View allAll Photos Tagged viewcamera
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...
The plastic used for the front and rear standards literally fell off a scrap truck that was driving in front of me. I have a small Chinese pinhole shutter mounted here. I'm working on a design to add swings and tilts but this will do for now.
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
The inevitable is not that your Kiev/Contax will have to be serviced someday. This you will have almost for sure; as often as you would change the curtains of a Leica III, mostly because of breaking or bad wearing of the infamous silk ribbons that drag the shutter curtains. That is not the inevitable.
The inevitable is, once you take your chances in the adventure of trying to fix it yourself, thinking what if I used Kiev parts to repair my Contax? Not to sell the resulting frankencontax, of course, because it would be cheating, but just for fun, just to cheak the interchangeability of the parts, maybe even painting the chrome plates black...
Sinar P / Helios 135 2.8 / Agfa MCP paper negative
Ok, I just had to try my L39 Visoflex II on a Zorki and a FED, I mean: I HAD to. Just for the pleasure of desecrating Leitz gear, as if attaching a Chinese made 90mm 3.5 Tessar intended for a medium format SLR was not desecration enough for this reflex housing from Wetzlar. But you know what? None of the soulful Soviet copies could beat a Leica at being the light-tight box behind the Viso. Mechanics? No. Feel? Uh uh. Handling? Nah. So, what's the asnwer? Strap slugs! Soviet copies did not have strap slugs, well, most of them didn't, which makes handling a Viso real hell. What you say? That the Visoflex was not intended for much use outdoors, much less hand-held photography? Then you, sir, know nothing about photography
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
I sometimes wonder why it took so much time for SLRs to become THE type of camera, I mean the one pros favored. One camera salesman who I respect a lot told me "boy, have you ever shot with an Exakta. I mean, have you haver had to earn a living with it? Because I have and I can tell you that trying to focus all your shots through the ground glass finder is sheer hell".
It's part of the answer to it all. I think that the first mass market pro 35mm SLR (and 35mm is THE film format), the Exakta, was a machine intended to be used most of the time with the sports viewfinder and distance scale, not with the ground glass. My opinion is that As I see it, Ihagee did not really trust their TTL focussing system enough to be the main focussing system. And they were right. TTL focussing would have been left for 'delicate' situations where very accurate focussing was mandatory, such as indoor or macro shots. So, where does this leave the pro reporter? Using a camera that was way heavier and bulkier than a Leica or a Contax and not so convenient to the kind of shooting they needed.
Them guys at Wetzlar showed the same kind of mistrust about TTL focussing: they thought SLRs would never catch up. Photography, they thought, is made with a RF camera: SLR is just for macro or tele photography... and so the Visoflex was born.
All this knda worked until someone there in occupied Germany decided to stick a pentaprism on the top of a Contax...
©2014 Gary L. Quay
I've wanted to photograph this building for years. Finally did it. I just love turn of the last century western architecture.
Camera: Speed Graphic 4x5.
Lens: 127mm Kodak Ektar.
Film: Ilforg HP5+ developed in Ilfotec HC.
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This embossed Easter card with a 1910 postmark shows a rabbit photographer with a tripod mounted view camera taking a portrait of a rabbit couple.
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 was given the opportunity to test a truly remarkable lens. There's no name on it, but it was put together by SK Grimes, and according to Jake at Blue Moon Camera & Machine in St. Johns, it is APO-Nikkor glass. The focal length is 760mm, and it's on a #5 Ilex shutter that works like a dream. The optics are uncoated. I used my Kodak Commercial Studio camera, which has a yard of bellows draw, and it took all of it to bring the image into focus. I set it up on my tripod, but I didn't have the proper adaptor, so I tied the camera on with a shoelace. Hey, it worked. The only trouble was that I it wasn't steady enough to take a long exposure. So I had to shoot at f22. Some of the image is out of focus. The in-focus areas are incredibly sharp. Jake told me that I was likely to be the first person in 40 years to shoot this bridge on 8x10 film with such a long focal length lens. We'll see. I like the lens a lot.
I shot the image on Adox CHS 100 Art, developed at N+1 in Clayton F76+. I chose semi-stand development, or what Ansel Adams called "Minimal Agitation," because I wanted to heighten edge effects to counter the low-contrast, cloudy skies.
Note 1/1/2017: I uploaded a sharper version.
Camera: Kodak Commercial Studio 8x10.
Lens: 760mm SK Grimes Special.
Film: Adox CHS 100 Art.
Printed on Forte Polywarmtone RC developed in Ansco 120: a soft working developer. Untoned. I used Agfa Sistan for permanence.
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www.nelson-atkins.org/art/Exhibitions/Sinsabaugh/index.cfm
12 X 20-inch Banquet View Camera owned by Art Sinsabaugh to Create his American Horizon Panoramic Landscapes on view at the Nelson-Atkins Museum of Art in Kansas City, Missouri
Orgue et jubé de l'église Ste-Famille de Boucherville. On peut voir que l'orgue Casavant est présentement en réparation.
Cette photo a été prise avec un appareil Toyo 4x5. La perspective a été corrigée par un décentrement de la lentille.
J'ai ajouté 2 photos qui donnent une idée de la définition de ces appareils.
Organ and choir loft of the Ste-Famille church of Boucherville. We can see that the Casavant organ is currently being repaired.
This photo was taken with a 4x5 Toyo camera. The prospect has been corrected by a shift of the lens.
I added two pictures that give an idea of the definition of these camera.
Camera: Toyo-View 45GII, Schneider-Kreuznach Super Angulon 90mm f8. Film: Fujichrome Provia 100F, home-developed with the Tetenal Colortec E-6 3-bath kit.
After a long day in the sun... there is nothing like a nap mid afternoon. My little guy here was OUT! Little did he know there was a huge 4x5 view camera in his face while he slept.
The Barber House as it stands today holds a dark secret. The original family, the Comfort's once owned the land on which the Barber House now stands. The Comforts sheltered William Lyon MacKenzie on the second night of his escape across the Toronto Township, and in the morning in order to throw off both the Militia and the Town Line Blazers (a group of local Tory Thugs), William Comfort took one wagon north, while MacKenzie took the second wagon south-west. The loyalists gave chase after Comfort while MacKenzie got away. However, with the men gone, the Blazers broke into the Comforts home, held and tortured Sarah Comfort, William's wife. During which she miscarried and died as a result. William would be arrested, and be unable to attend to his wife's funeral. William would sell the land and his house was demolished. It would be purchased by William Barber in the early 1850s, he would build his Italianate home, the Barber House around that same time. Most recently it was the Old Barber House Restaurant which closed in 2016, a new townhome development will be going up around the home while the Barber House itself will be restored as a new business.
Graflex Pacemaker Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Kodak Tri-X 320 @ ASA-320
Kodak D-76 (Stock) 5:30 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
Camera: Chamonix 45n-1
Lens: Rodenstock 135mm f/5.6 Apo-Sironar-S
Film: Ilford FP4+ @ ISO 64
Exposure: 1/4 sec @ f22 w/ yellow filter
Date: April 22, 2017
Identifier: lf_2017-04-22_003
Shooting self-portraits with an 8x10" camera is rather tricky…
But when it works *it works*…
Kodak Master 8x10" view camera
Symmar 360 at f11 t1/5"s
Agfa HDR x-ray film @ 50asa
RO9 (10+1000) for 8'm in 11x14" flat tray
Scan from contact print on Ilford MGWT paper
Barnard, George N.,, 1819-1902,, photographer.
Parapet, Fort Sumter
[1865]
1 photographic print on stereo card : stereograph, albumen.
Notes:
Original neg. for this print: LC-B811-3053.
Title from item.
Photograph shows damaged gabions on the parapet of Fort Sumter. Photographer Samuel Cooley sets up his camera in the distance.
Forms part of: Visual materials from the papers of O.M. Poe.
Subjects:
Parapets--South Carolina--Charleston--1860-1870.
Forts & fortifications--South Carolina--Charleston--1860-1870.
Fort Sumter (Charleston, S.C.)--1860-1870.
United States--History--Civil War, 1861-1865--Military facilities--South Carolina--Charleston.
Format: Stereographs--1860-1870.
Albumen prints--1860-1870.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA
Part Of: Visual materials from the papers of O. M. Poe (DLC) 00651883
Persistent URL: hdl.loc.gov/loc.pnp/stereo.1s01323
Call Number: LOT 13461, no. 29
I found this beauty on eBay and showed it to my husband. He said "Bid on it for your Valentine gift." I love it