View allAll Photos Tagged viewcamera
This image was taken on a Large Format View Camera with a Leaf Digital Back in the studio for my Senior Still life class. It's part of a collaboration I'm doing with a Designer who is a grad student here at OU.
©Patrick McCue 2010.
--All Rights Reserved--
website / tumblr / flickr / blog
This is my first large format photograph. It's something of a test shot, to prove that this 50+ year old camera still works ok.
It was taken on a huge road trip in South Australia recently, with my partner in crime woutervandevoorde.
I'm amazed by the sharpness and level of detail! I keep scrolling around in the zoom. I found a spider hanging from a frond, and you can clearly see every opening in the mesh roof.
There's quite a lot of motion blur from a gust of wind just as I pulled the cable release, but I don't think you should see too much of that at this resolution.
I wish I'd scanned it at a higher density, but at 100 megapixels and 450Mb, the file's already a bit much for my computer to handle :)
Dust spotting took forever! and attempts at detailed colour correction were too much to even consider.
I took the same photo on my medium format and on the Ricoh digital. The dynamic range on the large format absolutely smashes both of those others like you wouldn't believe.
Anyway, if I get near a big enough scanner sometime soon I'll post a couple of the other 4x5 photos I took, so hopefully more to come!
JH
December 2020.
Viewcamera with a I-51 21cm 4.5 Lens as seen in the window of the Ringfoto shop in Kevelaer (D).
So determining the lens was easy, it is a Russian Industar lens.
Determining the viewcamera is however something else. More information welcome !
The viewcamera is probably a Soviet build FKD 13x18.
The writing on the little piece of white paper is quite funny, freely translated this is written :
- No Sensor
- No Autofocus
- No Scene selection
- But for that you can have hours long exposure times
Tachihara 8x10
Schneider G-Claron 150mm f/9
Ilford Delta 100
Developed at Northcoast Photographic Services,
Carlsbad, CA
I describe the making of this photograph in an article on the on-line publication Photography Life.
1905 Korona View - Schneider G-Claron 240mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
1905 Korona View - Schneider G-Claron 240mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
©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.
# #pnwexplored #oregonexplored #pacificnorthwest #garyquay #cascadiaexplored #outside #outdoors #oregon #onlyinoregon #viewfromhere #YourShotPhotographer #pnwcrew #myoregon #filmphotography #speedgraphic #wilsonriver #viewcamera #largeformat
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July 2011
Union Bay
Porcupine Mountains State Wilderness Park, MI
4x5 View Camera
FujiChrome Velvia 50 Color Transparency Film
Nikon Super CoolScan 9000
For all the people who wonder about if we have already snow in Soutern Germany: No. The photo was made last year.
Linhof Kardan Master TL, Symmar-S 150/5,6 MC on Fuji Provia 100F(?)
The image above is a photogravure. This image called "Focusing" by Miss Emily V. Clarkson was printed by the NN Photogravure. company Since we are a couple absorbed in all things photographic we find this couple sharing a darkcloth especially poignant. Why, however, is he wearing that striped coat and cap?
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.
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.
Two women in hoop skirts tease a photographer in this albumen print taken from an album of Mount Savage, Maryland photographs. The dresses suggest the 1850s/60s.
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...
4x5 film scan taken about twenty years ago in the dune woods at PJ Hoffmaster State Park early in the morning - while my family was sleeping in at the campsite.
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
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.
Having some small inconsistent light leak issues. Guess I need to be more diligent about draping my dark cloth over the film holders during exposure.
Toyo Field 4 3/4 x 6 1/2 Sakai Special
CM Fujinon W S 125mm f/5.6
Ilford HP5 plus @ 400iso
B+W 550/040 Orange filter
11:00 min in HC-110 (dil-h) 1:62 @ 20ºC.
Epson V800
2024012-1b
Artist: Paul van Bueren
Model: Julie
Cambo SC-1
Fomapan 400
Find me on Bluesky: bsky.app/profile/paulvanbueren.bsky.social
Copyright by Paul van Bueren
Want to work with me? Just let me know!
Sinar P, 4x5 Large format film camera
Camera: Pentax 645z (Medium format digital)
Lens: SMC Pentax 645 120mm f/4 Macro
Improved Seneca View Camera (1906), Carl Zeiss f4.5 210mm, DRP, Tessar lens (1914), Thornton Pickard wooden shutter (1905), 5x7, X-ray film
…refining more and more this fascinating alternative print technique, saltprint
8x10 film printed on Berggercot320 paper
Borace gold toned
When Canadian Northern Railways (CNoR) finally reached Toronto they began construction of a massive operations yard in Leaside, north-west of Toronto. Opening in 1916 the yards did not remain in CNoR hands for long as the company defaulted and went bankrupt in 1919. The yard remained in operation under Canadian National control after 1923, but the opening of the new Union Station in 1927 and establishment of the main Toronto CNR yards in the rail lands spelled the end for the short lived yard. Closed in 1935, several buildings, save the original locomotive shops were demolished. It saw a second life in 1941 as a warehouse and storage for E.S & A Robinson Canada a paper product manufacturer and then continued use under Winpack. The plant closed in 2005, and sat abandoned for several years until being renovated and restored as a Longo's Grocery Store.
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
Scanner: Epson V700
Editor: Adobe Photoshop CC
"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 Æ’/8
1s @ Æ’/32, front tilt
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
A thriving village located at the intersection of Dundas and Highway 25, originally founded as Hagartown in 1805. Named for the first settlers, the Hagar family who arrived from the United States. In 1836 it adopted the name Palermo, in honour of Horatio Nelson, Lord of Palermo. Population peaked at 300 and it had a wide range of farms and industries, including an iron foundry. Pictured here is the 1942 schoolhouse (built with materials from an earlier schoolhouse) is one of the several reminders of the village which was amalgamated into Oakville in 1962. Today the schoolhouse is home to the Trafalgar Township Historical Society.
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
Terry has had his work published in B&W Photography Magazine. He was doing a photoshoot of a model using a view camera. I asked to do a portrait of him. Shot using film and a Canon F1N and 85mm F1.8
While we cannot worship in our beautiful sanctuary right now, our Church remains open. Reach out through phone, email, and join us online and sing praises from your couches.
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford HP5+ @ ASA-400
FA-1027 (1+14) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
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.
Improved Seneca View Camera (1906), Carl Zeiss f4.5 210mm, DRP, Tessar (1914), Thornton Pickard wooden shutter (1905), 5x7, Fomapan 200 film, D-76
The power of patronage. The growing community of Oakville, thanks to William Chisholm's connection to the political elite allowed the small harbour to become a port of entry and this beautiful custom's house was established which included an office for the Bank of Toronto. The town retained this status until 1910. The building was turned into a house in the 1930s and then became the first part of the Oakville Musuem.
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
Again, based on what I saw with my first set, I went with a stronger dilution and was rewarded. These have a bit more contrast than D-76, but nothing too serious. I think that it enhances the film all the more. Thankfully, there is only a slight increase in visible grain, but nothing over the top. I honestly think that anything more dilute might lower the image quality.
You can read the full review online:
www.alexluyckx.com/blog/2023/09/11/film-review-blog-no-99...
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - CatLABS X Film 80 Mk. II @ ASA-80
Ilford Ilfotec HC (1+31) 6:30 @ 20C
Meter: ReveniLabs Spotmeter
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
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