View allAll Photos Tagged viewcamera
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
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 .
Admiring this super nice Eastman View No. 2 "Improved Model of Century View and Empire State No. 2" by Eastman Kodak while visiting another camera collector in Albuquerque, NM
The railway first went through Havelock in 1881 as part of the Ontario & Quebec Railway mainline, running from Perth to Toronto. The original station here was completed in 1884 and bore similarity to the surviving station in Peterborough. When Canadian Pacific took over operations in 1884, Havelock became a divisional point on the CPR mainline, in fact, Havelock's existence as a community is thanks to the railway. Located halfway between Toronto and Smith Falls on a flat grade and a nearby watersource it made sense to complete a divisional yard here. Further importance of Havelock came in 1912 with the opening of a new connection to Port McNicholl. Starting in 1914 CPR began working on a new larger station, which opened in 1929, delayed due to World War 1. However, by this point most CPR traffic ran closer to the lake, the freight depot closed in 1967 and passenger service in 1990. While CPR still maintains divisional yards here, the station is currently a restaurant.
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 PhotoshopCC
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/
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
Gelatin-silver photograph on Ilford VC FB photographic paper, image size 19.3cm X 24.7cm, from a 8x10 Kodak Tmax 400 negative exposed in a Tachihara 810HD field view camera fitted with a Fujinon-W 300mm f5.6 lens.
Toyo 45CF 4x5", Rodenstock Grandagon N 90mm f4.5 lens, Fuji Velvia 50, Tripod
aperture: f16.0
exposure: 4 s
This is my first experience with large format photography! A good friend of mine lent me his monorail, and I set this up as a "learning experience".
This is a bit over 1:1 on 4x5 film...definitely a macro shot even though you can see the entire flower....same magnification on a 35mm camera and we'd see just part of the center!
Shot with a Sinar F 4x5 monorail view camera and Rodenstock 210mm lens on Ilford HP5+. Shot at ISO400, 1/30th @ f/5.6 with some movements applied (front drop, rear rise, both slight) and developed in Photographer's Formulary FA-1027 for 9:30 (30 second push) at 68 degrees F.
Scanned on an Epson V700 @ 3200dpi via VueScan Professional and brought into Lightroom as a "raw" dng. fairly minor corrections applied, crop to square, and some dust-spotting clone work....that's it.
Hope you enjoy!
-Jim
(PS: Thank you Michael Barton of www.michaelbartonart.com)
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!
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
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.
Toyo View camera, 4x5 Fujicolor Pro160S film.
The Pro 160S film renders the colors without exaggerated saturation like most other films and digital cameras do. I like that. It reflects more the reality than overly bright candy color pictures.
But as I have understand, Pro 160S is now gone. So it's time for another color negative film - and give chance to my rest Velvia 50 film sheets.
Graflex Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - 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
Note 4/2/18: I finally found this negative, and gave it the treatment it always deserved. The Polaroid Type 55 film has a look like no other. Now, if I could only get it as sharp on Flickr as it is on my computer.
Copyright 2018/2008 Gary L. Quay. The Columbia Gorge and Vista House, Oregon
Camera: Calumet 45.
Lens: 180mm Caltar II,
Film: Polaroid Type 55 4x5.
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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.
Galvin 6x9 Monorail View Camera
100mm Kodak Wide Field Ektar Lens
Shown with a Graphic 6x9 roll film magazine and the optional monorail extension for a total of 14" bellows draw.
Not shown is an extra lens board that I'm thinking about using with my 203mm Ektar lens.
I knew Jim Galvin when he was building these, and I owned and used several of them years ago. The last few years I would occasionally look for one with no luck, but my luck changed this week.
All aboard - top of the line in stereo! It looks like I am stuck waiting for the train. We have followed the early Union Pacific Railroad from Cheyenne west, up the mountains to the station atop Sherman Hill before the descent. This whistle stop looks pretty rustic in the late 1860s. It is certainly brand new with barrels between the rails and elsewhere. Barrels often held new rail spikes. The telegraph line was a bit crusty and looks helter skelter. All the ties are random, fresh and hacked off, rough cut instead of machine cut ties. The view west shows several wooden buildings and I theorize they stocked a lot of materials atop Sherman for the push down to Utah. Perhaps passenger would stop here for a lunch. I see a couple of barrels that probably held material like spikes fo construction. Few buildings remain on the west side today after UP drove the twin tunnels and regraded the line. Two men are on the platform next to the main line in front of the water tank down the line.
William Henry Jackson shot this historic place for the USGS "United States Geological Survey." It looks like he was heading west. This shot shows the effort it took grading over Sherman Hill, Dale Creek, Laramie and down to Green River.
It almost looks like Jackson used two plates in a stereo camera. 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 Dale Creek was probably shot on a later day, after Cheyenne.
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 took this photo with my Graflex Graphic View II 4x5 camera. I used Arista 100 sheet film and developed it in D-76 using my Combi-Plan tank. Developing time was normal.
[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
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.
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.
Several trees in the park have, or in this case had, faces carved into them. I found this partly destroyed face rather amusing.
Crown Graphic - Schneider-Kreuznach Xenar 1:4,7/135 - Rollei RPX 25 @ ASA-25
Blazinal (1+25) 6:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC (2017)
16 Mile Creek
f64 @ 8 seconds
ShenHao HZX45-IIA + Fujinon-W 135mm f5.6 + Arista EDU Ultra 100 @ 50 iso + D-76 1:1 @ 9 min (Tray developed, 1 min initial agitation followed by every minute)
Massimo Vitali looking his enormous diptych, a LightJet print from a 2.7 Gb drum scan provided by CastorScan.
When the Lightjet and scan operator of Grieger opened our 2.7 Gb file he exclaimed "WOW" and he told us that he never saw such an high quality of file and scan.
The final LightJet print was amazing, and it matched perfectly the colors and the natural smothness of an analogue print: the color fidelity was absolutely incredible. Also, it showed a detail, a precision, a contrast and a flatness of field much better than any possible analogue print.
Honestly, it's extremely difficult to find a print of comparable quality anywhere.
Considering that Grieger is probably the most famous photo lab in the world and there every day they print pictures by Gursky, Struth, Ruff, Demand, etc etc...not bad
-----
CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
-----
CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
Film: Polaroid 55
Camera: Cambo 4X5
Lights:
Main Light from right: Monoblock Ultra600 Full Power through umbrella
Light from Above: Nikon SB 800 1/128 of Power with zoom 105mm
Light Left: Nikon SB 800 1/124 of power with zoom 105mm pointing to the background.
Silver reflector left for bouncing the main light
Special Thanks to caoseducado, www.flickr.com/photos/29076247@N04/ , for the creative vision and production.
Film: Polaroid 55
Cámara: Cambo 4X5
Luces:
Flash principal derecha: Monoblock Ultra600 1/1 con sombrilla
Flash Arriba: Nikon SB 800 1/128 de poder con zoom 105mm
Flash Izquierda: Nikon SB 800 1/124 de poder con zoom 105mm apuntando al fondo.
Reflector plateado rteflejando la luz a la izquierda.
©2014 Gary L. Quay
Mosier is one of my favorite spots on the planet. It is surrounded by some amazing geology, and lies within the rainshadow of the Cascade Montains, so it has a semi-arid climate. I took this on on one of the non-arid days.
Speed Graphic 4x5.
Lens: 127mm Kodak Ektar.
Film: Kodak T-Max 400 developed in Ilfotec-HC.
Sharper version uploaded 7/11/21
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An affectionate egg couple (The Good Eggs?) pose for an egg photographer to bring you Easter Greetings!
The Columbia Gorge Discovery Center in The Dalles, Oregon contains the Wasco County Historic Museum. A replica of Benjamin Gifford's photo studio is in the Wasco County exhibit. The sign in the triptych reads as follows:
"Gifford's Photo Studio
"His studio, then called a 'gallery' was in the Chapman Block, now occupied by The Dalles Camera Club." William Mc Neal, History of Wasco County, Oregon (ca. 1953)
Benjamin Gifford was a skilled photographer. His portraits and views of life and scenery in Oregon attracted national attention. Thousands of his views circulated as postcards and bore his distinctive signature in "copper plate." He billed himself as "Gifford Fotographer."
Born in Illinois, Ben Gifford taught himself photography at Fort Scott, Kansas. He settled in The Dalles in 1892. Gifford secured contracts to take promotion photographs for railroads of both scenery as well as their facilities. Many of Gifford's landscape photographs were enlarged, framed, and displayed in hotels. Gifford also took hundreds of studio portraits of Wasco County residents. He moved to Portland in 1908. His heirs in 1949 sold 12,000 of his negatives to Sawyer, Inc., the Viewmaster Company."
A rainy day is a great time to visit a museum. The Columbia Gorge Discovery Center and Wasco County Historical Museum is excellent and well worth the hour and a half drive from Portland to The Dalles.