View allAll Photos Tagged viewcamera
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
Initially settled in 1814, Post's Corners (or Postville as it became known in 1857) formed at 7th Line (Trafalgar Road today) and Dundas Road. At its peak, the hamlet boasted a general store, post office, steam-powered mills, an Inn, Drill Shed, School, several homes and farms. This house was built by James Appelbe, who arrived in Postville in 1866 and quickly became a leading citizen, running the general store and acting as postmaster. He helped lay down a plank road on 7th Line and served as the Justice of the Peace and Treasurer for the Trafalgar Township. The Appelbe house is all that remains of the former hamlet of Postville and was moved 95m back onto new foundations in 2016
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
Using the Ideal 10x12 field camera in my studio for the first time, to photograph my 1941 Anniversary Speed Graphic camera. I used 8x10 RC photo paper taped to 10x12 glass in the original glass plate holders to get the photo, and I developed it in my darkroom (which I had just recently set up). Photo taken with an Olympus OM-D E-M5 II.
2hr exposure of performance at Playwrights Horizons. June 2019.
Shot on an Intrepid 4x5, with Ektar film.
©2008 Phillip Nesmith - Over the past few weeks I have been working to get my new darkroom in working order. As of this past weekend it is operational.
You can read a few details at my blog.
Pacemaker Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Ilford HP5+ @ ASA-200
Ilford Ilfotec DD-X (1+4) 7:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
When it comes to my home church it is just that a second home. This is the church I grew up in, learned in, attend still today with my family.
Crown Graphic - Kodak Ektar 203mm f:7.7 - Ilford FP4+ @ ASA-64
Pyrocat-HD (1+1+100) 8:00 @ 20C
Meter: Pentax Spotmeter V
Editor: Adobe Photoshop CC
title: Mooji
Cambo SC2 4x5 Monorail view camera
Schneider-Kreuznach Symmar-S 150mm f/5.6
Expired Forte BN0 9x12 paper negative developed with Tetenal Eukobrom
Just finished machining a mounting ring from brass for this lens. From a square piece of .125"x 6x6 I first milled the edge round to 5.25 dia. and the turned the center and threaded it.
Lockdown #3 - day eighty-three...
A Ford New Holland 7840 SLE with Kuhn GLB 1000 spreader waiting at the edge of the field.
MPP Micro Technical 5 x 4in and Schneider Kreuznach Xenar 1:4.5/150mm, Fomapan 100, f22 at 1/50 sec. Scanned with Epson Perfection V800.
Twelve month selfie project
After some reflection and study, I was not overly pleased with the perspective, skin tones, and focus of the previous version. To improve the perspective, I used a shorter lens and backed the camera out. Although I had understood that the G-Claron, being a process lens, would likely render an overly sharp and harsh rendition, I decided to take a chance nonetheless; the result was not aesthetically pleasing. Here, I chose an alternative process lens, an Apo Ronar, with an orange filter to potentially improve the skin textures and tones. The skin textures still appear harsh, but less so than with the Claron. Unfortunately, due to work space limitations, I could not achieve total light fall-off on the background. Overall though, I like this rendition much better.
Ikeda Anba 4x5
Rodenstock Apo-Ronar 240mm f/9
Kodak Tri-X
Fotocamera: Banco ottico Toyo View 45G
Pellicola: 4x5 Fomapan 100
Sviluppo: Fomadon Excel @ 6min.
Digitalizzazione: Nikon D7100 - 40mm macro
Camera: Toyo View 45G view camera
Film: 4x5 Fomapan 100
Developing: Fomadon Excel @ 6min.
Digitization: Nikon D7100 - 40mm macro
I could actually walk out pretty far into the creek bed.
Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Agfa APX 100 @ ASA-100
Blazinal (1+50) 10:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
Located at the intersection of Emmitsburg Road and West Confederate Avenue on the Gettysburg National Historic Site. Confederate forces of Hood's division are said to have marched past this house and across the surrounding land during their attack on July 2, 1863.
Camera: Calumet 45NX 4x5 large format monorail view camera.
Lens: Schneider 90mm f/5.6 Super-Angulon lens in a Copal 0 shutter mounted on recessed lens board. B+W brand #29 red filter on lens to bring out a bit more contrast.
Exposure: 1/4 second @ F45 with film rated at box speed.
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: Negative scanned with Epson V600 in two scans and merged back together in PhotoShop since the V600 doesn't natively support 4x5 scans in one pass.
View into the garden made with a Linhof Kardan Master TL and a Schneider-Kreuznach Symmar-S 150/5,6 MC on Fuji Provia 100F.
Improved Seneca View Camera (1906), Carl Zeiss f4.5 210mm, DRP, Tessar (1914), Thornton Pickard wooden shutter (1905), 5x7, X-ray film
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
By 'overcorrecting' I mean this particular sample by badly calculating at the moment of composing with my view camera. Not really the model, cuz Zenit 16 is such a design fail that I don't really think it could be even corrected. The only sensible thing to do for KMZ technicians was to scrap the design and go for something new, which they did. It really says something of how things were made in the USSR: I can be wrong, but I really think that this model didn't go through a serious testing phase before being put into the assembly line, otherwise, KMZ would have recieved negative reviews from testing and this sad thing would have never reached the hands of a photog, or could have done without its many flaws...
Sinar P / Industar 51 / Agfa MCP paper negative
That's my point: if you want to shoot a 50mm 1.4 in m42, you can't do it with a Russian lens. Somehow, the Soviets never produced in any numbers a 1.4 normal prime. There's Volna 4 for K mount and the 50mm 1.2 (yes 1.2) ERA 18 for Nikon mount, both very rare, at least outside FSU. According to Princelle, there was also ERA 6, a 50mm 1.5 lens for M42, fast enough IMHO, and there is also a Zenitar 50mm 1.4, of which Princelle does not say it was not mass produced. I've never seen one of those so far. Would kill for any of the aforementioned relics. Well, maybe not kill. Maim, perhaps.
Then, the fastest normal 'production' lens remained the really excellent Zenitar 50mm 1.7, a wonderful lens... but you know, we GAS afflicted idiots are always looking for that extra half point...
To see more of my Food and Still life images check out my blog here:
blog.karenwise.com/karen-wise-photo-blog/food-and-still-l...
contactprint from 8x10’ Foma 100 film
Printed on hahnemuehlepaper paper with kallitype process Gold toned
This Photo was taken on a Linhof Kardan Camera on Fuji Provia 100F Film.
Lens: Schneider Symmar-S 150/5,6 MC
Omega 45D
Rodenstock Sironar Copal #1 210mm f/5.6
expired Agfa APX 100
Fast flowing Grand River through Caledonia at the Argyle Street Bridge
Tachihara 8x10
Goerz Dagor 12 inch f/6.8
(C.P. Goerz Am. Opt. Co.)
Kodak Ektar 100
Developed at Northcoast Photographic Services, Carlsbad, California
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
This, the Prod 20 is one of those rare cameras that were produced in limited numbers and never made it outside of Japan, where I get most of my gear. A strange beast: a compact auto-all with built-in flash and an external line obviously inspired in Barnack Leicas. Of course, it doesn't have the touch of the real thing, but it is a funny gizmo after all.
Fotocamera: Banco ottico Toyo View 45G
Pellicola: 4x5 Fomapan 100
Sviluppo: Fomadon Excel @ 6min.
Digitalizzazione: Nikon D7100 - 40mm macro
Camera: Toyo View 45G view camera
Film: 4x5 Fomapan 100
Developing: Fomadon Excel @ 6min.
Digitization: Nikon D7100 - 40mm macro
Oaks, draped in Spanish Moss at Riverside Park, in Vero Beach, FL
Cambo Camera, 90mm lens, Foma100 film developed in SP76 with SP445 tank. Scanned on Epson V800, finished in Lightroom and exported as 5300 pixel JPG.
Linhof Kardan Standard / Schneider Symmar / Agfa MCP paper negative
Some things in the world of cameras will neer stop to amaze me. Up here, you see a clear example: this is a regular FED 5 modified by some nuts camera repairman in the Ukraine into a EURO 2012 Football Championship commemorative edition. It even has a brand new serial sumber (the original one cannot be found anywhere), mine is 24, so if you wanna try, maybe there's still some on evilbay. Or maybe it is one of a kind disguised to be part of a series.
I guess if the forgers in Russia and Ukraine really think that people in western Europe and America really think that these cameras actually left the factory like this, as it is of public domain that the FED factory, as well as all other major camera factories in the FSU, have left consummer camera business by now. Anyway, in ebuy you can find dozens of 'leica copies', which mainly fall in three cathegories:
-Special Edition Leicas; FEDs and Zorkis with all sorts of crazy leatherettes resembling wood, snakeskin, ivory or the like; the chrome parts, including the lenses, are usually polished to give the cameras a 'luxury' look. The coated collapsible Industars are engraved Elmar, ofter they're also painted in colores mathcing the body. Now add all sorts of crazy engravings, mainly nazi paraphernalia in the form of swastikas and military engravings (luftwaffe, kriegsmarine, panzerkampf...) or commemorative ones (most seen is the 1936 Olyimpics). Sometimes you can find some copies with mispellings, reversed Ns and forgotten cirillic engravings in the baseplate. I am amazed at how this things find a market, especially with all the nazi markings. Not all of these are FED o Zorki 1, as there is the occasional later model in this guise.
-Modified FEDs. Yes, they're FEDs and not Zorkis because, for some reason, the forgers think the FEDs have more cache. These include the FED 'Siberia', the 'Standart' and the '250 reporter special'. Somtimes they're also engraved Leica, but you don't usually find them with Nazi engravings. Too much work, maybe. Many of these are simply wonderfully done. They require very specialised craftmanship, and often they're sold for faily high prices.
-Finally, the commemorative editions. That Euro 2012 FED up there falls into this cathegory. If you see a shiny brand new soviet camera commemorating some landmark event in Soviet history, you can bet your boots on it, it's a fake. Well, sort of, as there ARE some commemorative editions (Moscow 80, for instance), but these only sport tiny markings, and never special edition serial numbers, special paint or anything like that. There are also post-FSU editions like the one above, in Leica's best tradition of celebrating the most whatever events with specially engraved/painted cameras with edition serial numbers. Needless to say that I don't think these are legally sanctioned as official merchandise or anything like that, the engravers would simply choose one random event and make the job.
You know, I bought this one because it looked like a superb job, and in many ways it is. All the chrome, including the lens, has been given a shiny coating, the decorative rim in the body has been painted dull silver. There are very well made engravings in four differents places, including the lens barrel and the lens cap, not just tipography, but also the logo of the event. The original leatherette has been replaced with a more glossy one and dull metal parts on FEDs have been painted shiny black, like the winding lever. The nameplate has also been repainted in a new style, without the model name, just the brand name. It is not obviously new, as there is some dirt in the most difficult places to reach, like the innermost parts of the body or the insides of the tipod socket, but it has been cleaned with care.
It is, anyway, a FSU technician job. The devil is in the details: the dull silver paing in the rims is out of the line in some spots, whcih is visible when you remove the back; the shiny leatherette is peeling here and there, and is not well cut, the paint in the nameplate is the weakest point, as its edges are a little bit rough. The rangefinder flares badly, but this is not as much a finish issue as a planning mistake: the glossy coating causes reflections that blind the rangefinder. All this work just to end looking sloppy because of small details.
Well, but what has really amazed me is the fact that, bad or well done, someone has put a pretty big amount of time CLAing and modding this FED 5, and it was sold to me at a price well under 100$, shipping included, when here where I live no repairman would even touch a RF for that much. Oh well.