View allAll Photos Tagged viewcamera
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.
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
2024012-5b
1897 Ak-sar-ben Camera - Eskofot Ultragon 305mm - f/64 - Fomapan 200 - 8x10 Film - HC110 1+100 - Unaltered Negative Scan
After leaving Zion National Park, I was thinking of heading down to Death Valley. But Bryce Canyon had a coat of snow, and was less than two hours away. I'd never been to Bryce before, and seeing it in winter had been on my bucket list for years, so I decided to go. Timing the weather forecast was essential, as the temperatures had been absolutely frigid, with nighttime lows hanging at double digits below zero. Camping in the cold wasn't as big of a deal as I'd thought it would be, as I sleep inside my 4Runner and have three 28F sleeping bags that I layer inside one another for warmth, plus a small tent-safe propane heater, which I didn't end up needing.
When I hiked the Navajo Loop trail, I found the trail closed at the beginning of the famed "Wall Street" section of the Bryce Canyon narrows, but this one area with the famous gateway cedars was open. I stood there for probably almost 2 hours staring up at the hoodoo walls and trees looking for a composition, trying my different lenses and moving the camera around checking different compositions. I did not want the same image I saw other photographers making over and over again, the one looking almost straight up with a wide-angle lens. I've seen tons of those. So I finally settled on a near-telephoto comp, looking across the alcove and up with some front rise at this pair of cedars. I like the image because it says Bryce Canyon in winter with the snow on the famed hoodoos and the juxtaposition of cedars against the desert sandstone. It also has strong metaphorical significance with the living trees surviving in the desert, one seeming to nurture and protect the other like a father and son standing tall together.
@intrepidcameraco 4x5
Fuji Provia 100F
Fujinon W 180mm ƒ/5.6
1s @ ƒ/28, front rise
When Henry Ford established the Ford Motor Company in Detroit, the assembly line method revolutionised automobile production. Ford of Canada is unique in the sense that it was incorporated on 17 August 1904 without any real ownership from the parent company in the USA. Today it is a wholly own subsidiary. While originally located in Walkerville, the company moved it's headquarters and established a manufacturing plant in Oakville in the post-war boom. Purchasing a large poultry farm the plant and new HQ opened in 1953. The current HQ building opened in 2002 replacing the original one.
Graflex Crown Graphic - Schneider Kreuznach Symmar-S 1:5.6/210 - 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
Film: Polaroid 55, Negative rated at ISO 25
Camera: Cambo 4X5
Lights:
Main Light from right: Monoblock Ultra600 Full Power through umbrella
Light from behind: Nikon SB 800 1/16 of Power with zoom 28mm
Light Left: Nikon SB 800 1/64 of power with zoom 105mm pointing to silver reflector.
Paper: Forte Polywarmtome Plus Glossy FB.
Development: & minutes on Moersch SE5 Lith.
Special Thanks to caoseducado, www.flickr.com/photos/29076247@N04/ , for the creative vision and production.
This is a modular view camera for Fuji GFX cameras. I built it using a combination of an Arca Swiss 69 rail and focus pillars with a Fuji G680 front standard. The rig is capable of mounting Fuji G680, Pentax 645, Mamiya 645 as well as standard view camera lenses from 45mm through 90mm. Front movements include swing, tilt, shift and drop. Rear movements are limited to shift and swing. The goal was to try and gain most of the movements and lens flexibility of the Cambo Arctus, without spending $4000. The Arca was not damaged in the process and can easily be reassembled using the original Arca standards, the most expensive part of the project was the sacrificial Fuji G680. Fortunately they appear from time time as-is on Ebay.
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.
While I never attended the church, this church was my first school, nursery school that is. And while the building that housed the school is long demolished, I still remember it fondly.
Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford FP4+ @ ASA-64
Pyrocat-HD (1+1+100) 8:00 @ 20C
Meter: Pentax Spotmeter V
Editor: Adobe Photoshop CC
Scanned 8x10 Print
Camera:
Burke and James Orbit 4x5
f11 @ 1/50
Film:
Arista EDU Ultra B/W 100 4x5 Sheet Film
Acufine Diafine Developer
Arista Premium Odorless Powder Fixer
Paper:
Ilford Multligrade IV RC Deluxe
Ilford Paper Developing
Central Hong Kong as seen from Lugard Road on a Saturday evening in May 2014.
Taken with a Chamonix 045F1 large format view camera and a Rodenstock Grandagon-N 4.5/90 mm on Fuji Provia 100 (2 min and 30 sec at f/22).
The Kingston Inner Station would be the flagship station for the Kingston & Pembroke Railway line. Despite the name, the K&P line only reached Renfrew due to financial difficulties and that Canada Central had already reached Pembroke. Completed in 1885, the handsome Inner Station provided easy access to rail services in the large railyard downtown and a branch line to bring locomotives from the Canadian Locomotive Company plant further along the shoreline. Canadian Pacific continued to operate the station in 1913 as an easy way for passengers to move to an outer station on the mainline. The post-war service began to decline until a final shutdown in 1966; the station was sold to the city for conversion into a tourist information booth in 1970 during the construction of Confederation Park.
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
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
Even if they haven't the wonderful rangefinder of the M series Leicas, one has to admit that Nikon rangefinders are a joy to use... nearly as much as they are a joy to see and to touch.
I truly think that Nikons are the pinnacle of rangefinder camera design. Besides, they have the finish of a Japanese camera from the fifties, which is the same to say that they are simply as well finished as a camera can be. The only other cameras that could match them are Leica M3/M2, Contax II/III and IIa/IIIa.
1891 Rochester Optical Company Universal - Ilex Paragon 260mm - f/45 - Fomapan 100 - 4x5 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
Near the Sennett Hole on the ENO river
©2010 Gary L. Quay
In the Winter, I tend to do more studio work, and there is nothing in the house that is spared from the agony.
Camera: Ansco Whole Plate Camera
Lens: 14 3/4” Voightlander Euryscop
Film: Ilford FP4+ developed in Kodak Xtol.
# #stilllife #filmphotography #largeformat #viewcamera #ilfordphoto
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Taken last week at a limestone pavement on the Burren, Co Clare.
Calumet cc402 - Wide Field Camera
120mm Schneider Angulon
f22 for 1/2 second
Fomapan 100 rated at 80 iso
Developed in Rodinal 1:100 for 30 mins semi stand
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
1897 Ak-sar-ben Camera - Schneider G-Claron 240mm - f/45 - Shanghai 100 - 8x10 Film - HC 110 1+100 - Unaltered Negative Scan
Photographer Gregory Crewdson checks the image of Union street on the ground-glass ofhis large format cameras, Wed Feb 8, 2006 (GARVER) Pittsfield, Massachusetts
Late afternoon light.
Captured on Fuji AD-M xray film, with a Kodak Master View 8x10" camera and a Fujinon 180 lens.
Developed in Adox RO9 (10+1000) at 24C, in 11x14" trays, for 8'min with intermittent agitation.
Scan from negative, finished in PS.
As I explored a familiar canyon in the high country of Zion National Park, I came across these two maples completely covered in a thick blanket of fresh snow. The snow was so deep in this spot that I had to set my backpack in over a foot of powder and carefully extract each item of my camera gear one at a time without dropping anything into the deep white fluff, lest it disappear. I love the delicate nature of the Maples paired with the elegant purity of the snow, and the vivid red of the canyon wall really creates a strong contrast which isolates the trees. I’d visited these two trees only a month prior and found them covered in vivid red leaves at that time. It is amazing to experience these special places during different seasons and see how the season completely transforms them, creating a starkly different atmosphere during each distinct time of year. In the winter, the rugged yet delicate landscape seems to be in deep slumber under a thick blanket of pure white.
@intrepidcameraco 4x5
Fuji Provia 100F
Fujinon W 180mm ƒ/5.6
2s @ ƒ/22
4:56pm 12/27/2016
Iran, Tehran, Firuzkuh, Arjomand, Panoral 45 camera, Schneider Super Angulon 75/5.6, Nisi ND 1000 , Fortepan 200 6.5x9cm sheet film
www.mr-alvandi.com/gallery/black-and-white/arjomand-010.html
Large format landscape photography techniques by www.mr-alvandi.com
My Telegram channel: telegram.me/mreza_alvandi
My Instagram: www.instagram.com/mreza_alvandi
While it looks peaceful, the snow was rather wet and gross. But at least it looks good!
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
Canadian National 4803 is a rare surviving example of an EMP GP7 in a high-nose configuration. The GP7 saw production between 1949 and 1954, 4803 rolled out of the General Motors Diesel plant in 1953. As a Road-Switcher, the locomotive saw action both as a switcher in yards and on CNR mainlines in the early days of the move from steam to diesel motive power. Powered by a 16-cylinder two-cycle diesel eclectic engine which has the capacity of delivering 1600HP and 600V generator. CN 4803 is also equipped with an electrodynamic braking system and a single engineer can drive up to eight similar units. CN 4803 operated across Canada until retirement in 1984 and was donated to the Toronto Railway Museum where it was restored to its pre-1960 green/yellow paint scheme.
Graflex 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
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.
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.
I bought this camera because it came with 3 "bookform" type plate holders, perfectly usable for making collodion plates. And it works great!
The bustling harbour traffic did more than just build ships. As the Trafalgar Township primarly was an agricultural centre for Halton County, the grain trade in Oakville boomed. Built in 1855 the MacDouglad & Romain Granary is the only surviving building of this type in Oakville. Most were constructed of wood and torn down following the grain trade collapse in the area in the 1870s. Today it is commerical office space.
Graflex Crown Graphic - Fuji Fujinon-W S 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
This is the 5x7 field camera I completed a few mouths ago. I’ve been shooting with it and have made a few changes since this photo was taken. Front has swing, shift, tilt, rise and fall. Back has tilt and swing. The top end of the camera is a traditional folding field camera design but the chassis is all aluminum and fiberglass.
A church from the 13th century in Utrecht - not catholic anymore since centuries
This photo is not cropped in post, but is shot that way due to view camera adjustments.
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.
weight: 1.7kg
"Easter Greetings."
See also Photo_History's copy of this postcard:
Rabbit with View Camera Photographing a Rabbit Couple.
Originally posted on Ipernity: Easter Bunny Photographer.
A short hike up from the road, Sherman Falls provided a cool respite from the heat.
Pacemaker Crown Graphic - Wollensak 90mm f/6.8 Raptar Wide Angle - Rollei RPX 25 @ ASA-25
Pyrocat-HD (1+1+100) 12:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC (2017)
Growing out of a Methodist Revival which was sparked by noted preacher Edgerton Ryerson in 1841, a Methodist congregation quickly grew in the growing village of Georgetown connected to the Episcopal branch of the Methodist Church. Purchasing a lot in 1846, the congregation built a small wooden chapel and established a cemetery. The current brick structure went up in 1880 and in 1925 the church joined the United Church of Canada. The church name of St. John's came in 1949. The biggest renovation is recent in which the sanctuary was converted into a flexible space to allow for different forms of Sunday worship and other uses.
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - 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
Constructed in the village of Ridgeway, this new station replaced the original Bertie Station completed in 1864 by the Buffalo & Lake Huron Railway. Grand Trunk replaced that station with the current station in 1900. It continued to serve the village of Ridgeway until 1974 when it was moved to the Fort Erie Railway Museum and serves as their primary exhibit building.
Graflex Crown Graphic - Nikon Nikkor-W 1:5.6/180 - Ilford HP5+ @ ASA-200
Pyrocat-HD (1+1+100) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scaner: Epson V700
Editor: Adobe Photoshop CC
A tree stands alone amidst the fence lines on the Gettysburg Battlefield National Historic Site. I would normally shy away from such a symmetric composition like this but sometimes rules need to be broken.
Camera: Calumet 45NX 4x5 large format monorail view camera. Composed on ground glass to intended size using homemade 6x12 cardboard mask.
Lens: Fujinon-W 210 F5.6 lens in a Copal B shutter. B+W brand red filter on lens to bring up the contrast a bit.
Exposure: 1/8 second @ F45 with film rated at box speed. Metered with a Pentax 1 degree spot meter.
Film: Ilford HP5+ B&W 400 ISO Negative Film.
Development: Self Developed film in Kodak Xtol 1+2 in Paterson Universal Tank using the Taco Method. 15 1/2 minutes @ 20 degrees Celsius. Tap water stop bath. Ilford Rapid Fixer. Photo-Flo. Hung on shower curtain to dry on film clips.
Scanning: Center 6x12 section of the negative scanned with Epson V600.
For more of my work, please visit GreggObst.com.