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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.
In 1876 a small section of the Credit Valley Railroad began operations between Woodstock and St. Thomas, it wouldn't be until 2 years later that the mainline from Toronto would arrive in Woodstock linking the city to the all important CASO line in St. Thomas. By 1883 the line had been leased to Ontario & Quebec and a year later Canadian Pacific. This small station saw construction in 1899, located outside of the downtown of Woodstock it saw limited passenger use with passenger services here ended in 1925. The station continues to operate for railroad purposes for either Canadian Pacific or Ontario Southland.
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
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
# #pnwexplored #deardorff #oregonexplored #pacificnorthwest #garyquay #cascadiaexplored #oregon #onlyinoregon #viewfromhere #YourShotPhotographer #pnwcrew #myoregon #infrared #film #filmphotography #viewcamera #largeformat #hoodriver #columbiagorge #hoodgorge
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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
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.
Lichens and Moss detail
Huxley Valley, Ruataniwha Conservation Park, Canterbury, South Island, New Zealand
Photographed at 1/2 life-size using Arca-Swiss Universalis 4x5,
Schneider Makro Symmar 120mm, Fujichrome Velvia RVP 50 4x5
My new-to-me Cambo 4x5 view camera, with the lens it came with, a Schneider-Kreutznach Symmar 210mm ƒ 5.6 / 370mm ƒ 12. The price tag (the tan tag hanging off the rear standard...) is still attached to the camera... The tripod (a heavy-duty [as well as darn heavy!] Manfrotto) was included, as well as a camera case and 6 film holders. (although I already had 4x5 sheet-film holders, I also have a Speed Graphic in the size...) Taken in Albany, CA by a Nikon D610 at ISO 400 with a Nikkor 50mm ƒ 1.4 AF-D lens. Cropped to a 5x4 aspect ratio... (What else for a 4x5 camera? ;-) ), otherwise SOOC.
...If anyone knows what specific model this is, PLEASE leave the model name as a comment! (Cambo has mad a number of models in 4x5...)
I've also picked up a Nikkor-SW 65mm ƒ 4 lens for the camera - and to use that lens, I needed the recessed lens board, and bag bellows... (and the lens still doesn't focus to infinity, wide open, although it does stopped down...)
As soon as I figure out how to design it, I'm going to 3d print a Cambo to Pacemaker Speed Graphic lens board adapter...
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
Photographer: Paul van Bueren
Model: Heidi van Dijk
Cambo SC-1
Fomapan 400
Copyright by Paul van Bueren
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.
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.
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
Taken east of Big Pine on Hwy 168 looking west as the morning sun just began to fill the valley.
Linhof Technika V, Fujinon 125mm W, CM
Ilford FP4 at ISO 100, f/22 at 1/60 sec.
Developed in Kodak Xtol 1:1 in a Jobo Processor using and expert Drum
Taken on the first floor of the abandoned Lonaconing Silk Mill. I looked everywhere, but could not find a corresponding women's toilet. This is odd, considering that the factory workers were predominantly women...
Linhof Technika V, 90mm Fujinon SW
Ilford FP4 at ISO 100
f/22 at 6 minutes
Developed in Kodak Xtol 1:1 using a Jobo processor and a 4x5 Expert Drum