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To see more of my food images check out my blog here:
blog.karenwise.com/karen-wise-photo-blog/food-and-still-l...
Rockmount National School is situated on a hill overlooking Miltown Malbay in Co Clare. Many of its 45 pupils cycle to school each morning and park their bicycles in this half dome shelter. The school was built in 1865 but is still in use today and services the educational needs of some 45 pupils from the rural community nearby.
This marks the first set of pictures which I am putting together in a project which is looking at the current status of small rural schools in Ireland, of which many are under threat of closure for a variety of reasons. Emigration, falling family sizes and the need for parents to travel further to work are some of the more compelling reasons which seem to be affecting the viability of small rural schools such as Rockmount.
I photographed another school not far away from this one and it has recently closed despite having all of the facilities one would need to provide children with a fine education. What a pity it is to see this.
Calumet cc-402 Wide Field Large Format camera
Schneider Angulon 120mm lens
5x4 Fomapan 100 film exposed at 50 iso
F22 @ 1/2 sec
Developed in Rodinal 1:100 for 30 mins semi stand
A 45x45mm Crop from a larger negative.
Image taken with a Goerz DAGOR 180/6,8. (over 100 years old if am not misstaken!)
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
One of my favorite barns from up in Clinton County Pennsylvania. Located on Island Road on the outskirts of Lock Haven. The barn's owners hang a giant six foot Christmas wreath on the side of the barn during the holiday season.
Camera: Calumet CC-401 4x5 large format monorail view camera
Lens: Rodenstock Geronar 150mm F6.3 lens in a Copal 0 shutter
Film: Arista EDU 100 Ultra 4x5 B&W sheet film which I shot at 64 ISO
Exposure: 1/30th @ F45. Metered with a Pentax 1 degree spot meter.
Development: Self Developed film in Kodak Xtol 1:2 in Paterson Universal Tank using the Taco Method. 9 minutes @ 20 degrees Celsius. Tap water stop bath. Ilford Rapid Fixer. Photo-Flo. Hung on shower curtain to dry on film clips.
Scanning: Negative scanned with Epson V600 in two parts and merged in Photoshop CS5 since the V600 doesn't natively support scanning 4x5 sheet film and I haven't stepped up to the V700 yet. Cropped to 16x9 in Lightroom 4.
[Frances Benjamin Johnston, three-quarter length portrait, holding and looking down at camera, facing slightly left]
[between 1940 and 1952]
1 photographic print : gelatin silver.
Notes:
Frances Benjamin Johnston Collection (Library of Congress).
Title devised by Library staff.
Subjects:
Johnston, Frances Benjamin,--1864-1952.
Cameras--1940-1960.
Photographers--1940-1960.
Format: Portrait photographs--1940-1960.
Gelatin silver prints--1940-1960.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA
Persistent URL: hdl.loc.gov/loc.pnp/cph.3c20455
Call Number: LOT 11734-1
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
A mosaic of Gondwanan species litters the forest floor in Te Urewera. Amongst the species are the leaves of Red and Silver Beech (Nothofagus fusca and menzeseii) , Toatoa or Blue Celery Pine (Phyllocladus toatoa), and Dracophyllum latifolium.
Toho FC-45x, Rodenstock APO Sironar S 150mm, Fujichrome Veliva RVP 50 4x5
16x20” Print on Canson Platine Fibre Rag
18 March - 15 November 2020
Cradle Mountain Wildness Gallery
www.wildernessgallery.com.au/relicts-exploring-the-flora-...
Toho FC-45x, Rodenstock APO Sironar S 150mm, Fujichrome Veliva RVP 50 4x5
Deir-e Gachin Caravanserai
Iran, Tehran, Varamin, Panoral 45 camera, Schneider Super Angulon 47/5.6 XL, Schneider center filter IIIC, Kodak E100VS 4x5in slide film
www.mr-alvandi.com/gallery/color-photography/ghaleh-003.html
Large format landscape photography techniques by www.mr-alvandi.com
My Telegram channel: telegram.me/mreza_alvandi
My Instagram: www.instagram.com/mreza_alvandi
Verlaten (abandoned)
Model: Jessica
Artist: Paul van Bueren
Cambo SC-1
Fomapan 400
Copyright by Paul van Bueren
Calumet 4x5 inch view camera
Leitz Tiltall tripod
Photographed using an Ansco 6x6cm folder on 120 FomaPan ISO 100 film.
Developed in Kodak D-76 1:1
Scanned on Epson V850 flatbed.
I found this beauty on eBay and showed it to my husband. He said "Bid on it for your Valentine gift." I love it
view larger
This shot is a repeat basically of the one I did of this girl in Polaroid... this is film. I like the character of the Polaroid, but this is much better in my opinion! So much more detail and dynamic range, contrast! Plus, I like the way this one is composed and I didn't overdue the tilt shift like I did the other one.
I often say "flickr made me do it" when I make a post. In this case it was paws22 who was the vehicle for a four image addition to my photostream.
I was looking through paws22's set of photographer's marks when I noticed this well know mark for S.A. Wolfe of Sacramento, California. I could not resist pulling out one of our Wolfe cabinet cards and scanning the front and back. I found that I had not erased the price we paid for the card, 50¢! Ah the good old days!
The next step was to photograph our French metal photographer figure that, without doubt, is the original basis for this drawing.
Thanks paws22 for the nudge to do it.
Photo by my father, F. R. Schultz.
This is a reworking and re-posting of one of my favorite of my father's Black and White Photographs. My cousin is now in his 70s. He would have been about 7 (or nearly) when this was taken.
Scanned from a 4x5 B+W negative.
Developed in lightroom3 with a touch-up in Photoshop C5
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.
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
A set of old lenses I use for my linhof 6x9-system. In mage: Voigtländer Skopar 114/4,5, Goertz Dagor 180/6,8, Goertz Dagor 125/6,8, Voigtländer Collienar 120/6,8, Voigtländer Heliar 114/4,5, Voigtländer Heliar 105/3,5. Picture taken with a Linof Technika III 6x9 and a Rodenstock Eurynar 120/4,5 on Rollei RPX100 developed in Rodinal semi-stand. Avaliable light only.
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)
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
The Sheridan Logo, much better than that tangram logo we've had for years.
Pacemaker Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Rollei RPX 400 @ ASA-400
Microdol-X (Stock) 11:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
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.
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
To be true: I've never liked too much the Canon 7; something does not really feel right when I have it in my hand. But it has something that always makes me come back to it when I want to shoot RF lenses: when I lift it to my eye, it's just plain evident that, in native L39 mount, its rangefinder is second only to the one in the Bessa R.
Since I got rid of the native 50mm 0.95, I now use the body with my Russian 50mm lenses (I have and love them all). And you know? Do not yell at me, but without that brick of a lens before it, the camera feels more right than it was with it, it looks more itself without the 0.95... if somthing like that is possible.
Don't take me wrong, the 7 is a superb machine, with the 'Japanese build' kind of feel, very dependable. Maybe it's just it's not Russian. Ah, if my FEDs and Zorkis just had a viewfinder half as good as this one...
©2009 Gary L. Quay
Another image from my show "The Night Shift." A little lens flare never hurt anyone.
Camera: Deardorff V8
Lens: 19" Goerz APO Artar
Film: Ilford HP5+ Developed in Agfa Rodinol
Uploaded better version 12/24/21
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