View allAll Photos Tagged viewcamera
The seldom seen folding Rochester "Empire State" (c. 1892) 5x7 viewcamera with black bellows, brass lens, with mahogony & cherry wood base. I'm told that this model could also be configured as a stereo camera. Recently acquired in ABQ.
All hail the new Shelf-Queen!
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
Take this, capitalist world. Soviet workers could afford at the end of the fifties a quality SLR with a replica of one of the best SLR lenses of the moment, the 58mm Biotar. Not bad for the end of the fifties in the closed Soviet economy. Yes, the Nikon F is almost contemporary to this camera, but you don't have to forget the F was designed as a pro camera and the Zenit is nothing else than an amateur model. Yes, quality models for amateurs, for workers, for proletarians...
Don't take me bad, I'm not justifying the horrible Soviet dictatorship or its flawed economy, but I have to concede some of its goals were somewhat noble at a theoretical level.
©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
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.
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
Pretty imposing camera this one, as are most medium format SLRs. I can't say I don't like it, as it is a fantastic piece of gear: it has the build of a fin-de-sciecle Japanese pro camera, which means that, even if it is built in plastic, it quite right in your hands. Yes, the 80s-90s were an all-time low in camera building and choice of materials. Operation is a bit clunky; it is an "electronic" camera after all; why cameras from the 80s and the 90s use all those counter intuitive buttons instead of dials is beyond my understanding.
And you know what? I do really think that 120 is not the format for a pro electronic auto winding camera. Too slow to reload. It isn't a studio camera either. As someone said once to me, as attractive as some medium format SLR cameras might seem, 35mm is always better for the outside and LF is always better in the studio. That MF SLRs are too heavy for regular outdoor use, not to speak of travel photography, is something that I've learned the bad way, not to say that realoading 120 rolls while outside is a royal pain in the ass. Hell, even changing 4x5 plate holders is easier than reloading a medium format roll. Yes, I will stay with 35mm for outdoor use...
Domingo Milella, Brancolini Grimaldi Gallery.
180 x 220 cm LightJet prints from CastorScan's drum scans.
scanner:
Dainippon Screen SG-8060P Mark II
Film:
Kodak Portra 160, 8x10".
-----
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.
-----
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.
----
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.
haroldhollingsworth.blogspot.com/
This was shot about 3 or 4 o'clock on a nice sunny day. I used the 14 x 17 Hawkeye Rapid Rictlinear F/8 at F22 for 1 second. I guessed and it came out just a tad over-exposed but it looks just fine. there are other plates but this one was handy for scanning.
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.
Scan from a contact print on Ilford MG warmtone paper at grade 1.
More often than not, I make two identical exposures of any scene I deem worthy, so that I get a second chance if processing goes wrong on the first negative.
In this case, the first one came out ok (way back when), so the duplicate was kept aside to be used for testing.
The negative that made this print was developed last week, more than two years after exposure, which speaks volumes for the stability of the latent image on exposed xray films (or at the very least on this particular film, Agfa CPG+).
18x24cm negative (double sided, green sensitive), developed in Ilford MG paper developer (1+50) in a Jobo 2830 drum for 8'min.
Bridge 13 on the Welland Canal carries Main Street across the old Canal channel in Welland, Ontario. A vertical lift bridge, it saw completion between 1927-1930 by the Dominion Bridge Company with much of the steel work being completed by Mohawk Iron workers. It was also the most expensive of all the bridges, clocking in at just under a million, due to the requirement to have a streetcar track installed. The track was never installed. The bridge was offically decomissioned in 1973 with the motors, cables, and counterweights removed.
Graflex Pacemaker Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford HP5+ @ ASA-400
Ilford Ilfotec HC (1+31) 6:30 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
If any of you have invented a time machine I would appreciate your help in ordering the amateur photo outfit for $10, advertised in this 1882 ad by Scovill Mfg. Co.
Since this predates the beginning of a widespread photofinishing industry, Eddie and Clara will likely have to process their own negatives of Santa. What resourceful children!
Toyo 45CF 4x5", Rodenstock Grandagon N 90mm f4.5 lens, Fuji Velvia 50, Tripod
aperture: f22.0
exposure: 1/60 s
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
I shoot small, medium, and large format cameras. The main reason I shoot large format is because I cannot get large format image quality from smaller format cameras. I primarily use large format cameras for architecture, landscapes, large group portraits, and product shots.
The main large format camera I use is the Calumet 4x5 CC-402 that was designed for wide-angle lenses. The wide-angle lenses I use are:
135mm Fujinon f/5.6 (38mm equiv)
90mm Fujinon f/5.6 (28mm equiv)
65mm Schneider f/8 Super-Angulon (18mm equiv)
47mm Schneider f/5.6 Super-Angulon XL (13mm equiv)
The 90mm is the lens I tend to use more frequently than the others.
The camera has a rising and falling front, a sliding front, a center-axis front tilting movement, and center-axis front swinging movement. It has a center-axis rear tilting movement, a center-axis rear swinging movement, and a sliding rear movement. It does not have a rising and falling rear.
It has a revolving film back that allows easy change in orientation from landscape to portrait. The back also accepts a 6x7cm roll-film holder.
Torrey Pines State Natural Reserve
San Diego, CA, USA
Ikeda Anba 4x5
Nikkor-SW 75mm f/4.5
Ilford HP5 Plus
Developed at Northcoast Photographic Services, Carlsbad, CA
Detail from storforsen taken with a 6x9 linhof technika on velvia. Mots likely with a 180/6,8 Goerz Dagor.
I had already picked this spot out for a photo as I walked by, but I didn't see the right angle until I was on my way back.
Pacemaker Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - New55 Atomic-X @ ASA-100
Blazinal (1+100) 60:00 @ 20C (Stand Developed)
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC (2018)
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
Torrey Pines State Natural Reserve
San Diego, CA, USA
Tachihara 8x10
Kodak Commercial Ektar 12” f/6.3
Ilford HP5 Plus
Developed at Northcoast Photographic Services,
Carlsbad, CA
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Agfa APX 100 @ ASA-100
Rollei Supergrain (1+15) 7:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
Fuji Neopan Acros 100, 4" x 5", 64 iso, Normal development in Rodinal developer, 1:50, 8:00 minutes, 24C. Taken October 2013. Ebony SV45TE. Fujinon-T 400mm.
Grosvenor Arch, Grande Staircase Escalante National Monument, Utah
Sky was quite hazy from wild fires in eastern Washington. Strange development problem, spots of more active developer. Fuji HR-U X-Ray film dev. in Rodinal 1:100.
Yup, I had to do the cheesy pose with your new camera shot! This is Veronica. My Toyo 45A view camera.
This camera is ridiculously cool. She's kinda huge, too. At 6lbs, this is not really a camera that you hold in your hands and take snapshots with.
There are 2 things I love about this camera: First, It is completely boiled down to the basics of camera technology. Everything is manual. There's no battery. There's no meter. There's no auto-focus. The film comes in sheets.
Second, the whole process of shooting with it has to be slow and methodical. Setting up the camera takes time. Composing and focusing takes time. Its good to slow down. That's been my motto over these past few months...
Me and Veronica are going to have a lovely time in Glacier National Park in a couple weeks. :-)
1966/Summer, “International Photo Technik” (photography magazine from Germany, English edition).
Back cover.
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
Scan of a contact print on Ilford MGWT from an 18x24 xray negative.
Fujifilm AD-M developed in 11x14" trays in Adox RO9 (10+1000) @ 24C for 8'min with intermittent agitation.
Shot with an 8x10" viewcamera and a Fujinon W 180 @ f/22 and t1/4"s
Old Toyo 4 x 5 inch View Camera is seen in my studio area at our home at Pinellas Park, Florida, ca late 1970's. This old camera was used for product photography back in the day. It was always nice to work with the large format negatives and transparencies. The lens mounted to the camera is a Commercial Astragon 1:6.3 f-180 lens. This camera was not taken out on photo adventures when photographing trains! This photo was taken with a 2-1/4 x 2-1/4 inch model 500CM Hasselblad camera, with a 120 mm lens..
Custom modified Toyo view camera, set up for DSLR body.
Rear body replaced with cradle for DSLR body, modded belows with custom built camera mount that uses a T thread adapter so this will work with any brand that you can get a T adapter for (Nikon, Pentax, Minolta,Canon etc.), Monorail shortened and a new bracket fabricated for the tripod mount so that the original tripod mount is no longer between the front and rear standards.
This allows all standard view camera movements with both the front and rear standards, tilt, shift, rise.
This is a test run before putting this one up for sale I am only building a few of these.
Photo taken with a Nikon coolpix p6000.
©2022 Gary L. Quay
This was an experimental picture. I was trying to see how much of this side-lit, mossy forest one can squeeze onto an 8x10 negative without making it too busy. It turns out that showing much less of it would have been better. The light was fading, so I didn't have time to set up with a longer lens, but maybe next time.
I'm also testing a new developer. Photographers' Formulary sells something called FA-1027. I really like what I'm seeing from it thus far. I tray developed this one for 10:30 @ 68º. It's not bad as far as the tones go. There just needs to be a tighter crop.
Camera: Deardorff V8
Lens: 300mm Nikkor-W
Film: Bergger Panchro 400 Developed in PF FA-1027
# #pnwexplored #deardorff #oregonexplored #barlowroad #pacificnorthwest #garyquay #cascadiaexplored #oregon #onlyinoregon #viewfromhere #YourShotPhotographer #pnwcrew #myoregon #film #filmphotography #bergger #largeformat #8x10 #viewcamera #omht
My Website and Blog: Gary L. Quay Photography
My stock portfolio on Shutterstock
My stock portfolio on iStock
My stock portfolio on Adobe
My stock portfolio on Alamy
My stock portfolio on Dreamstime
Feel free to join my Flickr groups
and Mosier, Oreogn