View allAll Photos Tagged viewcamera
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?
Picked this up today pretty cheap - I've always wanted a studio monorail camera.
It'll be a lot easier to do studio work with this than with my Tachihara. As a bonus, It's actually pretty light for an older metal monorail so I should be able to drag it around for architectural work and location portrait work.
Strobist info:
WL X1600 in large umbrella camera right for key
WL X800 in med umbrella camera left for fill
Black canvas clamped to my BG stand for the background
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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Grace Church, or as it is called today Grace Anglican Church. This congregation is the oldest in town, and don't let the field stone building fool you, the original is the small white clapboard building just sticking out from behind it.
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
Scanner: Epson V700
Editor: Adobe Photoshop CC
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). :)
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Let me know what you think.
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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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).
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.
Straight from the deep archives. In 2000 & 2001, I spent most of my free time shooting 4x5 with a Wista 45DX field camera.
Fujichrome Provia 100F.
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.
Tachihara 4x5
Nikon 300mm f/9 Nikkor-M
Fujichrome Velvia 100
Developed at Northcoast Photographic Services, Carlsbad, California
Lake Tahoe, California/Nevada 1964 This is Zephyr Cove, NV looking NW across the lake - been there several times over the years. This is scanned from the original 4X5 Ektacolor Pro S - that's what they called color sheet film back in the day. Same camera and lens as the B&W Idaho farm image next to this one. If I had my wits about me, I would have come back to this spot for a sun set shot. Lets face it, it's the early 60's, your a 20 year old college student up their for skiing and not thinking clearly about a better "artistic" image.
Definitely made use of digital post processing (a lot easier than spending time in the dark room) to help this image along. Nothing heavy duty, just dust removal, some added contrast, some dodge and burning, vignetting and some sharpening. All the good stuff when you shoot digital capture, but keeping it looking natural.
Processing by Kodak
Nik Color Efex Pro 4, Viveza 2 & Lightroom 5 for post.
Scanner: Epson 850 @ 600dpi
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)
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.