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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
Peco Plaubel / Industar-51 210mm f4.5 / Forte Polywarmtone paper negative
Don't take me bad, I love collapsible lenses. I'm one of those idiots.
Because, let's admit it, they don't make much sense anymore. But I can't help it: I love them. I went to sell one of my Heliars to a camera shop in my area and the salesman took a look at it, trying to look as uninterested as possible, and said "Wellllll... I don't think it's too good since I don't know if it would collapse entirely into a Leica M240 or a Sony A7...". Then don't collapse it, fool, it doesn't take more room than a normal lens, even with this dedicated, funny hood.
But, again, they don't make much sense anymore. The only really practical reason to use one is using it with a really small camera like a Leica Stantard or a Bessa L and a sports finder, locking it to f11 and use scale focussing (a 50mm lens at f11 focusses to infinite at just 3.5m, so you can basically go ant take any snapshots you want without bothering to focus the lens). Which I could do but I just don't. Still I love them.
In 1876 a small section of the Credit Valley Railroad began operations between Woodstock and St. Thomas, it wouldn't be until 2 years later that the mainline from Toronto would arrive in Woodstock linking the city to the all important CASO line in St. Thomas. By 1883 the line had been leased to Ontario & Quebec and a year later Canadian Pacific. This small station saw construction in 1899, located outside of the downtown of Woodstock it saw limited passenger use with passenger services here ended in 1925. The station continues to operate for railroad purposes for either Canadian Pacific or Ontario Southland.
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
Scanner: Epson V700
Editor: Adobe Photoshop CC
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
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.
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.
This bell originally housed in a bell tower above the County Building. I'm unsure when it was removed, but it is usually rung on New Years Eve, it also rang out to mark the 100th Anniversary of the Great War.
Graflex Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Agfa APX 100 @ ASA-100
Rollei Supergrain (1+15) 7:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
TILT Horizontal use!!!
Toyo 45CF 4x5", Rodenstock Grandagon N 90mm f4.5 lens, Fuji Velvia 50, Tripod
aperture: f16.0
exposure: 4 min.
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.
Tachihara 4x5
Nikon 300mm f/9 Nikkor-M
Fujichrome Velvia 100
Developed at Northcoast Photographic Services, Carlsbad, California
Sinar P / Industar 51 / Agfa MCP paper negative
Ah! Another strange beast. Not because its rarity; in fact, it's quite common, but take a look at it. How on earth did them people at Olympus manage to put a reflex camera into this tiny compact body. Well I guess that the vertical half-frame (18x24mm) helped, but still...
It is the porroprism arrangement of mirrors that made it possible: two small prisms, one in front of the other, instead of one single, bigger pentaprism. It has its drawbacks, too, as the image in the rangefinder is somewhat dim, but hey, I've seen SRLs worse than that.
One curious thing about this camera is that I've heard that long since now, in the era of the all-analog film making the Olympus PEN FT was highly coveted by photography pros in the movie sets, as it offered the chance to shoot stills with frame ratio similar to that of cinema cameras.
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.
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: Donation
Date Range: 1900?
This is a detail of a photograph of a photographer with his view camera. Does anyone recognize the monument in the background.
*Thanks to a sharp eyed flickr user, Paul Z, I am now sure that this the Confederate monument next to St. James United Methodist Church on Green Street in Augusta, Georgia. I have made an enlarged scan of the large building on the left side of the photograph and the placement and shape of the windows exactly match the photograph of St. James church.
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
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
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:
©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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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.
First with Salted paper technique, second print with Kallitype technique.
8x10 film printed on #berggercot320 paper
Both prints gold toned
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.
Someone posted a comic stereo card on on for my facebook groups and I remembered that I had a variation of it. I could just make that comment, right. No, I had to go and find the card, scan it, and post it. Is that a sign of obsession? The caption is "Seeking to spy out the mysteries of photography". The photographer has uncapped the lens and has turned his back to time the exposure. The rube has decided to see how this photography thing works so he has come up to peer into the camera lens. I also remember a cartoon from the period that shows what the photograph that is being made looks like. Do I have to find that as well? We'll see if I can resist.
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...
Well, I was certainly surprised with this group. Initially, I warry for nine minutes with a 1+50 dilution, but my concerns were immediately dismissed. These are stunning, with excellent tonality and edge sharpness. The trade-off is a bit more grain, but that's not bad.
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 II @ ASA-80
Adox Rodinal (1+50) 9:00 @ 20C
Meter: ReveniLabs Spot Meter
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
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.
Cropped to square.
Visited a vehicle graveyard with the ShenHao.
f45 @ 1/2 sec
ShenHao HZX45-IIA + Fujinon-W 135mm f5.6 + Arista EDU Ultra 100 @ 50 iso + HC-110 B @ 4 min (Tray developed)
Two favourite local beers, brewed in the same location, Collective Arts and Nickel Brook.
Pacemaker Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Kodak TMax 100 @ ASA-100
Blazinal (1+50) 12:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC (2017)
This one just to comment the camera used for the "disposable" session of " The Hangover " ;-)
Original shot taken with a Graflex View Camera, 135mm f4,7 Raptax lens, Polaroid 550 Back loaded with Fujifilm FP100c45 100asa 4x5' Instant film, light post processing.
I was walking through our kitchen the other night when I noticed this knot in the wood on one of the cabinet doors. I thought the design looked sort of abstract and was worthy of a photo for the project and so...
4x5 for 365 Project details: greggobst.photography/4x5-for-365
Camera: Calumet 45NX 4x5 large format monorail view camera.
Lens: Fujinon-W 210mm F5.6 lens in a Copal B shutter. Yellow filter on the lens to improve contrast.
Film: Fuji Super HR-T 30 medium speed green sensitive X-Ray film. Purchased as 8x10" sheets and cut down to 4x5". Film rated at 100 ISO.
Lighting: Lit from a constant light made up of four 25 watt daylight balanced CFL bulbs in a four socket adapter placed on a light stand and diffused with a Westcott 34" shoot through umbrella to camera right.
Exposure: 3 seconds @ F11 after adjusting for bellows extension and filter factors.
Development: Self Developed film in Rodinal (Adox Adinol) 1:100 in three reel Paterson Universal Tank using Mod54 six sheet 4x5 insert. 6 minutes @ 20 degrees Celsius with minimal inversions. Tap water stop bath. Ilford Rapid Fixer. Photo-Flo. Hung on shower curtain to dry on film.
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. Slightly sepia toned in Photoshop.