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1897 Ak-sar-ben Camera - Schneider G-Claron 210mm (Dagor type) - f/45 - Fomapan 100 - 8x10 Film - HC 110 1+100 - Unaltered Negative Scan
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.
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.
In black and white... tried to get the hair to show a little.
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!
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
Large format still life. Agfa Ansco 5x7 view camera, Topcor 210mm f/5.6, expired Ilford FP4, Barry Thornton's high-definition 2-bath developer - 4 minutes in each bath. Digital scan
©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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Anaca Multipost (13x18) / Carl Zeiss Jena 180mm 2.8 Sonnar / Forte Polygrade paper negative
I'm simply amazed at what I did here. Folks, you believe it or not, the 180mm Olympic Sonnar, in an unmodified Pentacon 6 version, covers THE WHOLE 13x18cm large format plate without any noticeable vignetting, at least at three fot distance. Absolutely incredible. Incredible. I still can't believe it. Magnification larger than lifesize. Oh my god. No vignettes. Oh gee.
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.
Tachihara 4x5
Nikon 200mm f/8 Nikkor-M
Kodak Ektar 100
Developed at Northcoast Photographic Services, Carlsbad, California
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)
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
Ok, you can't appreciate it in the picture, but this is the 'Olive' version, some sort of army green that is supposed to be a limited edition. It is curious, but what I thought when I first saw it was that it had a touch à la Graflex Combat Graphic, because of its color.
You can believe it or not, but I find the olive version certainly better finished than the black or silver versions. The silver version feels like a toy because you see silver and expect chrome, you know, metal, and what you find is just plastic. Disappointing. The black one is just fine. But the green one... the paint feels like some kind of lacquer that is nice to touch.
One more thing about Bessas: they age awfully, if you use them, I mean. The rubber body covers bruises VERY easily and tends to unglue from the camera, the levers are very fragile, and the paint peels surprisingly fast if you actually use it.
Don't take me bad, they are wonderful cameras, and certainly a good alternative to a M6, M7 or MP if what you want is a rangefinder with TTL lightmeter.
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
You know, it is very possible that most Leica cult literature is just bullshit. For example, why so much bashing the poor Summarit? It is a fantastic lens, but Leica literature dismisses it as a failure, when, inf fact, is terrific lens. Maybe it has something to do with the fact that it is not really a Leica lens but a Schneider design...
How I came to have four copies of it is a long story. I'm planning on selling some of them, Well, I had five before I sold the M39 I had... I need help.
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
Yes, the Bessa R2C is a crazy camera concept. Them guys at Cosina must have been on drugs when they came up with this: a rangefinder body for use with Contax lenses AS A NATIVE MOUNT.
I mean, now we take the Bessa R2C and R2S for granted, but finding out that they were there was as freak as reading that they were going to make a Bessa that would take Contaflex or Kodak Ektra lenses. Just crazy.
This said, I love it. Unitl the Bessa R2C shooting my 50mm 1.5 Sonnar was just hell. None of the alternatives was good: first I had the option of using it with a Contax or a Kiev, which is so painful because I wear glasses, and none of those cameras was designed taking glasses wearers into account. Then there were Contax/Leica adapters, tou know, those fragile adapters that cost just too much and are so fragile, and then, you just have to pray for them to be correctly coupled. Then you could just remove the optical bloc of the lens and adapt it permanently to L39 using a Jupiter 3 barrel, which is much more easily said than done. Or you could send it to someone that would adapt it for use in a Nikon RF...
You follow me? The Bessa R2C was a perfect, crazy, crazy, CRAZY answer to my dreams of using my Sonnars, in native mount, with a body that was as convenient, even more convenient, than that of a Leica...
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
Trying different film types with my 4x5" camera. 2 strobes.
Symmar 180mm
Ilford HP5 plus EXP.10/2018
dev. 7' in TMAX 1+4
11. Dezember 2025
The more I studied this subject, the more my mind saw a caduceus...
Tachihara 8x10
Schneider G-Claron 305mm f/9
Ilford Delta 100
Developed at Northcoast Photographic Services,
Carlsbad, CA
my first (sort of) solargraph on a paper neg - shot using an old fashioned view camera. A test for the Utata big summer project.
Camera: Toyo 45 GII, Schneider Symmar-S 240mm f5.6. Exposure: f32, 8s . Film: Ilford FP4+, developed in Rodinal 1+50, 14:20 @20.2°C.
1897 Ak-sar-ben Camera - Kodak Commercial Ektar 300mm- f/45 - Fomapan 100 - 8x10 Film - HC110 1+100 - Unaltered Negative Scan
The front view of Building # 17, one of the last remaining original buildings on the campus of Norristown State Hospital. The institution was originally known as the State Lunatic Hospital at Norristown. This structure dates to around 1880 and was designed by Wilson Brothers and Company. Norristown was historic as being the first institution in the United States to allow female physicians to practice.
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: 1/10th @ 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.
I've been out shooting Large Format about eight times now and I have yet to get out on a day that had anything but 100% cloudless lackluster skies. I'm still struggling a little bit with exposure on the 4x5 but I'm very deep into a stack of reading on the Zone System and things are starting to click in my head about what changes I need to concentrate on implementing. My large format learning experience marches on...
Arca Swiss large format camera with polaroid film back
Fuji Fp-100c instant film negative reclamation
model: Marina Mui
Graflex Pacemaker Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Kodak TMax 100 @ ASA-100
Kodak D-23 (Stock) 9:30 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC (2017)
Posing in 1991 with a Kodak view camera I restored that, when found, was spray painted matt black and being used to hold a window open.
Taken near Maffra, East Gippsland, Australia, by one of my Australian Air Force photography students. I took the camera out for a trial run, and it now resides, safe and sound, in my collection.
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Produced from the original negative in my collection.
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.
One of the last photos I took in Milwaukee with my 4x5 before I left for D.C.
August 9, 2016
Milwaukee, WI
The Burnham Bridge photographed from the adjacent fishing pier along the Menomonee River in looking NW. The Sprecher Brewery smoke stack is pictured behind.
4x5 View Camera
Ilford FP4 125 B&W Sheet Film
N-2 Development
Click image to see the finer details.
Detail crop of a 4x5'' film negative scan, showing the top of the Liaison Office of the Central People's Government in Hong Kong.
Taken with a Chamonix 045F1 view camera and a Rodenstock Grandagon-N 4.5/90 mm on Fuji Provia 100F (240 sec at f/16).
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
You know guys, Certex, the maker of the trascam above was quite a prolific business. They made more than 10 million cameras before being thrown out of business by Asian competition in the nineties. Almost all of them, with few exceptions were trashcams. I mean, if you loaded one of them with film today, it would double its value.
In its time it was a decent camera. Hipsters today would say it is a toy camera, but back in the day it was intended as quite a serious product, as in Spain import stuff was heavily taxed and entry cameras in the segment of the one above were far more expensive than local production ones.
You know, the Werlisa 2000 color had all what you need to take pictures: at a max aperture of 2.8, it had a realively fast (glass) lens, plus a shutter with speeds from 1/30 to 1/125.
But let me tell you what this camera is not: an honest product. Certex designed this camera to look like a much more expensive camera than it really was. it is quite convincing... until you hold it in your hands. It's then when you realise that not a single part of it is made of metal. The lens shows what looks like a film speed selector, which is not; in fact it is a factory 'suggestion' on the film speed you should use with the camera. There is even a fake lightmeter cell in the front of the lens and a fake projected brightline window. I don't really think it was made to cheat anyone into believing that it did things it actually did not, but, much like Taiwanese trashcams, it was aimed at people who didn't know anything about cameras and thought that this was the shape an expensive camera should have.
taken with 1901 Spanish made wooden field camera / lens FD Espagne triplet / Forte Polywarmtone direct paper shot
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)