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I built this 4x5/6x12 point and shoot camera many years ago but recently refurbished and improved the original. Since I mostly shoot 6x12 roll film I upgraded the finder to a 6x12 specific finder matched to this 75mm lens and added a grip that facilitates easy access top the shutter release. The lens is a 75mm Nikkor, which is about the same angle of view as a 24mm on 35mm.
I built this to take with me on trips where I really don't want to lug around my Linhof. I also built this camera to shoot in the urban environment when a traditional view camera would prove challenging.
The camera is mostly built from spare Cambo view camera parts, which are easy to find used, the lens is mounted in a flipped Toyo recessed lens board, the helicoid was ordered from ebay, however, any helicoid that is large enough to accommodate the lens can be used.
I have a lots of friends around me who are dancers. After observing them for a long time, I discovered that they have numerous scars from their hard work of practices. I choose to shoot this series at abandoned mines to symbolize the spirit of the dancers being the same as the predecessors who work to fulfill their dreams. The word "Reborn" not only means to restart something, but also brings the meaning of carrying the past to the future. Combining the abandoned mines from the past and the dancers who never give up on their way to success, a past flourishing space is now cultivating the next generation of humanity.
Canon Digital Rebel XTi
Canon EF 17-40mm f/4L USM
Since it's crappy out, and I have no real lighting and I'm bored, I started playing with home made light modifiers using natural light.
Light from a window camera left - I used a sheet of paper to reflect into the lens and a large white piece of cardboard to reflect light back from the right side.
Not only does the Tachihara take beautiful photos, it is beautiful itself in it's own way.
© 2007 Mike Fiction
4x5 image from Belle Isle Detroit. Photographed with a Chamonix view camera and Schneider Kreuznach APO 150mm
Linhof Kardan Standard / Schneider Symmar / Agfa MCP direct paper shot
In 20 years, the design of the 35mm Exakta didn't change too much. A removable prism was added, and a wind lever too. A few details were improved, like the corrugation of the reflex chamber to prevent reflection inside of the camera, but this is essentially the same Kine Exakta of the 30s. I can understand the heavy criticism this camera recieved in the 30s when it was released: Contax & Leica proponents saw in the Kine Exakta a tool that was not suitable to their needs, mainly operating speed. An old photog I know told me that many pros didn't see in the Exakta a real alternative because the Leica was a camera much easier to shoot intuitively; many would set thir Elmar to f8, get it to infinity with scale focussing and just shoot guessing exposure. I have to concede that this is a much more difficult thing to do with and Exacta than with a Leica. Preferences would start to shift when the first convenient prism SLRs came into the market in the late 50s...
Sinar P / 150mm Symmar / MCP paper negative
Anybody Still here in Flickr? For those of you who still don't know, I have a blog about cameras, camera history, camera porn, camera accessories, and all things camera.
Give it a try!
Graflex 4x5 monorail view camera. Plus-X tank developed in D-76. A view of The Faust Hotel (Tabala Towers) from Shumway Market. The building to the right foreground is the Midway Theater. (In the "More Than You Need to Know" department: the site of my first kiss!!)
Camera: Chamonix 45n-1
Lens: Rodenstock 135mm f/5.6 Apo-Sironar-S
Film: Ilford FP4+ @ ISO 64
Exposure: 1/30 sec @ f22
Date: November 24, 2017
Identifier: lf_2017-11-24_001
Clipo
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.
While the Milton Fall Fair never was too much of a draw, I'm not a farmer. But when it comes to cars crashing into each other, that's a family tradition. I went for years with my father to the Saturday night derby. And still go occasionally today with the whole family.
Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Ilford FP4+ @ ASA-64
Pyrocat-HD (1+1+100) 8:00 @ 20C
Meter: Pentax Spotmeter V
Editor: Adobe Photoshop CC
This old rusted trailer holding tires was found at an abandoned house in Burlington, Ontario.
Omega 45D
Rodenstock Sironar Copal No. 1 210mm f/5.6
expired Agfa APX 100 film
This was an image I made to use as a Christmas card one year. I really love the slight tinge of pink in the sky.
Sig, an old working boat, now lives in the front yard of a house along the Fraser River. Her days on the ocean are done.
Taken with a Graphic View II 4x5 view camera and a Schnieder Symmar 150mm convertible lens on Fuji Velvia.
A mosaic of Gondwanan species litters the forest floor in Te Urewera. Amongst the species are the leaves of Red and Silver Beech (Nothofagus fusca and menzeseii) , Toatoa or Blue Celery Pine (Phyllocladus toatoa), and Dracophyllum latifolium.
Toho FC-45x, Rodenstock APO Sironar S 150mm, Fujichrome Veliva RVP 50 4x5
16x20” Print on Canson Platine Fibre Rag
18 March - 15 November 2020
Cradle Mountain Wildness Gallery
www.wildernessgallery.com.au/relicts-exploring-the-flora-...
Toho FC-45x, Rodenstock APO Sironar S 150mm, Fujichrome Veliva RVP 50 4x5
After more than two years of effort , here is the prototype of the final shape of 'Geometry" .
1500 grams of weight , Asetal/aluminium construction , 15mm shift all directions and tilt/swing limited only by the lens covering capacity .
Owner and founder of Roq La Rue Gallery in Seattle
This was shot with the 16" Vitax wide open at 3.8 for 4 seconds. I am finding the vitax to be great lens
Lunch is over, time to return to the urban world.
Pacemaker Crown Graphic - Wollensak 90mm f/6.8 Raptar Wide Angle - Rollei RPX 400
Kodak D-23 (Stock) 10:30 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC (2015)
Going to slow down my photography a little bit with my latest purchase: a 4x5 view camera from the Intrepid Camera Co. of the UK. I have this set up with a 40+ year old Schneider Kreuznach 90mm f/8 Super Angulon lens. I will no doubt continue to take (and post) too many photos taken on my digital cameras, but this will be an interesting exercise in slowing things down a little bit.
Double exposure of brothers Tyler and Andrew Zirk shot on 8x10 Impossible Project b&w instant film with an Eastman Kodak 2D 8x10 camera with Darlot brass projector lens.
Sinar P / Industar 51 / Agfa MCP paper negative
Believe it or not, this is a nice collectible. This apparently insignificant Camedia is the best camera in the world doing what it does: shooting with a IR filter handheld, with no sensor modification. Well, first digital sensors had all good IR capability, but this Camedia is better than them all for at least two points, AFAIK. Later on, camera makers started making cameras with IR mirrors before the sensors in order to avoid the loss of definition IR light causes going straight into the sensor and also preventing photogs getting pictures of tits and asses of ladies in black tights.
Let's move over to the original Cheyenne Depot, within walking distance although it looks likes a later day if that was snow in the roundhouse shot. There are sloppy puddles all around the depot. William Henry Jackson photographed many historic places for the USGS "United States Geological Survey" on his 20X24 inch "glass wet plate" view camera. This shot does not appear to show enough detail as such an enormous plate should. This did not show up as a stereo when I found it. It is clear enough to see a couple of fellers a'settin. One could be a railroader in coveralls and the station agent. It looks like the buildings have stood for a bit of time but I don't see any signs of construction. It took serious time grading over Sherman Hill, Dale Creek, Laramie and down to Green River, even for the paltry American type 4-4-0 locomotive drawn trains. Looking closely, I found rough cut instead of machine cut ties. Several are scattered just off the siding.
America employed labor in those days - loggers, tie hacks, graders, rail layers and well as construction workers. They couldn't export the construction of the line. They DID import a lot of Irish labor but we built engines, cars and forged steel in our own factories. I have yet to discover any of the usual whore house tents that followed the rails. First on the closest siding sits a combine, baggage/passenger car. Beyond are the usual clerestory saloon cars. There is a depot worker on a ladder against the second passenger car; he may be cleaning the windows. What could be the occasion of passenger cars out there in nowhere? Was the largest structure a hotel for travelers? It was set back from the tracks. That would make the smaller track-side building the actual depot. The current depot is very different stone structure. There a few board cabins and shacks about.
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 "emulsion" 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 station images, coming up, were probably shot on a later day.
Too bad we can't see more! eDDie and I toured the Union Pacific Cheyenne depot on last summer's tour. Note that we recently found plenty of wheels on axles around as can seen here.
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
Stephen Gandy, a well known writer and salesman, whose articles in his web Cameraquest I enjoy so much, states that before the (moderate) success of the Leica M4-2, Leica was planning on closing the M line and focussing on their reflex gear.
Gandy says this saved Leica. Me? I'm not so sure.
I will make my point: if Leitz did not experience a very moderate success with the M4-2, after the abysmal sales of the previous M5 (and severe criticism taken), Leica had to focus FOR GOOD on their R line of products. Moderate success was enough for Leica to keep neglecting the pro market. the one which actually used reflex cameras, not expensive rangefinders that ended being the 'dentist's camera'.
Because, let's assume this, the R system is a bit of a mess. None of the bodies are so great, nor they were any serious competition for its Japanese top of the line bodies of the era. Leica Rs were so far from state-of-the-art.
But the good thing with Leica is the lenses, right? Because Leica does the best lenses in the world, isn't it? Well, people at Leitz, if you did the best lenses in the world, why the hell so many R lenses were NOT made by Leica, because I can recall at least 13 (thirteen) lenses that were made by third parties. OK, some of them were top of the line, like Zeiss (yes, Leica relied on Zeiss glass for at lest one retrofocus) or Angenieux, but others were not so glamorous, like Minolta and Sigma; I mean, if you say you do the best lenses in the world (for reflex too) how come you sell Sigma zooms for your system?
Maybe if Leitz had shut down their M system, they would have done what had to be done to fill the gap with the Nikon F and later Canon EF systems, and then become the brand of reference in pro reflex photography. But no, Leitz decided that they were happy enough dominating a small market of rich afficionados insted of playing with the big ones...