View allAll Photos Tagged viewcamera
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
Out train spotting in and around Hood River, Oregon.
Camera: Nikon D300
Lens: 24-120mm Nikon VR
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In 1976 we created a large exhibition of vintage stereo views of Maryland pared with Wheatstone viewers with color prints of the same locations in the 1970s. We adapted a 5X7 view camera with a new lens board holding the lens assembly from a Kodak folding stereo camera and a septum. Jack was focusing the camera at a group picnic and put his hat on the top of the camera while he was under the dark cloth. Someone took this picture but did not sign the print. The bellows were a bit chancy so we always wrapped them in a dark cloth. A fold under the lens board makes a perfect smile.
Thanks to the unknown photographer for this fun remembrance of the day.
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.
Fomapan 100 @ iso 100. Adolux APH09 (Rodinal). Dilution 1:100, (4ml in 400ml), 19c, 90 minutes. Agitation - 4 inversions 30 minutes. Two water baths (stop). Alkaline fix for three minutes.
Taken with a Lizars "Challenge" camera in week 471 of my 52 film cameras in 52 weeks project:
www.flickr.com/photos/tony_kemplen/collections/72157623113584240
For the first full week in 2019 of my 52 cameras in 52 weeks project, I decided to use my dad's Lizars Challenge folding plate camera.
The film is Rollei PAN 25, an ISO 25 black and white negative film, devloped in Rodinal 1:50 for 11 minutes at 20 degrees.
Exposure approx 40 seconds at f22.
These are the first copies of " Geometry " the mini View Camera I've been developing for almost three years now . More info here bluescargo.gr/geometry/
And so begins the 4x5 journey.
The main reason I got the Shen-Hao 4x5 was to use it to shoot along the creeks where I live. I am sure i will find more uses as I get more comfortable using large format.
This is a scan of my first negative. I didn't even scan this in really high rez but when I pulled the file up in photoshop to see if there was any dust I needed to address, I was blow away at the detail throughout the negative.
The file was 40 MB and I didn't even scan in a very detailed mode, that's a lot of info in one negative !!!!
The day was foggy, drizzly and slightly windy so I picked a pretty tough day to take my first shot but I have to say, the results came out way better than I expected. Actually, I am just happy I loaded the film correctly.
ShenHao HZX45-IIA + Fujinon-W 135mm f5.6 + Arista EDU Ultra 100 @ 50 iso + D-76 1:1 @ 9 min (Tray developed, 1 min initial agitation followed by every minute)
A large format image of Little Mud Lake (located in the Kettle Moraine State Park) this past Spring.
May 2014
Little Mud Lake
Kettle Moraine State Forest (northern unit), WI
4x5 Omega View Camera
150 mm Rodenstock Sironar f/5.6 MC
FujiChrome Provia 100F RDP III Color Transparency Sheet Film.
Cokin Polarizing Filter
Cokin P120 Grad. ND Filter.
Wet-mount scanned on Epson v750 Pro
We are in the process of photographing much of our collection for the book that will accompany an exhibition in the fall.
This group is of three German china souvenir pin dishes of the type often called "Pink Pigs" although it includes a white Teddy bear and a devil with a view camera. There is also a small cream and gold knock off of unknown manufacture marked "Souvenir of Baltimore, Md."
This is a Rodenstock 180 mm lens in a Copal shutter mounted in a Wista lens board. In other words, it's a roughly "normal" lens for my 4X5 view camera.
3rd September 2021
Camera: 1956 Linhof Super Technika III 4x5â.
Lens: Schneider 90mm Angulon f/6.8.
Film: Ilford Delta 100 4x5" black & white negative sheet.
Exposure: Metered 1 min @ f/22, adjusted 3 min; Focused to 1.5 metres.
Development: ID-11 1 + 3 21 min/20C.
More information about Waddamana may be obtained at the following links:
en.wikipedia.org/wiki/Waddamana_Power_Stations
www.hydro.com.au/things-to-do/waddamana-heritage-site
Copyright 2021 Tasmania Film Photography
All Rights Reserved
Originally built as the Tudor-styled manor home of L-Col W.G. MacKendrick in 1922. The name Gairloch was given by Col. MacKendrick after a small Scottish town of the same name. Following the death of Col. MacKendrick, the estate was purchased by James Gairdner in 1960, who after his death, bequeathed the estate to the town of Oakville which established and still operates a gallery.
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
Camera: Toyo-View 45GII, Fuji Fujinon NW 125mm f5.6. Exposure: f45, 1/2 sec. Film: Fujichrome Velvia 50 exp 10/2013, home-developed with the Tetenal Colortec E-6 3-bath kit.
These are my favorite landscape film cameras.
Calumet 4x5 inch large format view camera with 90mm f/5.6 Fujinon lens
Fuji GSW690 medium format rangefinder with 65mm f/5.6 Fujinon lens
Contax G1 35mm small format rangefinder with 28mm f/2.8 Zeiss lens
©2009 Gary L. Quay
Uploaded a better version 4/6/20. I finally got the color balance right.
Camera: Calumet 45
Lens: 180mm Caltar II
Film: Kodak Portra 160 VC.
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My Web Site 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
May 2016
Madison, WI
4x5 View Camera
Fuji Provia RPD III 100 Color Transparency Film
On a side note, I'd like to mention that I've recently learned that I have been selected to be the next large format staff photographer for the Heritage Documentation Programs (National Parks Service); HABS/HAER/HALS. This is an unbelievable opportunity and truly, a dream come true.
All the images I make for the Heritage Documentation Prograpms (National Parks Service) will be done on the 4x5, 5x7, and 8x10 formats and will be on display for you to enjoy and download on the Library of Congress website (www.nps.gov/hdp/coll.htm). I hope you will all take full advantage of this unbelievable national resource and use these images to educate those around you about the architectural, engineering, and natural history surrounding the United States of America.
I'd also like to thank everyone who has viewed my photos through the years (Filckr member since 2009). You've all been unbelievable in helping me edit and refine my vision and I can't say thank you enough.
I look forward to seeing many more of your images and discussing your individual photographic technique and approach in the years to come.
camera: Graflex Graphic View 4x5 / Tessar 135mm in Compur shutter. Polaroid 4x5 film back.
Film: Polaroid Type 55 Positive/Negative
This stereo card, with an 1882 copyright, shows the photographic party of Edward L. Wilson in Egypt.. The title of the card is "Photographing Cephren and Mencheres" from the series "Scenes in the Orient".
Salamander. Shot on a rail view camera outfitted with pinhole (I think...also did a lensed version). Lit with Tungsten. Salamander is plastic - I had to weight his head with lead pellets to keep the little bugger in place. Stuff at the bottom of the container is egg whites and honey. I sprinkled baking powder all over everything in the stead of dust. Used some retractable diffusion gizmo to blur edges during printing (I just had to use it on something!). Print split-toned in cool-mixed thiourea.
Young man seems interested in the workings of a Sinar F 4x5 view camera at Camera Trader's 11th annual swap meet in Market Square in downtown Victoria BC Canada. A camera swap meet seemed like a logical place to go for candid photo's. Swiss photographer Carl Hans Koch invented the Sinar camera in 1947 due to his dissatisfaction with the limited or imprecise nature of wooden view cameras that were being manufactured at the time. An interesting trend that I have noticed is there is a renaissance in the world of analog (film) users and I have noticed many are young people. This observation is backed up in a survey by the British company, Ilford Photo in 2014 that showed over 30% of people using film still are under 35 years of age. FYI
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.
Shanghai GP3 @ iso 100. Adolux APH09 (Rodinal). Dilution 1:100, (4ml in 400ml), 19c, 90 minutes. Agitation - 4 inversions at the start and 2 inversions at 30 minutes. . Two water baths (stop). Alkaline fix for three minutes.
Franciscan church, build 350 years ago, completed in 1731 and the organ was implemented in 1753, bult by Christian Ludwig König.
ActusMini + Actar 24/f/3.5 @f/3.5
Family photo taken around 1970 by my father using a 1941 Anniversary Speed Graphic 4x5 camera with a Carl Zeiss Jena Tessar 135mm f/4.5 lens and Polaroid 4x5 film.
Boy, you've just gotta love the moody feel here, and the 60/70s hair styles! I sure do wish Polaroid was still making this 4x5 film - I would certainly want to shoot with this stuff!
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
See, I don't really know why this system didn't sell, but it was a matter of bad marketing for sure, because I don't see a reason why people wouldn't like it.
Lenses are good enough, some say they're on par with Leica; and the bodies are nice enough, with fantastic parallax correction, albeit one has to admit that the viewfinder image is a little small.
The most annoying feature is the choice of materials: heaven damn the nineties and the plastic era.
As for the external design, it shares something with the Kyocera-made Contax SLR line, including the cheapo touch of the platic carcass, a feature many cameras of the 90s had.
Iran, Tehran, Darabad, Toyo Field 45A, Schneider Super Angulon 90/5.6, Hoya red filter, Ilford FP4 4x5in
www.mr-alvandi.com/gallery/black-and-white/darabad-010.html
Arjomand village, in spring wind
Iran, Tehran, Firuzkuh, Arjomand, Panoral 45 camera, Schneider Super Angulon 90/5.6, Hoya red filter, Ilford FP4 4x5in film
www.mr-alvandi.com/gallery/black-and-white/arjomand-007.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
Create stitched large format digital images with our Canon EF to 4x5 View Camera adapter! Learn more: fotodioxpro.com/products/4x5-ef-p
I recently acquired this gem from a friend's neighbor - lucky to be in the right place at the right time I guess. It was all intact but quite filthy when I got it. I cleaned it up and had to glue a couple pieces of loose trim on it, but it's now in clean working condition! This "Ideal" 10"x12" field camera was manufactured by Rochester Optical Company during the mid-1890s. It came with a Carl Zeiss Jena Protarlinse VII lens, and included 4 10x12 glass plate holders. My plan is to shoot 8x10 paper negs by attaching RC paper to 10x12 glass or plexi.
atelier ying, nyc.
The artist Nara has created an oeuvre of paintings of cute isolated marginalized kids (this is just my interpretation).
His exhibitions also contain intimate drawing spaces that one can visit, these little studios are a part of his drawing process (along with punk music and beer).
This proposed design for a few camera unifies all these with a drawing in the style of an Aldo Rossi structure in Castellanza.
I've made modifications for both use as a portable laptop desk (or its modern counterpart, the drawing studio) and as a view camera to take portraits of young adults. Two arcades of row houses, probably a Rossi typology, are actually alternating mini refrigerator units for beer bottles and stereo loudspeakers. The camera splits open and fans out to become a tiny drawing studio whose interior is the design of an opera house (my departure from Rossi's original design). The actual drawing table is the opera orchestra's pit, concealing a collection of colored pencils and crayons, Nara's tools of choice for drawing.
When in use as a camera, the floor opens and a lens box is installed from underneath. This lens camera enclosure contains a Lumix Micro 4/3 and a Petzval portrait lens.
The viewfinder concept is in two parts: the dollhouse window used in the drawing studio is the main viewfinder. When the subject is composed the lens box is now installed (in the manner of inserting a film holder into a traditional view camera) to take the photo. Note that an interesting innovation of this viewfinder is that the backdoor entrance to the studio is kept closed all the time and the photographer as a voyeur peers through the back door window at the digital camera's LCD which he controls by a remote. This recalls the experience of a Nara gallery exhibition. An external audio port on the side of the camera brings in music from any mobile device.
Design, text and drawing are copyright 2013 by David Lo.
©2010 Phillip Nesmith - This 7x5 wet collodion ambrotype was exposed about 30 seconds before a tropical downpour hit. Once the plate was pulled from the camera, a large plastic bag was placed over the camera and it was left in place.
This is Eugene. I met him on his 36th day of working at this bridge sucking oil from the water. He is the driver and operator of a semi rig that is a vacuum tanker. This portrait was made at the location of what he described as a "great battle" with the oil in the early days of the spill.
The rocks under his feet and behind him are still coated with oil. Hand prints of oil are along the support beam of the bridge behind him. It was special to be able to hear the story of what was happening at this specific place from someone who was playing a significant role.
See more of this work in person by attending Flow, my latest solo exhibition at Irvine Contemporary in Washington D.C.
More from the Gulf.
For some of the back story of this image see the blog.
Here's where I made a rookie mistake, I left the shutter open and pulled the darkslide, then counted off the 60 second exposure and then 'closed' the shutter, and slid back the darkslide. Whoops, at least it was only over exposed for about 3 seconds. Not too bad.
Pacemaker Crown Graphic - Fuji Fujinon-W 1:5.6/125 - 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)
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
Admiring this super nice Empire State view camera by Rochester Optical while visiting another camera collector in Albuquerque, NM
Originally named "Sarnia Tunnel" to separate the station from the waterfront station, was completed in 1891 to serve the new St Clair Tunnel. The station, designed by Joseph Hobson, in the Gothic Revival style reflects many similar stations that Hobson designed for both Grand Trunk and Great Western. Completed in red pressed brick, with limestone lintels and buff brick accents, the station has a high peak hip roof with wide eves and decorative brackets. The interior featured several waiting rooms with hardwood floors, wainscoting, and superb lighting and heating. A second floor houses the telegraph operator and station master's office to help control traffic in the nearby yard. The station took over all passenger services in 1900 at the closure of the waterfront station and the station received a paint job in the early 20th Century. Canadian National would give a flat grey paint job in the 1960s before cutting passenger services in 1971. Thanks to the efforts of local historical societies, the station received a historical designation in 1975 and prior to reopening for VIA service in 1986 the station's exterior received a full restoration to the original brick. Further repairs to the roof and masonry took place in 2015 and today the station continues to service two daily trains to Toronto.
Graflex Crown Graphic - Fuji Fujinon-W S 1:5.6/150 - Ilford HP5+ @ ASA-200
Pyrocat-HD (1+1+100) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC