View allAll Photos Tagged viewcamera
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.
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
TILT Horizontal use!!!
Toyo 45CF 4x5", Rodenstock Grandagon N 90mm f4.5 lens, Fuji Velvia 50, Tripod
aperture: f16.0
exposure: 4 min.
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:
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.]
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.
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.
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
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?
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.
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.
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Expired Plus-X Aerial BW 100 @ ASA-80
Zone Imaging 510-Pyro (1+100) 8:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
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
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.
# #pnwexplored #saintjohnsbridge #myoregon #deardorff #oregonexplored #pacificnorthwest #portlandoregon #garyquay #cascadiaexplored #portland #outside #outdoors #oregon #onlyinoregon #viewfromhere #traveloregon #filmphotography #pacificnorthwest
My Web Site and Blog: Gary L. Quay Photography
My stock portfolio on Shutterstock
My stock portfolio on iStock
My stock portfolio on Adobe
Feel free to join my Flickr groups
and Flickr Today 2
Mount your L-mount camera to the back of a large format 4x5 film camera with our 4x5 to L-mount Stretch stitching adapter! Use the stitching guides to slide the camera's sensor back and forth, capturing multiple photos to stitch together in post for a final large format image. This adapter only works with 4x5 cameras that use a Graflok back.
Learn more: fotodioxpro.com/products/4x5-l-p
Tachihara 4x5
Nikon 300mm f/9 Nikkor-M
Fujichrome Velvia 100
Developed at Northcoast Photographic Services, Carlsbad, California
Cambo SCII 4x5 view camera + Schneider 90mm Super Agulon lens
Ilford Delta 100 Professional black and white film
Flickr Explore - November 23, 2014
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.
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...
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.
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
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.
Verlaten (abandoned)
Model: Jessica
Artist: Paul van Bueren
Cambo SC-1
Fomapan 400
Copyright by Paul van Bueren
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.
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.
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.
The new baby: an Indian-built sort-of copy of a Deardorff 4x5" field camera, fitted with a 7" Emil Busch Rathenow Portrait Aplanat #2 f/6 lens. The camera's age is debatable, but probably recent; the lens is from around 1896.
Preparing to embark on a collodion adventure...
This small, unassuming structure provided a major junction within the Grand Trunk Railway network, known to locals as Freeman Station. Built in 1906 to replace an older Great Western Station that burned down two year's earlier, it supported a significant passenger and freight service, an important link between the United States and Montreal and all points in-between. Canadian National continued to use the station in 1923 and repaint it to the standard red/maroon in the 1950s. While passenger service ended in 1978, both GO Transit and VIA rail continued to use the station. GO completed a new modern structure in 1982, and the old station saw continued use by VIA until the mid-1980s then closed. When CN began to widen their right-of-way, the station came under threat from demolition, but instead, the city of Burlington asked for the station and moved it to a new location today. While nothing was done through the 1990s, in the early 2000s and into the 2010s, a group, Friends of Freeman Station, organized and restored the station to a museum opened in 2017.
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