View allAll Photos Tagged viewcamera
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
Man, this REALLY is an imposing camera. I mean, you can use a hassy or a P6 or whatever and you won't have the same sensation of, well, you just have to take one on your hands.
Maybe it's the wooden grip; in fact, you could use it as a weapon; hell, a whole discipline of martial arts could be developed around it. Sixsevenjutsu or Pentax-do or something like that.
Or maybe it's the 105mm 'normal' lens, which is so massive.
When you go somewhere with this, hell, everybody knows who's the man in the place.
Jokes apart, it's been a while since I last posted here on Flickr and it feels good to come back. Camera porn will keep coming, and other things too. Thanks to all of you who follow my work; it really means much to me.
Camera: Toyo-View 45GII, Fuji Fujinon NW 125mm f5.6. Film: Fujichrome Provia 100F, home-developed with the Tetenal Colortec E-6 3-bath kit.
this is my Shen Hao folding field camera with a 6x12 rolfilm back attached. I was done photographing the lighthouse but stayed to enjoy the view and then desided to make a portraid of her.
One of my favourite homes in downtown Milton. This lovely Victorian home is one of many historic homes in the downtown although I wish I could have a shot of it without the electrical pole.
Pacemaker Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Agfa APX 100 @ ASA-100
Kodak HC-110 Dil. H 14:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
added a new member to the family recently. He's a little worse for wear but I'm confident there's a few good stories left in him.
Sony A7C2 - Sony FE 1.4/35 GM
Then and Now. Taken 06/28/2025 Standing in the same place 35 years later, I took this following photo.
www.flickr.com/photos/zdebb/54562825860/in/dateposted-public
Over the coming months I plan to revisit many photos taken 30 years ago with film and photograph them digitally.
I grew up near this area and lived here for 15 years with my first wife. I photographed here in the 80's and 90's using medium and large format cameras. I hadn't been through there for a number of years and will re-visit many of the images using digital equipment,
my first large format shot. a test really, to see if the camera is working ok.
this was done on christmas eve, from my friend's balcony in Carradale House. the building on the right is Balfron Tower.
it was a real pain getting this shot right. it was cold, and on the other side of the window, everyone was partying. it was dark and the focusing screen on MPP VII is not the brightest one out there, therefore there are few things in the picture (left top and bottom corners that shouldn't be there but I just couldn't see them then)
Nevertheless, it came out a bit better than I thought, amid all the difficulties.
and to be honest with you, I found out that spending an hour trying to get two shots good is one of the most relaxing and therapeutical activities I've ever done.
a quick scan, straightend, cleaned.
October 2015
Porcupine Mountains State Park, MI
4x5 View Camera
FujiChrome Veliva RVP 50 Color Transparency Film
Note: Click the image to see the higher resolution image :)
Great Western was the first to bridge the Niagara River at Niagara Falls in 1855. Buffalo & Lake Huron had been contemplating such a feat at Fort Erie since 1857 but never had the money. It wasn't until 1873 that Grand Trunk contracted the International Bridge Company to complete a bridge between Fort Erie and Black Rock in Buffalo. The bridge, designed and built under the eyes of Casimir Stanislaus Gzowski and D.L. MacPherson. At 147 years old, the bridge still functions serving both Canadian National and Canadian Pacific.
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
Scaner: Epson V700
Editor: Adobe Photoshop CC
Originally established in 1855 as a Catholic Mission Church to Irish railway workers. The parish was supported by the Jesuit Order, building a humble frame church closer to the downtown. A poor parish, they always filled the pews, but had little extra funds to pay the missionary priests. In 1874, after the Bishop refused to enter the run down church and through several years of prayer and petition a gift from a widow allowed the parish to relocate to the 'railway lands' and construct a new stone sanctuary in 1885. Holy Cross would worship here until 1965 and the parish turned into an all-French Roman Catholic church, L'Eglise Sacré-Coeur.
Graflex Crown Graphic - Fuji Fujinon-W S 1:5.6/150 - 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
In this cabinet card a young man uncaps the lens of his tripod mounted camera to make an exposure. In spite of the caped coat, grass, and landscape background it was taken in a studio. The background is unusual because it seems to be painted directly on the wall rather than on canvas. The landscape has been painted over the baseboard of the wall. The photograph is by Whitley of Elmira, NY.
I will continue to upload selections of our photographs of photographers with cameras. Please check back in a few days. Until then you can see more of our photographs of photographers at: www.brightbytes.com/collection/real_photo.html
Camera: Graphlex Graphic 4X5. 135mm Tessar 4.5 in Compur Shutter. Type 55 Camera Back.
Film: Polaroid Type 55 Positive/Negative.
This is a large format shot from the very early 2000's. I had spotted this tree on a previous trip and always had it in my mind to photograph it when the conditions were right. On this morning the fog was hanging low and liked how hit slightly obscured the smaller cottonwood in the background. I positioned my view camera so that one of the smaller branches aligned and touched the smaller tree.. I haven't shot with my 4x5 in quite since last fall, I need to break it out some more.
The Belleville Station is unique among the Grand Trunk Stations. Having been originally completed in 1856, constructed from Trenton Limestone, it always only served passengers. It never had a telegraph bay added, instead a Second-Empire Mansard Roof was added in 1881, all traffic control was done from a seperate building as part of a larger yard. Belleville marked a divisional point being half-way between Toronto and Montreal. The station's interior was signifigantly renovated in 1980 and lost most of the original finishes. The station closed in 2012 with the opening of a new VIA Station.
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
1897 Ak-sar-ben Camera - Eskofot Ultragon 305mm - f/45 - Fomapan 100 - 8x10 Film - HC110 1+100 - Unaltered Negative Scan
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
You will find it so stupid, but there are days that I just wake up and I want to shoot with a crappy lens. One of those lenses that many people in Internet forums swear they are pain sharp when in fact they are not. Folks, none of your industarss or helioses or tessars or whatever will ever beat a modern Summicron, so get over it and let's assume that for today's standards they are crappy lenses.
But somedays, I get up and I say, geez, i wanna shoot with something even MORE crappy.
That's when I pick my Smena.
Lovely camera, intended as a cheap gizmo for youngsters. There have been many generations of it, before and after this model, the 8M, always with a platic or bakelite body and normally with a metal lens that had to be cocked separately from winding the film.
I think that the 8M model beats them all, though. It is the living example that if you want to sell 25 million cameras of a particular model (they really were), you don't have to do any market research, serious product testing for feedback and elimination of flaws or a simple ergonomics study. No, you only need a closed market.
That said, I love the 8M. First time I saw one it was on the shelf of a hipster store, and I fell in love instantly, because believe it or not, I really love the design. It's got something.
That said, it's not a bad camera at all if you want to take some pictures with film: it's small, its light being all plastic and aluminium and the lens is from so-so to just ok. Hey, I can bet the one on your compact is worse. Besides, it has all what a manual camera should have: speeds from 1/15 to 1/250, iris settings from 4 to 16 and if you ara a little dull or know nothing about exposure, it even has wheater and distance markings for help.
Believe it or not, I really learned a few things on exposure using mine, and I would recommend it to ANY newbie wanting to learn how to use a manual camera. And, if you are so desperate for accurate focussing (not really necessary with a f4 lens), you even have a dedicated accessory uncoupled rangefinder that, yes, it will interfere with the shooting button, but on the bright side, it will look great on you camera porns.
Aside from that, it's one of the few cameras that doesn't owe its design to the west. Poor western manufacturer if he had to sell cameras like that in a market economy.
All in all, I love this little beasty.
An iconic mechanical SLR that is basically a Spotmatic SP 1000 with a K-Mount attached, a quintessential student camera. Mine is currently awaiting it's turn to be sent away for a CLA.
Pacemaker Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Agfa APX 100 @ ASA-100
Ilford Perceptol (Stock) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC (2018)
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.
1966/Autumn, “International Photo Technik” (photography magazine from Germany, English edition).
Back cover
Straight B&W print from the negative, toned in Se (2.5min 1/5) for permanence. 5x4 neg on HP5 in Rodinal 1:50, Chamonix 045n-2. Printed on Ilford MGIV FB.
Camera used: Fujifilm X-Pro 1
Lens used: PC Micro 85/2,8 Nikkor ED (1st gen)
Trigger: Flashwaves III
Strobist: two strobes object left and right, trigger light under the dais.
I've written a little about shooting still life with the Fujifilm X-Pro 1 here.
I found this small hideout in a clearing.
Pacemaker Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Rollei RPX 400
Kodak D-23 (Stock) 10:30 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC (2015)
www.platformgallery.com/artist_pages/Russell/russell_main...
Showing at Platform Gallery May 13th
new batch of collodion- good mid tones- had to us the head brace-
f/3.8 @ 5 sec. with the new deardoff and the 16inch wolly vitax
The mighty Mississippi River, although infinitely smaller than at the delta, still vitally important to the local economy, and what a lot of the region has depended upon for transportation for a long time.
Crown Graphic 4x5 / Agfa APX 100 / Rodinal / 7x9" print on 8x10" Ilford Multigrade MGWT semimatte fibre/ Agfa Neutol, toned in Moersch MT3 and Harman Selenium
The town of St. Thomas offered up a 25,000$ bonus to CASO if they would build their central station, headquarters, and rail yards in their town. Plus it only made sense as St. Thomas was located in the geographic centre of Canadian Southern's mainline. Completed in 1871 the grand St. Thomas Station was far larger than the average station as the second floor housed all the offices needed to run a railroad. The station itself, built in the Italianate Style in an age where Beaux Arts, Second, Empire, or Romanesque were popular among railroad stations. The beautiful station offered up multiple waiting rooms and a full dining room (at least until 1925). The station remained in operation under CASO, NYC, and MCR. All operations ceased in 1980 and in 2005 the Station became home to the North American Railroad Hall of Fame who continues to maintain and restore the station in addition to housing a museum it is also available as a venue for events.
Graflex Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - 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 Rockmount National School playing field which is situated on a hill overlooking Miltown Malbay in Co Clare. This field was developed by the parents of the pupils at the school so that the kids could have somewhere to play hurling and gaelic football when the weather is fine. There is no exercise space inside the small schoolhouse so all PE activity either takes place in the tarmacadam schoolyard or on this playing field. The school was built in 1865 but is still in use today and services the educational needs of some 45 pupils from the rural community nearby.
This marks the first set of pictures which I am putting together in a project which is looking at the current status of small rural schools in Ireland, of which many are under threat of closure for a variety of reasons. Emigration, falling family sizes and the need for parents to travel further to work are some of the more compelling reasons which seem to be affecting the viability of small rural schools such as Rockmount.
I photographed another school not far away from this one and it has recently closed despite having all of the facilities one would need to provide children with a fine education. What a pity it is to see this.
Calumet cc-402 Wide Field Large Format camera
Schneider Angulon 120mm lens
5x4 Fomapan 100 film exposed at 50 iso
F22 @ 1/2 sec
Developed in Rodinal 1:100 for 30 mins semi stand
This Sherman scene was taken back at a reverse angle from the dirt road down to Tie Siding and Laramie. The motive power was another wood burning ten wheeler, 4-6-0, of the series numbered in the nineties. The little tender behind is loaded with wood. Was it the same one seen on the round house track? We have followed the early Union Pacific Railroad from Cheyenne west, up the mountains to the station atop Sherman Hill before the descent. This whistle stop looks pretty rustic in the late 1860s and it is clear they were still building the windmill to pump water. Water was in short supply at Sherman unless pumped or hauled up. There is a trench, still not compacted, up under grade below the tender toward the water tank. The windmill is probably a fraction of the efficiency of the windmills that dot Southern Wyoming today. Everything is fresh at Sherman, even the wind.
The view west shows a drag of flats, CPRR and another UPRR, down line from the water tank; one could assume returning empty from a delivery of ties or rail. Ties were delivered in barrels. Piles of ties seem dumped on the other side of the rails. Several wooden buildings are just beyond. Perhaps passengers would stop here for lunch and an outhouse break. Several, eight, seem to be waiting and enjoying the wind on the depot dock. It must not be too wild, no one is blowing away! Notice the substantial anchoring of the windmill; perhaps plenty of water could be pumped at the spot and a lot would be used. Few structures remain on top today after UP drove the twin tunnels and regraded, forming up and downgrade lines.
This shot shows the effort it took to complete small sections of the transcontinental railroad. The advent of Westinghouse air brakes and the Janney coupler, saviors of countless lives and limbs, was a year before. Before that, link and pin couplers and vacuum brakes were used. I didn't see any compressor on the number 90 engine at the roundhouse so I wonder.
William Henry Jackson shot this historic place for the USGS "United States Geological Survey." It looks like he was heading west. It almost looks like Jackson used two plates in a stereo camera. Wet plate shooting required a lot of time: darkroom set up, plate prep, shooting and follow up processing. In order to use such a process, glass plates needed transporting and thorough cleanings. The next step involved preparing the light sensitive "gelatin" wet emulsion chemistry needed to coat the glass in a tent "lightroom." That would have been an experience. I assume that the plate was not allowed to dry very long and we can theorize the "emuslion" was more sensitive when wet. At that point, the glass plate needed to be slipped into a light-tight film holder with a dark slide protecting the emulsion side. Finally, the film holder could be taken outside and slipped into the view camera back. I bet that the lightroom tent was always set up close to the camera and tripod. No time to waste. I bet W.H.Jackson already had the better part of an hour involved already setting up the tent, hauling and mixing chemicals to the light of a warm filtered candle lantern. They say that sufficiently advanced science looks like magic to common folk. Kind of like global warming science to steadfast thumpers.
The film holder was slipped into the back of the view camera after thoroughly focusing and adjusting before removing the dark slide whereupon, the exposure calculated and the lens cap removed for the proper length of the exposure, probably for only brief seconds. Fast blue-sensitive film, that! Time was a wasting at that point. The dark slide was returned to the holder and the assembly carried back to the dark tent for immediate processing before the emulsion dried out. Jackson had to have a good eye for the quality of the glass plate in the three processing trays. That process took fewer than ten minutes but washing the plate free of chemicals took the better part of a half hour before setting out to dry. I bet Jackson was nearly ready to shoot another take after a couple of hours. Jackson's Dale Creek was probably shot on a later day, after Cheyenne.
Snowy park at the first day of the year 2010 at Petrelius, Turku. Finland.
It was -16 degrees celcius, which was a bit too cold for my fingers.. The focusing was hard, the ground glass frosted, ..
So at the end I focused only roughly and used f/64 to get enough depth of field.
Toyo-View D45M camera, 4x5 Hp5+ film, 90mm wide field lens.
Linhof Kardan / Schneider Symmar / Agfa MCP direct paper shot
Once I read in an Internet camera forum a statement by an optimist fellow member that most Jupiter 8 lived on Leicas. I find this a little difficult to believe, as many leicaphiles are more Leica bigots than they are leicaphiles, and would never let a Cosina lens tocuh their beloved Leicas; much less a FSU lens.
Anyway, the Jupiter 8 enjoys a sublime reputation among less prejudiced rangefinder users, who praise the superb quality of the optics. As for the mechanics... well, if you can find a good sample you will be lucky. I am one of those lucky. This time Russian roulette in e-bay didn't turn bad, and I got the most pristine J-8 sample in the world, completely mint and with the smoothest operation possible. All in all, some $80, expensive for a normal J-8, but a steal for one in mint condition. This J-8 has found a place to live, it seems...
The Garden City Skyway is a major high-level bridge located in St. Catharines and Niagara-on-the-Lake, Ontario, Canada, that allows the Queen Elizabeth Way (QEW) to cross the Welland Canal without the interruption of a lift bridge. Construction began in January 1960, with the main span crossing the Welland Canal hoisted into place in July of that same year. The bridge was open to traffic on October 18, 1963. During construction, the bridge was referred to as the Homer Skyway, taking its name from the lift bridge that the new skyway was to replace. Upon dedication, the bridge was officially named the Garden City Skyway.
Graflex Pacemaker Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Ilford HP5+ @ ASA-400
Ilford Ilfotec HC (1+31) 6:30 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
Camera: Toyo-View 45GII, Schneider Symmar-S MC 240mm f5.6. Film: Fujichrome Velvia 50 exp 10/2013, home-developed with the Tetenal Colortec E-6 3-bath kit.
Sinar P / Industar 51 / Agfa MCP paper negative
When I started collecting cameras, I liked SLRs the most, specially medium format SLRs. Then I started liking inerchangeable lens rangefinders, like Leicas, Nikons and all the Soviet bunch.
It's only recently that I started to appreciate the simplicity and beauty of fixed lens rangefinder and viewfinder cameras from the '30s-'50s. I like their external line, the simple mechanisms and lenses (that could give fantastic results). Their design was elegant and serious, cameras of the '50s very much inspired in the ones from the '30s.
Toyo-view 45. Sironar-N 135mm f5.6 at f11. Hoya XO filter. HP5 at EI 400. XTOL 1:2 15 min at 20C. Epson V750 at 2400ppi. Beauty dish main light; no fill light; hair light.Two strip lights to fill background shadows.
Model: Claude Jozanne
MUA: Michelle Brennan
Hair: Emma Ward
Collaborating photographer: Robert McAlpine