View allAll Photos Tagged viewcamera
March 8, 1997
Ikeda Wood View, 150mm Symmar S
Kodak TMax 100 in XTOL 1:1 16:00
Scanned 4 x 5 negative December, 2016 w/ Epson V800, Silverfast
Post Process PS Elements, Silver Efex Pro
In looking through photos with lith print potential, I found this one that I scanned awhile back but had never posted to Flickr, so here it is.
Camera: Toyo-View 45GII, Fuji Fujinon NW 125mm f5.6. Film: Fujichrome Velvia 50 exp 10/2013, home-developed with the Tetenal Colortec E-6 3-bath kit.
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.
Sinar P / Industar 51 /Agfa MCP paper negative
For all of you who still don't know, I've a blog about cameras, and camera history, and camera porn and all things camera.
This issue: the Lomography Belair, Vladimir Putin and how two Austrian students never went to the Czech Republic and discovered the LC but found their way to the highest personalities of the Soviet Un... oooops, the New Russia.
Or so my ghost writer told me.
Follow me at:
www.camerastorebarcelona.com/2015/06/its-not-a-review-i-h...
Zeiss Distagon 15 mm f/2.8 on Cambo ActusMini view camera with Sony A7II (f/2.8 1/4 sec ISO 400)
Dieses Objectiv hat eine feste Sonnenblende, die das Bild vignettiert durch Bewegungen der technischen Kamera. Doch erreicht das Schiften einen angenehmeren Blickwinkel. (Siehe hierzu im Gegensatz das voherige Photo)
Zeiss Distagon 15mm f/2.8 on Cambo ActusMini viewcamera with Sony A7II (f/2.8 1/4sec ISO 400)
This lens has a fixed suncap which causes vignetting by the movements of the technical camera. But shifting is much more successful than without.
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."
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)
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.
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
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
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.
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.
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.
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".
Zeiss Ikon Maximar 207/7 9X12cm view camera made in 1930. The lens is a Carl Zeiss Jena Tessar, 13.5cm, f/4.5 in a Compur shutter.
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/
My favourite shot of the brilliant US Capitol Building!
Graflex Pacemaker Crown Graphic - Fuji Fujinon-W 1:5.6/125 (Orange-22) - Adox CHS100II @ ASA-100
Blazinal (1+25) 5:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC (2015.5)
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
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
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.
©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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William Chisholm is considered the founder of Oakville. After purchasing a large amount of land in 1827, he established a mill and harbour while directing various other members of his family to conduct business. Today William and many of his family reside here at St. Mary's Cemetary.
Graflex Crown Graphic - Fuji Fujinon-W S 1:5.6/180 - 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.
©2009 Gary L. Quay
Taken on the Burnside Bridge in Portland, Oregon, with the famous "Made in Oregon" sign in the background.
The Deardorff I use was made in 1939. It isn't a museum piece. It's heavy, and bulky. I have to be very careful not to break the ground glass while carting it around. Folks stop and ask, "Do they still make film for that?" while I'm using it. That's the question I was asked while setting up for this shot. What inspires me to continue using bulky, old camera with weighty optics is, quite simply, magic. I am always amazed by what film can capture, especially while using tiny apertures. I want as little technology between the shutter and the film as possible. I want to control the exposure. I want to control the focus. I don't want a fancy camera that makes perfect shots every time. I want to make mistakes. I've gotten some great images from mistakes.
Camera: Deardorff V8 with 8x10 back.
Lens: 12" Kodak Ektar
Film: Ilford HP5+ Developed in Kodak HC-110.
Printed on Ilford MGIV RC paper.
# #pnwexplored #burnsidebridge #myoregon #oregonexplored #pacificnorthwest #garyquay #night #cascadiaexplored #outside #outdoors #oregon #onlyinoregon #viewfromhere #portlandoregon #largeformat #traveloregon #filmphotography #viewcamera #portland #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
Long before Milton's downtown had restaurants, shops, bars, and other commercial ventures. It was the heart of a backwater rural community, industry was no stranger. Take my favourite Thai place in town, it began life as a shoe factory then a knitting mill before becoming a commercial block.
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
Scanner: Epson V700
Editor: Adobe Photoshop CC
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.
Admiring this super nice Empire State view camera by Rochester Optical while visiting another camera collector in Albuquerque, NM
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
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.
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)
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
MPP Monorail 4 x 5in Camera and Schneider Kreuznach Symmar 1:5.6/150mm, Fomapan 100, f22 at 1/10 sec. Scanned with Epson Perfection V800.
Shooting large format in windy conditions is always going to be a challenge, however, more than once the Chamonix Alpinist X has proven to be very wind resistant, especially given it's weight it is extremely stiff and sturdy when fully setup. I was even using my 300mm lens here so the bellows were not at the shortest setting. Luckily for me I was shooting with the sun behind my back while standing in the shadow so I could minimise the use of the dark cloth.
I did not bother waiting for the lights to come on as it would have been way too contrasty for the color slides I was packing that day (Velvia 100) and neither did I wait until the sun was almost about to set, mainly because the horizon looked very haze due to the passing sandstorm and my chances for good light were getting slimmer and slimmer.
Shooting time: 16:27 on 20-Mar-2021
Camera: Chamonix Alpinist X
Lens: Fujinon C 300mm f/8.5
Film: Fomapan 100 8x10
Filter: Red (3-stop)
Measured exposure: 1/5sec at f/45
Final exposure: 4sec
Dynamic range: 6 stops