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Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
You know, I think some people is gonna shoot me when they read this, but I just have to say it: I think it is possible that them guys in Wetzlar, latar at Solms, don't know anything about photography or what the pro photographer needs.
Just think for a moment: what if the Leica II/III was just a lucky strike? Because you know the first Leica was not intended as a pro camera, but reporters used them anyway...
Right, the M3 was a great camera: Leitz made it to put themselves a step ahead of its competitors, but... Don't you guys think that if guys in Wetzlar had been REALLY farsighted they would have paid some attention to the Contax S and what it meant?
The people in charge of Leitz had a strong bias towards rangefinders, and SLR technology was just inferior to them. Maybe this is true if you compare a waist level finder Exakta to a Leica, but the Contax S should made them think.
For Leica, photography was made for rangefinders. They aknowledged that SLRs had some uses, but only SOME uses, you know, what can't be done with a RF: macro and tele. Did they produce a SLR? No, they made the Visoflex.
If there is one large format camera that is the icon of technical cameras, that camera is the Linhoff Technika line. With the portability of a press camera and the perfect control of movements, this camera will serve you well for precise movement and work.
You can read the full review online
www.alexluyckx.com/blog/index.php/2019/10/21/camera-revie...
Linhoff Technika V - Nikon Nikkor-W 180mm 1:5.6 - Kodak Tri-X 320 @ ASA-200
Blazinal (1+50) 9:00 @ 20C
Meter: Gossen Lunasix F
Scanner: Epson V700
Editor: Adobe Photoshop CC
Second verzion of this project, custom bracket replaces hardware store L plates, shortened monorail, fabbed my own mount for the monorail so that the Toyo mount does not use the space between the standards alowing the use of shorter focal length lenses. The bag bellows are now attached to a Cambo lensboard that has the center cut out to a 4x4 square and is bolted to the Toyo front , (allows me to use this on my Cambo 4x5 as well). See "View Camera Project" tags or set. D-200, and Schnieder Kreuznach 135 lens
One of these modded Toyo's will be coming up on evil bay soon (august 09)
Squirrel in Heaven.
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-Green filter on the lens.
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.
Exposure: 35 seconds @ F45 after compensation for filter factor, bellows extension and film reciprocity.
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 through a homemade diffuser made of white bridal satin around a pvc pipe frame positioned to camera right. Above the subject was placed an Alien Bees B800 studio strobe in a 22" white lined beauty dish with diffusion sock with just the modeling light on @ full power. The reflection of the black background causes the mirror surface to reflect as black.
Development: Self Developed film in Rodinal (Adox Adinol) 1:100 in three reel Paterson Universal Tank using Mod54 six sheet 4x5 insert. 6 1/2 minutes @ 20 degrees Celsius with minimal inversions. Kodak indicator 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. Lightly warm toned in Lightroom 4.
Focused to infinity...and beyond !
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-Green filter on the lens to improve contrast.
Film: Ilford HP5+ 400 ISO Negative Film, shot at 200 ISO.
Exposure: 1/30th second @ F32.
Lighting: Alien Bees B800 studio strobe @ 3/4 power in 22" soft white beauty dish with diffusion sock, positioned above and slightly in front of camera position. A 45" white reflector on reflector stand positioned to camera left to bounce some light back onto the subject. A second B800 strobe @ 1/32 power in a 12X48" gridded strip box positioned horizontal to the table at camera right. Strobes triggered with PocketWizard Plus II radio triggers.
Development: Self Developed in Kodak Xtol 1+2 dilution in Paterson Universal Tank using the Taco Method. 13 minutes @ 20 degrees Celsius. Kodak indicator stop bath. Ilford Rapid Fixer. Photo-Flo rinse.
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. Cropped to square in Lightroom 4.
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.
"Meanderings"
This is the same scene as my autumn Zion image with the yellow cottonwood on the left and red maple on the right in the slot canyon, but you'd hardly recognize it in winter!
On my recent winter Zion / Bryce Canyon trip, I trekked out to this scene to see what it would look like in winter, and found the trek significantly more difficult than it was in autumn! In place of a dry wash was a flowing stream. About a foot of fresh powder snow covered the ground, and a thin layer of ice covered most of the wash, veiling several inches of icy water beneath. As I hiked in, I was able to walk gingerly on the ice and stay in the middle of the narrow wash and canyons. However on the way out, the ice had softened and would no longer support my weight, so it was a game of hop-scotch to try and hop and leap from one boulder and thin patch of remaining hard ice to another in order to make it out safe and dry.
Because this scene only included red sandstone and white snow, I decided to photograph it on Fujifilm Acros 100 black and white film to emphasize the S-curve in the stream making its way through the ice into the narrow slot canyon. You can see the skeleton of the cottonwood tree from my earlier image on the left in the canyon opening, and the snow-burdened maple draping down into the canyon from the right side.
Intrepid 4x5” Field Camera, 2nd Generation
Fujifilm Acros 100
Schneider-Kreuznach 90mm ƒ/8 Super-Angulon
1s @ ƒ/32
If there is one large format camera that is the icon of technical cameras, that camera is the Linhoff Technika line. With the portability of a press camera and the perfect control of movements, this camera will serve you well for precise movement and work.
You can read the full review online
www.alexluyckx.com/blog/index.php/2019/10/21/camera-revie...
Linhoff Technika V - Nikon Nikkor-W 180mm 1:5.6 - Kodak Tri-X 320 @ ASA-200
Blazinal (1+50) 9:00 @ 20C
Meter: Gossen Lunasix F
Scanner: Epson V700
Editor: Adobe Photoshop CC
Originally built in 1915 as the Land Registry Office for Halton County. It served in that purpose until the 1980s when those services were moved to the new Regional offices. It saw extensive restoration by the Town of Milton who now uses it as an event space.
Pacemaker Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Agfa APX 100 @ ASA-100
Kodak HC-110 Dil. H 14:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
Welcome to Milton, my hometown, where I grew up, learned, played, and got married. There's no better place to start than the sign that welcomes those who drive into the town. Of course that population number has gone up a lot since I first arrived here.
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
Editor: Adobe Photoshop CC
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
I love this camera, a Super Ikonta copy, a relic of 1930s design that in the Soviet Union performed as a professional camera well into the 80s.
I can understand why: it's got a really accurate rangefinder, a stunning lens and it's one the most lightweight quality 6x9 cameras you will ever find. Even though, that the Soviets didn't come up with some improvements in it over time really says something of Soviet camera industry.
The only thing I don't like about this marvelous Industar is that, darn, it doesn't have a filter thread. I mean, I'm really the kind of photog that can't pass without a filter, but I can't attach one here... I guess there will be some clip-on filter that will fit the lens, but by now I haven't come across one yet...
If you know of one that I could use, help would be much appreciated.
Karlos No.55 6x9 fixed flat bed SLV & Topcor Horseman 105mm f3.5 in a Seiko-SLV shutter and Horseman 6x9 film back.
Shanghai GP3 @ iso 100. Adolux APH09 (Rodinal). Dilution 1:100, (4ml in 400ml), 19c, 90 minutes. Agitation - 4 inversions at the start and 2 inversions at 30 minutes. . Two water baths (stop). Alkaline fix for three minutes.
Linhof Kardan Standard / Schneider Symmar / Agfa MCP direct paper shot
A Kiev 5 is many things. One of the these things being the successor of the legal continuation of the Zeiss Ikon Contax, the Kiev II/III, and not especially successful at that, according to Princelle and other sources. Sovietcams.com gives the number of 50000 units produced, minus/plus 8000, which doesn't make it a particularly rare camera, even if they reaach outrageously high prices in e-bay. No serious source says why this camera was not successful, but I could give a couple reasons: first of all, dropping the internal Kiev/Contax bayonet mount. This would ¡surely reduce costs and manufacturing complications for sure, but would render a collection of 50mm Contax lenses (the very reason to invest in the Contax system for many) absolutely useless. The second reason: design. Kiev designers tried to make of the Kiev 5 a son of its time, and they did with the Kiev 5 what they did with many other of their cameras: they copied a model of contrasted solvence. In this case the Canon 7. I have mixed feelings towards the exterior appearance of this camera; I kinda like it, but I can't say it is more attractive than the 30's Contax design. I could say that instead of evolving the original Contax design, guys at Arsenal hyrbridated it with Canon 7's
Toyo 45CF 4x5", Rodenstock Grandagon N 90mm f4.5 lens, Fuji Velvia 50, Tripod
aperture: f16.0
exposure: 4 s
Goderich's third train station. The original rail service to Goderich began in 1858 with a small Buffalo & Lake Huron Station being built closer to Huron Road (Highway 8). After taking over the line in 1873, Grand Trunk built a new station on Maitland Street, close to the current station. In 1903, Grand Trunk completed their third station, a grand station with two large and two smaller towers, timber framing, dormers with Victorian details, limestone foundations and pressed brick exterior. The station suffered a fire in 1910 and was rebuilt at a much smaller scale, with only two towers surviving and the details removed. CNR continued operations from 1923 to 1973. They continued to use the station until 1992 when they sold the trackage to Goderich-Exeter Railway. The station was used as an office for G-E. From 2001-2009 it acted as an office for a construction firm. From 2009-2015 under private ownership, some restoration efforts were made. Today it is a creative hub and home to FauxPop Media.
Graflex Crown Graphic - Fuji Fujinon-W S 1:5.6/150 - Ilford HP5+ @ ASA-200
Pyrocat-HD (1+1+100) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
Out of my project ‘Verlaten’ (abandoned, 2018)
Photographer: Paul van Bueren
Model: Manja
Cambo SC-1
Fomapan 400
Some work out of my previous project ‘Verlaten’ about that moment someone is leaving you and you don’t know if you see each other again.
Copyright by Paul van Bueren
Sinar P / Industar 51 / Agfa MCP paper negative
Moy may like it or not... gee, what am I sayin? You must like this camera. I simply find it one of the most beautiful I've ever seen. Just look at that front plate! It's so gorgeous. The design was not too advanced for the era, in fact, it should have looked retro even in the fifties, as the design is so much reminiscent of the 1920s and 1930s rollfilm and small plate cameras... just a little bigger. It's truly sad that film for this behemoths is not made anymore, as it would be delightful to shoot one of them. Well, I do sometimes: I cut a piece of photo paper and simply insert it into the camera to get a paper negative, but you know, I would prefer the real thing.
Nukarinkoski rapids at Vantaanjoki river, southern Finland. 05/17/2009.
ヌカリンコスキ「Nukarinkoski」の滝川、ワンター川、南フィンランド。
This was taken around 9.45pm, there was still some light and I hoped for a bit better separation between foreground leaves and background.
I took another negative with blue filter which could have improved situation, but to my shame, I double exposed it...
Toyo D45M View Camera, Symmar 5.6/210mm lens, Ilford Hp5+ film.
20 seconds at f/32. Film developed to N in Xtol 1:1. Development time has reduced 5% due the constrast caused by long exposure.
Geotagged.
http://jukkavuokko.com/en/
I intercepted these withered flowers on their way to the trashcan. This is why I love shooting with large format lenses on a viewcamera: perfect control over perspective and focal plane, exquisite rendering of out of focus areas.
Cambo Ultima 23D with Sinar Sinaron 120 mm digital macro f/5.6 @ f/8 and Leaf Aptus 22 (tethered).
Lifted the front flower slightly using a wire. Lit from upper left with studio flash firing into silver umbrella.
ROC Ideal 10x12 camera in clean working condition! I seriously considered whether to spend time trying to clean and polish the brass parts, but in the end decided that to leave the brass trim as found. I think the tarnish gives it character. And that was convenient because it would have taken me many, many hours to deal with that.
This camera was manufactured by Rochester Optical Company during the mid-1890s. It came with a Carl Zeiss Jena Protarlinse VII lens, and included 4 10x12 glass plate holders. My plan is to shoot 8x10 paper negs by attaching RC paper to 10x12 glass or plexi.
Tachihara 8x10
Goerz Red Dot Apo Artar 16½” f/9.5
Ilford Delta 100
Developed at Northcoast Photographic Services,
Carlsbad, CA
I describe the making of this photograph in an article on the on-line publication Photography Life .
First shot in my first ever studio! I had a total blast this week setting it all up and so much fun taking the first images. Fortunately a friend of mine was willing to stop by with another friend and let me take their portraits!
This awesome shot was taken with the Sinar P1 4x5 view camera and a 210mm Rodenstock lens. Shot at f8, the camera was placed a good 6 - 12 inches higher then the model, shooting down and the rear movement was tilted at about 20 degrees. Dark grey background faded out to near black.
Unfortunately I did not have enough light on the hair to bring out the highlights. I only had 30 minutes to shoot, and I was switching formats (4x5 film, to polaroid to 6x6 with the Hasselblad and Leica), and I actually forgot I took this Polaroid and 15 minutes later opened it up thinking it would be dead, but it turned out great! But yes, the shoot was over and unfortunately could not make the adjustments to the light in the hair.
Looking forward to many more exciting photography and new growth in the newly christened studio!
From the Scandinavian APUG meet in Larvik Norway. This but a few of the cameras of maybe a handful of participants. Nothing smaller than 6x9, and most 4x5 and bigger, up to 20x24. In all 620000mm2 (99000 sqi) of film acreage on one table. Gandolfis, Wistas, Linhofs, Sinars, DIYs cameras, and even an Indian made view camera!
Shot taken with Lucy the 100A / 6 0 0 S E on FP100C
Camera: Toyo-View 45GII, Fuji Fujinon NW 125mm f5.6, exposure f8-11, 1/8s. Film: Fujichrome Velvia 50 exp. 10/2013, home-developed with the Tetenal Colortec E-6 3-bath kit.
Torrey Pines State Natural Reserve
San Diego, California, USA
Ikeda Anba 4x5
Nikon 90mm f/8 Nikkor-SW
Ilford Delta Pro 100
Developed at Northcoast Photographic Services, Carlsbad, California
1897 Ak-sar-ben Camera - Schneider G-Claron 210mm (Dagor type) - f/45 - Fomapan 100 - 8x10 Film - HC 110 1+100 - Unaltered Negative Scan
I will be using this camera in week 471 of my 52 film cameras in 52 weeks project:
www.flickr.com/photos/tony_kemplen/collections/72157623113584240
For the first full week in 2019 of my 52 cameras in 52 weeks project, I decided to use my dad's Lizars Challenge folding plate camera. This dates from around 1905 and is in very good condition. I will be using a roll film back as I don't have any glass plates. I expect to take most of the 8 exposures indoors using a tripod, bit I hope to try a couple outside. I've loaded it with Rollei Pan ISO 25 black and white negative film.
Karlos No.55 6x9 fixed flat bed SLV & Topcor Horseman 105mm f3.5 in a Seiko-SLV shutter. Cloth bellows, with lift, swing and tilt on the front and on the back, rise (giving fall on the front). Reversing back with the baby graflok fit. Horseman 6x9 film back.
Shanghai GP3 @ iso 100. Adolux APH09 (Rodinal). Dilution 1:100, (4ml in 400ml), 19c, 90 minutes. Agitation - 4 inversions at the start and 2 inversions at 30 minutes. . Two water baths (stop). Alkaline fix for three minutes.
[Photographers shooting Cherry blossoms, Washington, D.C. 4/7/22]
[between 1909 and 1940]
1 negative : glass ; 5 x 7 in. or smaller
Notes:
Title devised by Library staff
Date from unverified data provided by the National Photo Company on the negative or negative sleeve of related neg. LC-F81-44692.
Caption torn off negative.
Gift; Herbert A. French; 1947.
This glass negative might show streaks and other blemishes resulting from a natural deterioration in the original coatings.
Subjects:
Photographers--District of Columbia--Washington (D.C.)--1920-1930.
United States--District of Columbia--Washington (D.C.)
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA
Part Of: National Photo Company Collection (Library of Congress)
Persistent URL: hdl.loc.gov/loc.pnp/npcc.28362
Call Number: LC-F81- 44603
This was taken on a misty morning in Foggy Bottom using a Linhof Technika 4x5 and the Fuji 600mm f/12 lens. I wanted to test the ability of the camera with additional bracing I cobbled together and the lens while shooting at relatively long exposures without showing camera movement. This was taken at f/32 for 12 seconds, a very long exposure for a 600mm lens on any format, I am quite happy with the sharpness. I am also happy with the contrast, often an issue with long lenses in flat light.
4x5 Linhof Technika V, 600mm Fujinon T lens
F/32 at 12 seconds
Kodak Tri-X 320 film @ 320 ISO
Developed in Kodak Xtol full strength using the dip and dunk method.