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©2021 Gary L. Quay
I don't know why, but the Ocilloscope was on, and I had generated a sine wave with an audio generator, and yet it didn't show up in the picture. This film should have been sensitive to green. Still, this is the project I'm working on. This was a test for part of the setup. I want to create a mad scientist mini lab to use as a prop for portraits.
The negative turned out really well. The alchemy gods did smile upon my darkroom on this day.
Camera: Calumet C-1.
Lens: 11" Hyatt's Rapid (1888)
Film: Ilford Ortho+ developed in 510-Pyro.
# #madscientist #garyquay #largeformat #viewcamera #ilfordphoto #stilllife #510-pyro #calumetc1
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This image (about 4 ¼ X 3 inches) has not had an easy life. It was glued down to a later cardboard frame and was much faded by time. I have given the contrast a boost so that we can enjoy its original (I think) charm.
The James Street station is actually the third station to service Hamilton's original train line. Replacing two previous stations on the other side of James Street originally built by Great Western Railway and Grand Trunk Railway. The new Canadian National Station followed elements of Neoclassical design with Beaux-Arts and Art Deco elements. The grand station opened in 1931 with great fanfare and offered Hamilton residents a great deal of class with columned waiting rooms, terrazzo floors, brass ornamentation and a full dining room. By the 1960s passenger services had been cut and the mail and parcel wing began a freight car maintenance facility, and GO Transit took over commuter traffic in 1967. VIA Rail took a lease on the station in 1985, but move to Aldershot in 1992. GO Transit relocated to the Hunter Station in 1992 and Canadian National ceased all operations in 1993. The station only saw restoration thanks to the action film the Long Kiss Goodnight who in 1996 offered Canadian National a million for restoration. LIUNA ended up completing the work, putting an additional three million into the station, which reopened in 2000 as an event and banquet venue.
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
This is the first exposure I've done with my new Deardorff 8x10 view camera and Kodak Ektar 12" lens. Film used was Ilford's Delta 100, exposed at 80 ASA (plus bellows extension factor added) and some reciprocity = 12 seconds, natural light. Processed in Xtol 1:1 for 10.5 minutes.
Pandani (Richea pandanifolia) and Pencil Pine (Athrotaxis cupressoides) in morning mist, Cradle Mountain - Lake St Clair National Park, Tasmanian Wilderness World Heritage Area
16x20" silver gelatin print on Foma fiber-based paper
Relicts - Exploring the Flora of Gondwana
18 March - 15 November 2020
Cradle Mountain Wildness Gallery
www.wildernessgallery.com.au/relicts-exploring-the-flora-...
Arca-Swiss F Line Field 4x5, Rodenstock Sironar S 150mm, Fujifilm Neopan Acros 100 4x5 rated 100 EI; developed in Hypercat catechol developer
Completed in 1856, the Port Hope Station is a Grand Trunk Class B Wayside Station with a six-bay design. Constructed of local limestone in the Italianate Style, the station saw the addition of a telegraph bay in 1881. While threatened with demolition in 1978, funding mean for the construction of a new simple shelter by Canadian National instead went towards restoration in 1980. Today it is one of only two operational Grand Trunk Stations and one of nine surviving original GTR stations in Ontario.
Crown Graphic - Nikon Nikkor-W 180mm 1:5.6 - Ilford HP5+ @ ASA-200
Pyrocat-HD (1+1+100) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
I promised a stereopticon of the Union Pacific Cheyenne round house but, face it, this view at Sherman station is a lot more dynamic as a stereo view. I studied some of the old William Henry Jackson finished stereo views and they were saturated yellow so I shifted the balance of my old stereo original. I made it from an old Abraham Lincoln card. In Photoshop, I cleaned the images and titles from the old front and the text from the reverse for a blank to use at my will. The style mimics an original card pretty well. A while back I took some of my own views sepia toned and reproduced as stereo cards to an Estes Park historic meeting to display. One fellow loved my built up stereo cards and wanted to buy one swearing it was real prize. I replied that it I knew it was fake having just knocked it out and gave it to him. I assembled it from layers of parts and used pins, sand paper to round the corners and an Xacto to aged it. Scuffing them on a concrete floor does wonders too. I bet a microscope would detect the pixels. This construction was done in Photoshop but I like it pretty well and I might cobble an "original" up from parts and layers then age it properly for the Antiques Roadshow.
Here we are at the original station on the old grade of Sherman. The main line was rerouted south of here and Sherman was abandoned in 1901. I found and confirmed traces of the old roundhouse and depot by closely tracing the old line on Google maps near the Ames pyramid monument. I also found what may be remnants of the old wind mill. There are no Sherman remains today after UP drove the twin tunnels and regraded the line. All of the old route can be found by following the grade from here: www.google.com/maps/@41.1330231,-105.397293,137m/data=!3m...
This whistle stop looks pretty rustic in the late 1860s however it was certainly brand new with barrels between the rails and elsewhere. Barrels often transported new rail spikes before aging fine wine. The telegraph line was a bit crusty and one looks askew; it looks to be propped up by some ties. There are also unused piles of ties. All the right of way ties are random, fresh and hacked off, rough cut instead of the machine cut ties that came later. The view west shows several wooden buildings. Two men are on the platform next to the main line in front of the water tank down the line. This must be very few days or months since the crews graded and built here.
William Henry Jackson shot this historic place for the USGS "United States Geological Survey." It looks like he was heading west. This shot shows the effort it took grading over Sherman Hill, Dale Creek, Laramie and down to Green River.
Camera: Graphlex Graphic 4X5. 135mm Tessar 4.5 in Compur Shutter. Type 55 Camera Back.
Film: Polaroid Type 55 Positive/Negative.
CROP_ Domingo Milella, Kodak Portra 160 NC 8x10".
Drum Scan by CastorScan
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CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
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Il servizio offerto da CastorScan è completamente orientato
a fornire la massima qualità di scansione e postproduzione sul
mercato internazionale.
Lavoriamo con artisti, fotografi, agenzie e laboratori che richiedono
una qualità allo Stato dell'Arte a prezzi ragionevoli.
Il nostro flusso di lavoro è completamente manuale ed estremamente meticoloso
in ogni sua fase.
Abbiamo sviluppato workflows e sistemi di profilatura esclusivi che ci consentono
di ottenere risultati impareggiabili dai nostri scanners, non raggiungibili
attraverso workflows semiautomatici e/o convenzionali.
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CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
1891 Rochester Optical Company Universal - G-Claron (Dagor Type) 210mm - f/45 - Fomapan 100 - 4x5 Film - HC 110 1+100 - Unaltered Negative Scan
Rescanned and uploaded a better version 4/19/20. This one is lower in contrast, and looks more natural.
Darkroom Print. This is from probably the best negative that I've ever made. Print scans never seem to carry the impact that the originals have when viewed up close and personal, but that's the nature of the medium. I will, however, see if I can get my scanner to pony up at a later date, and I'll try this one again.
Camera: Deardorff 8x10.
Lens: 240mm Nikkor.
Film: Ilford HP5+ developed in 510 Pyro.
Contact Printed on Ilford MGIV RC. Selenium toned.
# #pnwexplored #cedarcreekcristmill #washingtonexplored #pacificnorthwest #garyquay #cascadiaexplored #outside #outdoors #washington #onlyinoregon #viewfromhere #largeformat #filmphotography #viewcamera #ilfprdphoto #8x10
My Web Site and Blog: Gary L. Quay Photography
My portfolio on Shutterstock
My portfolio on iStock
My portfolio on Adobe
Feel free to join my Flickr groups
and Flickr Today 2
Located on Hunter Street in downtown Hamilton, the GO Centre is an amazing example of the International Style, specifically Streamline Moderne. Designed by New York architects Fellheimer & Wagner for the Toronto, Hamilton & Buffalo Railway the new station opened in 1933 replacing the original TH&B Station. The station maintained operations under Canadian Pacific, who acquired full control of the railway in 1981 and ceased all passenger service. The station closed in 1987 as all TH&B operations ceased. GO Transit began limited operations in 1992 and restoration work on the station began in 1993. The new Hamilton GO Centre opened in 1996 with a near full restoration of the original elements, the second floor holds the original TH&B traffic control centre and a small museum.
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
"Easter Greetings." An Easter postcard, trimmed at the top and postmarked 1909 on the back. This postcard was published as one in a series of photography-themed Easter postcards. For other cards in the series, see Photo_History's Easter Postcards of Boy with Camera and Rabbit.
4x5 shot on HP5 sheet film. Developed in Df96 and scanned with an Epson V850 as DNG. Converted to positive with Negative Lab Pro in Lightroom.
Light: 150cm indirect Octabox camera left, 20cm gridded dish on backdrop. Triggered with Skyport.
Before regional transit services such as GO, there were the interurban radial railways. These system would radiate out of a single point to surrounding towns. Today these are mostly gone, but in Oakville this single surviving station of the Hamilton Radial Electric Railway opened in 1906, operating until 1925. Allowing service between Oakville and Hamilton.
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
contactprint from 8x10’ Foma film
Printed on hahnemuehlepaper paper with kallitype process no toned
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#parconazionaleabruzzo
1905 Korona View - Schneider G-Claron 240mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
©2013 Gary L. Quay
On this particular day in mid-May, the light was subtly fading to orange as the sun approached a cloud bank on the horizon. I had my camera set up just in time to snap a few pictures before it faded. It was a warm, peaceful evening on the coast--a rare event for spring on the Oregon Coast, and I wanted to convey that with this image.
Camera: Speed Graphic 4x5.
Lens: 127mm Kodak Ektar.
Film: Fuji Pro 400H
I wish I had a camera with front tilt for this one, but I may try again.
Uploaded a color corrected version 8/20/20. I was really trying hard to make it look more like a sunset for the original, but as the years went by, and computer monitors got better, the image on Flickr looked worse and worse. This time, I let the negative speak for itself.
# #pnwexplored #oregoncoast #oregonexplored #pacificnorthwest #garibaldi #garyquay #cascadiaexplored #outside #outdoors #oregon #onlyinoregon #viewfromhere #traveloregon #myoregon #speedgraphic #film #filmphotography #largeformat #viewcamera
My Web Site and Blog: Gary L. Quay Photography
My portfolio on Shutterstock
My portfolio on iStock
My portfolio on Adobe
Feel free to join my Flickr groups
and Flickr Today 2
White roses shot in the studio just before I disassembled the 5x7 for stripping, sanding and refinishing.
Technical details:
Burke and James 5x7" large format field camera.
300 mm Commercial-Astragon f6.3 Lens in Copal 3 shutter.
Arista EDU Ultra 200 B&W film (re-branded Fomapan), shot at ISO 160.
Exposure was 4 seconds at F32.
Lit by four fluorescent 80 watt bulbs inside a 28" Westcott Apollo softbox placed camera left and a 30" white reflector bouncing light back onto the flowers from camera right.
Developed in Ilford DD-X 1+4 dilution for 6 minutes and 50 seconds @ 20 degrees Celsius using a Beseler 8x10 print drum placed on Unicolor Uniroller 352 auto-reversing rotary base.
5x7" negative scanned with Epson V600 in three pieces then merged together using PhotoMerge in Photoshop.
Slightly warm-toned in post.
©2015 Gary L. Quay
This is from a few years ago. I did my best to save the image. I had some trouble with my 8x10 negatives recently. I was getting horizontal streaks in them. You can see them on this one. It’s possible that it was due to a freezer that used to keep my negatives, or some other issue. It happened over multiple boxes of different films. I had it only on Ilford 8x10 films, though: HP5+, FP4+, and Ortho+. Has anyone else seen this?
Camera: Deardorff 8x10
Lens: 240mm Nikkor
Film: Ilford HP5+ Developed in Ilford Ilfotec-HC.
# #pnwexplored #deardorff #oregonexplored #pacificnorthwest #garyquay #cascadiaexplored #oregon #onlyinoregon #viewfromhere #YourShotPhotographer #pnwcrew #myoregon #largeformat #viewcamera #ilfordphoto #columbiagorge #hoodgorge
My Website and Blog: Gary L. Quay Photography
My stock portfolio on Shutterstock
My stock portfolio on iStock
My stock portfolio on Adobe
Feel free to join my Flickr groups
and Flickr Today 2
“Sleeping Beauty”
Zion National Park becomes a completely different place in the Winter. It is always filled with beautiful juxtapositions, and winter brings out a whole new set variety of these combinations of texture and tone. In this scene, a snow covered evergreen tree is juxtaposed against a brilliant red sandstone wall forming a beautiful palette of reds, greens, grays and whites that evokes the feeling of Christmas.
On this week-long road trip, I camped, explored and photographed all over Zion National Park and Bryce Canyon National Park in the depths of winter with my large format 4x5” view camera and a large supply of film during the week between Christmas and New Years. This was my first major experience camping for an extended time in frigid winter temperatures, and it went quite well. My gear performed excellently, and I was able to stay warm and comfortable for a week outdoors with nighttime temperatures ranging on average from 14-22 degrees F. On this trip I also experimented with different films including Ilford FP4+, Fuji Provia 100F, and a box of expired Fuji NPS from 2003. All of them performed admirably, and I was quite pleased with the results! This image is from the Provia.
Intrepid 4x5” Field Camera
Fuji Provia 100F
Fujinon W 180mm ƒ/5.6
1.5s @ ƒ/45, front standard rise
If you don't follow me on Instagram or Facebook, you can follow me there to see a behind the scenes video from this image! Instagram.com/lowerylandscapes or facebook.com/lowerylandscapes
Milton's lone war trophy is a German 77mm Field Gun (FK16), captured 28 September 1918 on the Arras-Cambrai Road by the 3rd Canadian Infantry Battalion during a period known to history as "Canada's Hundred Days" these were the last 100 days of World War One leading up to the ceasefire on 11 November 1918. The gun arrived in Milton in the post-war years between 1919 and 1921.
Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Ilford FP4+ @ ASA-64
Pyrocat-HD (1+1+100) 8:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
contactprint from 8x10’ Foma film
Printed on Arches paper with Ziatype process
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#parconazionaleabruzzo
1897 Ak-sar-ben Camera - Kodak Commercial Ektar 300mm- f/45 - Fomapan 100 - 8x10 Film - HC110 1+100 - Unaltered Negative Scan
Bought this new about 1994, added a 4x5 reducing back the next year and a 4x10 back & bellows about 2000. Reasonably light (6 pounds), compact and versatile. I rarely use wide-angle lenses but enjoy the longer focal lengths; this has 25 inches of bellows draw. Made in Arizona by Keith Canham.
1905 Korona View - Kodak Commerical Ektar 213mm - f/45 - Fomapan 100 - 5x7 Film - HC110 1+100 - Unaltered Negative Scan
Johnston, Frances Benjamin,, 1864-1952,, photographer.
[Two unidentified women being photographed]
[ca. 1890]
1 photographic print : cyanotype.
Notes:
The women in the portrait were formerly misidentified as the Allen sisters, photographers of Deerfield, MA.
Title devised by Library staff.
Photograph showing two women in profile, posing for a portrait. Includes the photographer and camera, an assistant holding a white tablecloth to reflect light, and a mirror revealing more of the people in the room.
Forms part of: Frances Benjamin Johnston Collection (Library of Congress).
Subjects:
Photography--1890-1900.
Photographers--1890-1900.
Posing--1890-1900.
Format: Group portraits--1890-1900.
Portrait photographs--1890-1900.
Cyanotypes--1890-1900.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
For more information about this collection, see www.loc.gov/pictures/collection/fbj
Persistent URL: hdl.loc.gov/loc.pnp/ppmsc.04883
Call Number: LOT 11734-3 [item]
Graflex Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Agfa APX 100 @ ASA-100
Rollei Supergrain (1+15) 7:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
Twelve month selfie project
I originally made an exposure with my 35mm camera; but since I have nearly an entire roll remaining, I could not resist dusting off my digital camera to make a temporary snap shot.
Burlington's oldest church, St. Luke's Anglican Parish was founded in 1834 on land donated to the Anglican Church by decedents of Thayendanegea (Joseph Brant). The current building, completed in 1835 has served Centre Wellington and Burlington since the beginning with only a single major renovation taking place at the turn of the 20th Century. It has also only had ten rectors throughout its history.
Graflex Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Adox CHS 100 II @ ASA-100
Adox Atomal 49 (Stock) 5:45 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
1897 Ak-sar-ben Camera - Eskofot Ultragon 305mm - f/64 - Fomapan 200 - 8x10 Film - HC110 1+100 - Unaltered Negative Scan
This was the first time I'd worked with a 4x5 cambo view camera. The venue was an old abandoned textile factory. The people who had owned the factory also lived in their factory. The image here is what was left of their living quarters.
This viewcamera was a cumbersome thing. For one, I just could not make out a clear crisp image on the groundglass due to the low light visibility inside the factory. Most of the time the only thing I could see on the groundglass was my own reflection.
Just after dawn.
flickr is a horrid display method for the 4x5 medium...this is meant to be viewed quite large, where you have to dive in deep and move your head around to see everything. Wrong tool for the job, but, oh well...:)
large on B l a c k M a g i c
or go to 'Original' and play 'find the object': a campfire, a tent, Greyhound Rock, a ladder, Highway 1, Pelican Rock, a sea arch, Ano Nuevo SP, the trail down to Waddell reefs, the entrance to another sea arch, and huge (painful) fields of poison oak to get here.
This is really rare, as the ocean was completely flat. The whitewater is from a 3" wave, rolling along over 15 seconds. Usually, there's either south or NW groundswell in the water or, at least for the summer months, choppy windswell from the incessant, fog-bearing NW wind. This is late July, and I've never seen this part of the coast dead calm.
Taken south of Big Pine, California in the Owens Valley.
The image is slightly soft, which is a big problem with the Plustek OpticFilm 120 scanner. I would not recommend this scanner until they offer a way to adjust the focus.
Linhof Technika V, 125mm Fujinon SW lens.
Horseman 6x12 Rollfilm holder
f/32 at 1/4 second
Fuji Provia 120 film developed using a Tetenal E6 kit in a Jobo Processor
DECIDUOUS BEECH or Fagus (Nothofagus gunnii),
WEST COAST RANGE, TASMANIA
Autumn colour typically comes early to the Deciduous Beech of the West Coast Range compared to other parts of Tasmania. Exposed to the full force of the weather from the west, many of the plants grow prostrate and are wind pruned.
Relicts - Exploring the Flora of Gondwana
18 March - 15 November 2020
Cradle Mountain Wildness Gallery
www.wildernessgallery.com.au/relicts-exploring-the-flora-...
Toho FC-45x, Nikkor 90mm SW, Fujichrome Veliva RVP 50 4x5 quickload
24x30” Print on Canson Platine Fibre Rag
Picture above shows a Nikon D800E equipped with Phottix GPS and wireless RF trigger. The back of the camera is equipped with a Hoodman loupe to be able to critically focus using live view on LCD screen. The lens used is a Mamiya 645 Manual Focus A 150mm f/2.8. It is mounted on the camera via a PSA (Panorama Shift Adapter) from the company Zoerk (Zork) custom made to accommodate Mamiya 645 lenses on Nikon F body. The adapter has a tripod mount and can accommodate a L bracket shown here. The whole assembly is mounted via a Novoflex plate (QPL2 in blue color) on an Arca-Swiss compatible tripod head. I used here a clone of the Arca Swiss Cube for maximum flexibility and accuracy of positioning. In the picture above the lens is shifted horizontally to the left of the camera of approximately 10mm. This assembly is no longer a point & click camera but the digital equivalent of the old view camera, designed to meet or exceed the largest Digital medium format output.
The purpose of using a Mamiya lens on Nikon FF body is not just the latest fad to mount third party lenses on a Nikon body. Mamiya 645 lenses are excellent medium format lenses which have a diameter much superior to the 135 format lenses. It allows to take several photos shifted within the diameter of the lens optics. This is made possible because the 75mm diagonal of a 645 medium format lens gives 32mm of additional space (shift) compared to the 43mm diagonal of a 35mm format camera sensor. This is why we can take 3 photos shifted (one with no shit, one shifted left, and one shifted right) and still be within the diameter of the medium format lens. Using this technique the stitching is quasi perfect with no need to crop due to loss of coverage in the upper or lower section of the image, usually created by a a curvy horizon when panning/rotating with a non perfect leveling.
The resulting image that can be produced with this setup is the equivalent of a 80 Mpixel camera depending on the orientation of the D800E sensor vs the direction of shift! Superior resolution, higher ISO and less noise than all the current Digital medium format cameras sold $20000 and more! Yes, it is possible to do it with an investment inferior to $4000 if you count the purchase cost of the D800E. I will concede that the Mamiya 645 lenses, although excellent, will not quite match the performance of the Leica S lenses. Note however that a Leica S lens is usually > $6000 vs a used Mamiya 645 lens (55mm, 80mm) which can be found on ebay for $300 or less!
The German made Zoerk (Zork) adapter is unique as the Mamiya lens is fixed during the shifting: it is the body which moves behind the lens! Unlike most Panorama adapters allowing the rotation through a difficult to find nodal point , the Zork adaper eliminates any parallax issue since the lens is fixed vs the subject. This is particularly useful when you have a near and remote subject aligned with the camera: any rotation outside the nodal point will ruin the alignment and makes the stitching impossible. Therefore the Zork design results in a superior accuracy of the stitching of the photos where technically 2-3 pixels overlap is enough for a perfect stitch. Rotation based Panorama requires usually min 20% overlap to account for distortion/parallax issues, and the final image needs cropping due to curvature movement of the rotation if tripod head is not perfectly leveled.
Another huge benefit of the Zork adapter: it shifts horizontally 20mm with camera sensor in landscape mode. One limitation in vertical shift: the prism/flash housing of the D800 or D800E limits the vertical shift with sensor in landscape position (approx 14mm). It is better than the max shift of a Nikkor PC-E lens (approx 11 mm). With the camera in landscape mode and a vertical shift (up and down) or with the camera in portrait mode and a horizontal shift (left/right) you achieve the biggest file enlargement. With a Nikon PC-E lens a maximum 11mm shift will give you a 92% increase of the photo. With the Zork adapter a full 20mm shift (possible on Canon DLSR and Nikon pro bodies without built-in flash) will provide a 167% enlargement (yes 2.7 the original pixel size!). It means that a 36Mpixel camera like the D800 will provide a 96Mpixel file with the Zork adapter fully shifted. On Nikon bodies with built in flash like the D700 or D800 however the full shift of 20mm is not possible as the flash housing in on the path of the shift. It seems that the shift is limited to 14mm which provides an enlargement of 117% (x2.2 Mpixel increase).
For Panorama shots where the camera orientation must be the same as the direction of the shift (landscape/Horizontal shift or portrait/Vertical shift) the aspect ratio is spectacular but the Mpixel increase is less:
- On a traditional Nikon PC-E lens with 11mm shift, the Mpixel increase is 61% with aspect ratio of 2.4:1
- with the zork adapter using full 20mm shift (possible on all Canon and Nikon DSLR even with the D700/D800), the Mpixel increase is 111% with aspect ratio of 3:1! more information is available at the following link:
www.cambridgeincolour.com/tutorials/tilt-shift-lenses1.htm
Tilt movement is not possible with this adapter and in general with Mamiya 645 lenses tilt can be achieved but you lose the ability to focus at infinity as the registration distance between the rear of the lens and the sensor would be too long with the additional tilt movement.
Although a sturdy design that reflects German engineering, the finish (look) of the adapter looks as a hand made prototype. The demand is not high enough in the market to mass produce this custom made adapter (the model I purchased use only Mamiya 645 MF lenses but the manufacturer can sell you one adapte for Pentax 6x7 or Hasselblad lenses to be mounted on Nikon or Canon bodies).
Cost $750 including the L bracket that allows the adapter to be mounted with flexibility in any position on a tripod head.
more information can be found on the manufacturer website:
I have put a lot of effort to research and understand the Tilt and Shift world which was new to me, and although there are a few books on view cameras, T&S lenses and the Scheimpflug principle, I could not find any practical information on using T&S adapters like Mirex and Zork on Digital cameras, using large diameter Medium Format lenses. Forums seem to provide some partial information with little experience with Nikon DSLR which are less friendly to shifting in the direction of the built-in flash. So I decided to gather all the information I have learned and summarize it in this single post, which you can bookmark or save as a favorite for future reference.
An example of a photo taken with this set-up with explanations how to use Photoshop for Panorama stitching and focus stacking is given in the comments area of this link:
www.flickr.com/photos/episa/8603934110/in/photostream
Final question you may ask and which I already asked myself since I own the Nikkor Micro PC-E 45/2.8: why not use a simple dedicated Tilt and shift lens from Nikon?
It turns out that using a dedicated Nikon PC-E lens is not any easier and still requires to manually focus and fix the exposure manually. A the same time it costs $2000 to get a single T&S lens. With the set-up described in this posting the investment is limited to the adapter ($750) and the Mamiya lens ($300 on ebay for each focal length like 55mm f/2.8N, 80mm f/2.8N, A 150mm f/2.8). Investing in a Nikon PC-E lens makes sense if you use the tilting function for creative effect or as a landscape photographer. But I would argue that using Focus stacking you can achieve an ever better effect than with a Tilt lens if your goal is to achieve maximum depth of field in a landscape or in a macro shot. The real advantage of the PC-E lens remains when you need to reduce the depth of field and create special effects (like miniature rendering, or tilted plane of focus). This becomes a very narrow application mostly for professional photographers who need to sell a unique look in their pictures.
I hope that you found this compilation of data instructive, even eye opening. Let me know if you appreciate the sharing.
The Liaison Office of the Central People's Government in Hong Kong, captured during the blue hour on a Sunday night in March 2014. Beyond Victoria Harbour, you can also spot Stonecutters Bridge in the far distance.
This is my very first (trial) shot ever taken with my new large format Chamonix 045F1 view camera.
Given I'm more into wide angle, I actually just wanted to get a slower f/6.8 lens, but it would have taken more than six months delivery to Hong Kong and Tin Cheung made me a good cash offer for a Rodenstock Grandagon-N 4.5/90 mm. Ultimately, I'm very pleased with a large aperture as it quite eases composing in the dark.
My own scanner stops at medium format, so I had Hong Kong Imaging do the job for me who work on a Hasselblad Flextight X5. I'm blown away by the result. A proper white balance and the look is almost HDR like, yet, what you see is simply some good old Fuji Provia 100F. I've pulled the highlights to -100 and significantly reduced both white and black point. Other than that and a small crop, no major adjustments.
This inauguration image is dedicated to Hugo Zhang, the Chinese architect of this beautiful camera.
90 mm
240 sec at f/16
Fuji Provia 100F
I just like this composition over Borsdane Brook.
Intrepid Camera 4x5 Mk 5 | Nikon Nikkor-W 90mm f4.5 | Fomapan 100 100
Digitized with Tripod over Lightsource | Raleno LED Light Panel | Placed between two 0.7mm acrylic sheets
Home developed in Adox XT-3 Replenished Stock | 20c 6m 30s | Ilford Standard Agitaion
Negative Lab Pro v2.4.2 | Color Model: None | Pre-Sat: 3 | Tone Profile: LAB - Standard | WB: None | LUT: None
Often dismissed as being too large to be practical outside the studio, the Fuji GX680 III (far right) when compared to other camera that feature movements is not all that much larger. The all metal Toyo 45a, a favorite field camera is only 3 pounds lighter, by the time you add a lens and four or five film holders, then it's a wash. The Arca is much lighter, but the ungainly view camera shape make it difficult to carry without breaking down the camera into it's components, making set-up time more laborious than the pretty much instantly ready Fuji.