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford HP5+ @ ASA-200
Pyrocat-HD (1+1+100) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scaner: Epson V700
Editor: Adobe Photoshop CC
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.
Logjam in the Skagit Bay Estuary on Fir Island in Washington State.
Photographed with a Zeiss Ikon Maximar 9X12cm camera. The film is Fomapan 100 developed in Rodinal 1:50.
Elephant Butte in Monument Valley, Arizona.
Photographed with a Zeiss Ikon ICA Trona 9X12 plate camera with a Zeiss Tessar 135mm f/4.5 lens. J Lane Dry plate developed in Kodak HC-110 dilution B.
1905 Korona View - Schneider G-Claron 240mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
Finally made it across Buckquarter Creek, since the bridge collapsed, to walk toward Holdens Mill, rewarded with this view
1905 Korona View - Kodak Commerical Ektar 213mm - f/45 - Fomapan 100 - 5x7 Film - HC110 1+100 - Unaltered Negative Scan
"Banana Nutella"
I came across this scene while exploring a wash looking for compositions at 4:30pm on day 3 of my Zion fall color trip. This scene was tricky, as I had to balance the rear of the tripod on a boulder at an awkward angle to fit it in position for this image, and the camera had to be angled downwards to it was facing almost straight down. Aiming straight down without getting the tripod legs in the shot, I managed to focus and compose on the ground glass by leaning in over the top of the camera. I did not touch anything.
I love the way this scene showcases the beautiful design of nature. Both the design of leaves and the water flow patterns on a particulate like sand are dictated by the principles of fractal mathematics. The branches reach outwards from the tree in a determined way. By these principles, the twigs fork from the branches, the leaves from the twigs, and the veins from the stem – all dictated by formulas coded in the DNA. Many of these formulas utilize the Fibonacci sequence, the same principle on which the "Rule of Thirds" and the "Golden Ratio" in artistic composition were founded. The patterns in the mud ripples are determined by similar laws, coded into the fabric of the universe itself. Further, the black patterns in the mud are formed by the laws of gravity and mass pulling more dense particulates downwards into the valleys. All sand and mud forms these patterns, even on other planets, across various water or wind sources and types of mud and sand. Clouds follow similar laws and form similar patterns when shaped by wind. These intricate systems of tightly interrelated laws all work together in perfect harmony to form one united, cohesive, beautiful system that we call nature.
Intrepid 4x5" Field Camera
Fuji Velvia 100
Schneider 90mm ƒ/8
1s @ ƒ/32, front tilt
©2016 Gary L. Quay
White River Falls, near Tygh Valley, Oregon.
Camera: Sinar Alpina 4x5
Lens: 150mm Fujinon
Film: Ilford FP4+ developed in Clatyon F76+
Uploaded better version 1/28/23.
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©2014 Gary L. Quay
Film image from a few years ago. At the top of the cliff on the right was called Thor's heights until it wsas renamed Crown Point.
Camera: Speed Graphic 4x5
Lens: 127mm Kodak Ektar
Film: Ilford HP5+ Developed in Ilford Ilfotech HC.
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1897 Ak-sar-ben Camera - Repromaster 210mm - f/45 - Fomapan 100 - 8x10 Film - HC 110 1+100 - Unaltered Negative Scan
A slightly different view of an earlier photograph, with more sun and a wider lens. Such a small change creates a very different feeling.
I knew from the outset what I wanted to do, but getting there was a challenge. After getting everything set up, I found that my new Linhof Technikardan is not Fuji Instant film holder friendly, so I switched to the trusty Linhof Technika and reset everything.
Linhof Technika, 210mm Nikkor W
Lee Seven5 .9 ND, and red filters.
340mm Bellows draw, back 10 degrees till and from 7 degrees swings used to maximize sharp/out of focus areas.
Fuji FP-3000b Instant film, f/11 at 1/4 second.
1891 Rochester Optical Company Universal - Ilex Paragon 260mm - f/45 - Fomapan 100 - 4x5 Film - HC 110 1+100 - Unaltered Negative Scan
As we drove the 4x4 up this narrow dirt mountain road, this scene stopped us in our tracks, and I stopped to make an image looking down the ravine and into the creek bed through the Aspens and other trees in the peak of autumn color.
This one was a tricky negative to scan. The Kodak Ektar 100 did a pretty good job of capturing the wide dynamic range and rather harsh light of the scene, but when scanned the colors and levels were very tricky to get right and the image proved difficult to work with. However, the very accurate natural colors of the scene were definitely contained in the negative! I just had to make the dumb computer preserve them. Hopefully, this version does this beautiful and quiet mountain scene at least some justice! :)
Details:
Intrepid 4x5" Field Camera
(large format film)
Schneider-Kreuznach 90mm f/8 Super-Angulon lens
Kodak Ektar 100 color negative film
Cold winter sunrise in Wisconsin along the Mississippi River. It was a below zero morning on a clear day. I was shooting the frozen marshes along the Upper Mississippi River. This was shot on my Arca-Swiss 4x5 camera with a Nikon 210mm lens and Velvia 50. Probably a 2 or 3 stop ND grad to hold back the sky. Gitzo tripod.
I love those cold mornings one gets in the north woods.
A close-up shot of a diorama depicting the Wright Brother's first flight at Kitty Hawk in 1903. The shallow depth of field is courtesy of the camera; the scuffed up scratched texture is courtesy of collaging in a scanned texture in Photshop.
1905 Korona View - Schneider G-Claron 240mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
©2020 Gary L. Quay
This was taken in October 2020 in the shadow of Rowena Crest along the Historic Columbia River Highway. I’ve said it before, but Oregon’s dry side has become my favorite place in the world.
This would be an exquisite negative if my camera didn’t still have some light leaks that I still haven’t plugged. There are two lines of flare that run top to bottom. I corrected them in Photoshop, but it will be hard to print in the darkroom. I may try to use a reducer to eliminate them.
I used 510-Pyro as the developer, and the detail and tonal range just blows me away. If it weren’t for the light leaks, this would be the finest negative I have ever produced.
A word about 8x10 film. There is a depth here that can’t be gotten with a 35mm sensor. You really have to look at this on a computer monitor, and not a smart phone.
Camera: Deardorff 8x10
Lens: 12” Goerz Dagor
Film: Ilford Ortho+ rated at 40 ASA and developed in 510-Pyro
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Improved Seneca View Camera (1906), Carl Zeiss f4.5 210mm, DRP, Tessar (1914), Thornton Pickard wooden shutter (1905), 5x7, Fomapan 200 film, D-76
Camera: 5x7 Seroco,
Lens: rear group of an old rapid rectilinear with a pinhole of f256 behind it.
Film: Kodak Tmat LR/A X-ray ASA 25,
Dev: RO9 1:200, 30M,
Epson V850 scanner.
©2012 Gary L. Quay
I took this picture in May of 2012 on a trip to the Oregon Coast. It was the last trip I took with my Volvo because it caught on fire the next week. That car's replacement has yet to suffer a similar fate. The Volvo actually survived, but I didn't feel safe driving it after that, and I didn't want to sink the money into it to fix the problem.
I posted this picture as a reminder Spring will be here in just a few months, and that everything looks better when the leaves are green, and the water is warm.
Camera: Speed Graphic 4x5
Lens: 135mm Wollensak
Film: Kodak Tri-X 320 developed in PMK Pyro.
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1905 Korona View - Agfa Repromaster 210mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
Just finished making a brass mounting flange for this lens and mounting it on a 6x6 board. Fortunately it has 24tpi threads.
Aperture stops are 5.5, 7.7, 9, 12.5, 18, 25, 36, 50. The lens has some cleaning marks and a bit of haze but is in remarkable condition considering it's age. Next I need to make front and rear lens caps.
©2007 Gary L. Quay
This is one of my earliest large format color images. It's from November 2007. The negative leaves a lot to be desired, but I cleaned it up as best as I could. My next step in color film photography is to move to wet scanning, and get a better scanning program. I'm looking at Silverfast Ai Suite 8. I checked out Vuescan, but it doesn't have the features.
Camera: Linhof Technica 4x5
Lens Linhof 135mm
Film: Fuji NPS 160
Replaced with a better version 1/20/20.
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Ikeda Anba 4x5
Nikkor-W 150mm f/5.6
lford Delta 100
Developed at Northcoast Photographic Services,
Carlsbad, CA, USA
I describe the making of this photograph in an article on the on-line publication Photography Life.
I find this area so full of mystery where the Anasazi Indians lived in the spot at Four Corners in the American Southwest. Some stories say that they believe that the Anasazi were in this area at about the time that Christ was born. Their cliff dwelling homes were a fortress against their enemies as they had to climb down the cliffs and then would pull their ladders down preventing anyone from following. There are different stories about why they left, weather could have been a contributing reason. But, I gotta say, if I had to take my groceries down this way I would have headed to the city pronto.
If you look closely you can see the tour groups which gives a perspective to the size.