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Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
The first Kiev rangefinder camera officially came out Arsenal Zavod in 1948, and until 1986 it was made in UkSSR without interruption. This is its very last iteration: the so called Kiev 4am. Some say it is not a worthy successor of the 1930s contax, but I say this is bullshit. The design of the thing is just all right: a couple of minor changes here and there, some of them great improvements, some of them not, but essentially it is a good camera... if you get a good one. I really think that Russian and Ukrainian evilbay scammers have dealt more to damage the reputation of the Kiev than any stereotypical vodka-ridden assembly worker there in Arsenal Zavod could do.
Before anyone tries to tire me with stereotypes about factory work and quality control in the Soviet Union, i would like everyone to visit Henry Scherer's website. Mr. Scherer is one of, if not the most, reputed Contax repairmen in the world, and a sage in Contax lore. He himself states that the workers actually assembling the cameras were among the worst paid in the Zeiss conglomerate and that they were hard-pushed to work very fast. He also states that nothing like a serious factory quality control existed before the Japanese really got in business. Seems that the camera in need of repair right out of the box was a common sight back in the 30s.
Anyway, I feel more comfortable shooting my 4am than my Contax II: my 4am is a newer camera, with less use over the years than my Contax II, feels the same in my hands than the real thing, and I like more the speeds dial in the 4am than the original one. Not to speak of the rewind krank or the hotshoe. In all my life, I have tried less than 10 Contax II samples (including its successors Kiev II and 4), and the rangefinders in the 4am samples were, by far, the most contrasty and clear.
Linhof Kardan Standard / Schneider Symmar / Agfa MCP paper negative
So, here we have the Leica III with the 50mm 1.5 Summarit attatched. Impressing lens: soft wide open, ultra-fast, beautiful color rendition... And relatively cumbersome compared to other early Leitz lenses. Zeiss tried to exceed the original Leica in everything with the Contax, and one of the best examples was the amazing 1.5 5cm Sonnar. In order to equal Zeiss leica bought from Schneider the design of a killer lens, the 7 element Xenar, which after the war was sold coated with the name of Summarit. Equalling the features of the Sonnar, Leica did, but at the price of perverting the orginal concept of dr. Barnack's machine: that of a portable camera with a collapsible lens that would fit an excursionist backpack. Thus, the Leica entered an arms race with Zeiss, a race that Leitz would eventually win with the M3.
TILT Horizontal use!!!
Toyo 45CF 4x5", Rodenstock Grandagon N 90mm f4.5 lens, Fuji Velvia 50, Tripod
aperture: f16.0
exposure: 4 min.
Developed some Plus-X which expired back in 1979.
I noticed the 1st three negatives I shot are a little overexposed in two corners on the same side of the negative, seems to be more fogging related due to the old age of the film?
This is the second test negative I shot which I properly exposed. Seems shooting at 25 iso is the right speed to shoot this film.
If it is fogging, can be seen much better in this negative due to proper exposure. Gives it an old school look so I'll have to decide what type of subject matter I want to shoot with this film going forward, maybe portraits.
I haven't had a light leak issue in the past with my ShenHao and I tested my ShenHao 4x5 camera for light leeks and couldn’t detect any so it will be interesting to see if this is consistent across the other negatives I shot on a different day.
I may test some new film and the old Plus-X at the same time just to make sure.
Captured with my ShenHao HZX45-IIA & Fujinon-W 135mm f5.6 lens
I exposed the film at 25 iso and developed in HC-110 H @ 14 minutes
"Eastman View No. 2 Improved Model of Century View and Empire State No. 2" by Eastman Kodak. Although it probably has the longest Kodak camera name EVER, it is not uncommon. It is uncommon, however, to find examples in such good condition. Super wood & glass. The original red bellows extends to about 24" with an auxillary rail.
Scan from a contact print on Hahnemühle Platinum Rag coated with Mike Ware's Cyanotype formula.
Using the same in-camera negative from which I printed the silver gelatin contact print in my previous post.
--
[Notes from last post:
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.]
Smena 2 (PK2010) circa 1955 with T-22 40mm lens, 5-speed shutter + B. 35mm film that needs 2 cannister to work. Produced by GOMZ (first version) for around 1.5M units. Serial number with date prefix engraved on lens. Bakelite body with an aluminum frame counter with yellow round glass. Mounted on Ines Stativ tripod
Oh my... this is crazy! This was my first ever 8x10 large format shot!!! I have NO CLUE what do do about an f stop. This was shot f/8 and was close up..... the depth of field was what... a 1/2 inch!!!!!! There is one hair of sharp focus right on the shoulder closest to the camera. I wanted a somewhat shallow depth of field, but this is crazy! LOL.
The image has such a bizarre feel to me... and the dynamic range is like nothing I have seen. On smaller format film cameras... let alone digital... there would have been NOTHING in the shadow detail. I just wish this shot was focused at least to the first eye! It would have been awesome.
Holding up a negative this size is crazy... I just love it. Now I am going to order in some transparency film... can't wait to see one of those 8x10. Love it.
View High Res Version.
©2013 Gary L. Quay
The leaves were barely turning golden, and the contrast was very low. It was clearly a job for Ilford Ortho Plus. Ortho film is a high contrast film, which I tame somewhat with PMK Pyro. With all the uncertainties that arise with pyro developers, there are times when all of the hair pulling is worth it.
Camera: Sinar Alpina 4x5.
Lens: 90mm Nikkor
Film: Ilford Ortho Plus developed in PMK Pryo.
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Antique wooden 18x24 field camera / Lens FD Espagne / Forte Polywarmtone paper negative / Forte Polygrade contact print copy
I'm sure that if it was Lomography who was selling Kiev 6s, they would say somthing as stupid as this. As it is DVD Technik or other Russian/Ukrainian sellers in evilbay who sell them, they don't say this kind of idiocies, but I'm not sure their marketing is much better.
Anyway, THIS particular Kiev 60 is one of a kind: a 645 red window handmade special. The Russian evilbay seller didn't state it ("look at the pictures, they are part of the description"), but there was obviously something wrong with that particular camera, as Kievs do not normally have holes in the back. I thought that for 45$ it was worth the shot. Of course, the camera arrived in a pitiful state, and the orignal case was so absolutely filthy that I had to dispose of it. After some cleaning and replacing the red celophan sheet that covered the drilling job in the rear, it was in shape to shoot again. As I imagined, a full stroke of the winding lever didn't fully advance the film to the next number, so you have to give it less than one more stroke to completely get to the next frame. The old style light meter was dead, but I'm keeping it in place, as waist shooting is not really for me, even with a focussing screen as good as the one in the 6s. No irony here: the Kiev 6 series have the best focussing SLR screen I've ever seen, just fantastic.
This is Rockmount National School which is situated on a hill overlooking Miltown Malbay in Co Clare. 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
Notes & Analysis:
Another mystery photo from the collection: date, location and identity unknown - although apparently in Australia.
There are 28 musicians. Of the twelve men and four boys, two men wear full beards, five have moustaches and there are four clean shaven youths. There are ten women and two young girls. The oldest person is the white bearded man with the cello, the youngest is the girl sitting in front of the woman at the keyboard. The possible estimated age range is from 6 to 60+.
The wide age range suggests an amateur orchestra, possibly a township group. I can't think of an occupational group that would have children this young. Possibly a religious group but it seems large for a church group orchestra. A dance orchestra also seems unlikely.
The instruments include ten violins, a cello and a double bass. Those without instruments may be vocalists. No percussion, brass or woodwind instruments are evident. The keyboard instrument appears to have stops suggesting a harmonium, which, being much lighter than a piano, would be more easily carried into the street for the photo, and also a popular small church instrument.
The man on the far right standing half out of frame is wearing a uniform - possibly a railway employee.
The dimensions of the albumen print suggest a wide view camera with a distinct loss of focus at the edges.
If the trees are Radiata pines, an Australian location is probable, in light of their popularity for street planting in the late 19th and early 20th Century.
Two of the boys in front wear some sort of medal on a ribbon on their lapel, as do some of the women on the right. The exposed soles of the boys boots are in good repair and all are well dressed in their Sunday best.
The men's hats are mainly wide brim felt, a few bowlers and boaters with only one English cloth cap in evidence. This would be typical of the informal approach to head gear in the colonies where "Straw Hat Day", the day when men switched from wearing their winter hats to their summer hats, was little observed as a sign of the beginning of summer. The only male without a hat is a boy in the front group. The Akubra hat originated in Tasmania in 1874, the business moved to Sydney around 1900
The women's dresses show a wide range of styles, fabrics and hemlines. Some lace collars and trim contrast with the high-neck, black late Victorian bodice and cameo jewellery of the older woman standing to the left of the only girl in white.
The older woman in black is the only woman not wearing a hat, the other women's hats show a wide range of late 19th/early 20th Century styles.
The pavement is hard packed with a white painted line marking, like a tennis court, and there is a well formed kerb and a white picket fence in the background. There is a white piece of paper lying on the ground in the front.
The date range is late Victorian to Edwardian and the probable location Australia.
Your edifying comments will be, as usual, much appreciated.
Format : albumen photoprint
Licensing: Attribution, share alike, creative commons
Repository: Blue Mountains Library library.bmcc.nsw.gov.au
Part of: Local Studies Collection
Provenance: donated by Joseph Jackson MLA. In 1917 Jackson purchased Faulconbridge House, the former home of Sir Henry Parkes and donated a large tract of land (Jackson Park) to form a Prime Ministers' Corridor of Oaks, he was a noted collector of Australiana.
Date Range: 1900?
This little 3 1/2 inch die-cut sticker of a photographer with his view camera was part of a page from a disassembled Victorian scrap book that I bought just for him. Unfortunately the die-cut was so fragile that it came apart in several pieces. Jack patiently fit it back together and glued it to a square of archival board. Thanks Jack!
Although it is hard to handle I think I might scan some of the other scraps on the pages for my chromolithograph set.
Design and manufacture of an adapter for the Linhof Kardan Super Color Rail.
You can remove a part from the camera rail and reconnect after shipment. It helps to put in the backpack.
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Cambo SCII 4x5 view camera + Schneider 90mm Super Agulon lens
Ilford Delta 100 Professional black and white film
Flickr Explore - November 23, 2014
Yes, still a favourite.
Graflex Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Ilford HP5+ @ ASA-400
FA-1027 (1+14) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
Final version of the Film Called Wanda photo I posted a few weeks ago. This was a better scan (and scanned the right way round) and processed in CS5. Quite happy with this image. Taken on a Cambo SC 5x7 studio view camera with a Shen Hao 6x17 roll film adapter for 5x7 and using a 120 mm Super Angulon.
Original version here for comparison:
Photo series taken with Wista view camera and merged in photoshop. Fujinon 125mm f16, canon 40d mounted on Fotodiox 4x5 adapter on rear standard. I know it is quite imperfect, and that’s part of the learning fun.
www.rustyoliver.com/?page_id=2
This one flared out on me.... need some barndoors on those damn lights. shot with the 16 inch Wollensak Vitax
Sinar P / Industar 51 /Agfa MCP paper negative
Spanish industry marketed over the yars several million cameras. That was until the early nineties, when Taiwanese cheapo cameras put Spanish production out of the market. Today no cameras are being mass produced in Spain, but, man, the years of the Autarky, with no competition from the outside, left us some really curious cameras. None of them was a quality camera; there wasn't even a Spanish SLR or TLR or anything like that, so most pros had to import their tools. Of course there were *really* fine wood (and even iron cast) large format quality camera makers, but these can be found in almost any country and the production figures of the most prolific ones didn't go beyond the 1000 units.
Here we see one of those cheapo autarky cameras: a 6x9 focus-free gizmo with two speeds and loading 620 type film, which is discontinued nowadays. And they weren't exactly for free those days. Bakelite has something special: its touch is really different fram that of more recent thermoplastics. The bakelite is one of the reasons why I like this autarky cameras so much. The other is that you rarely see Spanish cameras in the second hand market because the collectors maket is not interested in them as they have limited value outside of Spain and they are really nothing special to shoot with, but well...
My large format camera - as seen from the front - instead of my normal view (through a loupe on the ground glass). :)
View larger version:
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Rescanned and uploaded a vastly improved version 4/21/20. I really had a hard time with the colors, so I started from scratch. I always knew that there was a good picture in there if I could get the scanning right.
Camera: Deardorff 8x10.
Lens: 300mm Nikkor-W
Film: Kodak Portra 160VS 8x10.
Printed on Mitsubishi RA4 color paper, developed in Arista RA4 chems.
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and Flickr Today 2
Starting this review off strong, I rather like these images. I decided to go off my observations from the original version of this film and go with a strong developer to help maximise the contrast. My results are excellent tonality, fine-grain and solid edge sharpness.
You can read the full review online:
www.alexluyckx.com/blog/2023/09/11/film-review-blog-no-99...
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - CatLABS X Film 80 Mk. II @ ASA-80
Kodak D-76 (Stock) 8:00 @ 20C
Meter: ReveniLabs Spotmeter
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
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
Sinar P / Industar 51 / Agfa MCP paper negative
My wife bought me those, and a ton other stuff at a weekend fleamarket. It's curious that when you deal with people that knows nothing about analog cameras, there are those who sell their gear for almost nothing and those who value it at stat-of-the-art mint equipment. There was the old guy who felt guilty for cheating me when he sold me a Polaroid 635 Supercolor for 5€ and a woman who asked 200 for a trashed Nikon F50.
Anyway, I love this camera, the Pentax ME. A pure, Japanese, 70s design and build, SLR. If you mean build quality, nothing beats Japanese SLRs from the 70s, before the all plastic era. It was also the time when, after the introduction of the OM range, manufacturers obsessed with small bodies for the amateur market.
April 2, 2017
Ikeda Wood View, Schneider 90mm Super Angulon f/8
Kodak Ektar 100 4x5 in SP-445 tank
Unicolor C-41 chemistry
Ektar version of previously posted photo. To be honest, my personal preference is for the b&w.
Eastern Sierra Nevada Mountains, California
Intrepid 8x10 w/4x5 reducing back
Caltar II-N 210mm f/5.6
Fujichrome Velvia 100
Developed at North Coast Photographic Services, Carlsbad, CA
Shot on the evening of 17 November, 2007.
Panfield 4x5
Rodenstock 180mm f5.6 Sironar-N
Fuji Provia 100F
After shooting the jade lady peak, I suddenly saw this little group of pale looking trees glowing in the sunlight that was now filtering through the mountains behind me. I quickly scrambled over the boulders in an attempt to still catch the fast moving light and ended up with this image. Again unfortunately the long exposure needed almost make what's left of the thin fog over the water almost vanish in the final image.
The shot was made using the Rodenstock Apo-Sironar-S 240mm f/5.6 with a 2-stop soft grad. The film used was Fuji Provia 100F, home developed then scanned on an Epson V850 flatbed.
I recently picked up this very RARE Speed Graphic knock-off, made by the Fink-Roselieve Co, Inc. out of New York in 1942. Although it looks very much like the 4x5 Speed Graphic, it is a 2-1/4" x 3-1/4" format, so really it was fashioned after the similar "Miniature Speed Graphic" being marketed by Graflex at that time. The company's effort to produce and sell this camera was so short lived, that there are very few of them floating around today. It came with 4 film holders, which are Graflex branded holders. Photo taken with a Sony a7 II and Chinon 45mm f/2.8 lens (with adapter).