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I present the great Photographer Zack Bent. Zack will be exhibiting at
Vermillion Gallery:
August 12 at 6:00pm - September 4
1508 11th Ave
Seattle, WA
zackandgalabent.com/index.php?id=159,0,0,1,
single light source with reflector and a spot for the background - f/3.8 @ 4 seconds with the trusty vitax
Matson Photo Service,, photographer.
Matson photographing in Petra, 1934
1934.
1 negative : nitrate ; 4 x 5 in.
Notes:
Photo shows G. Eric Matson photographing in Petra, 1934.
Gift; Episcopal Home; 1978.
Subjects:
Photographers--1930-1940.
Jordan--Petra (Extinct city).
Format: Nitrate negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA
Part Of: G. Eric and Edith Matson Photograph Collection
Persistent URL: hdl.loc.gov/loc.pnp/matpc.21956
Call Number: LC-M33- 13947
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...
Located at 198 Main Street in Milton, the original Hemstreet Build had to be demolished in 2000 as renovations inside rendered it unstable. Replaced with a near duplicate. The original building was home to an early Milton Photography studio for local photographer George Albert Hemstreet. George, born in 1853 and raised on a farm in the Trafalgar Township, left the farm at age 23 and moved to Milton joining the dry good business with his brother and became a local photographer. He went on to serve as a Town Councillor and served 26 years as Clerk-Treasurer. He died in 1957 and is interred in Milton's Evergreen Cemetery. Today the building is occupied by Southside Community Church.
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Agfa APX 100 @ ASA-100
Rollei Supergrain (1+15) 7:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
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.
A bit of a departure, but the NSTR station dates to 1913 part of a branch of that network's interurban line that ran from St. Catharine's serving mainly tourist traffic to the growing Niagara-On-the-Lake tourist scene. It continued to operate under Canadian National Electric Railway in 1923. Passenger service ceased in 1931, and the entire network distributed to regional transit services by 1960. At this point the station was raised to include a basement and renovated with modern equipment, serving in various commercial roles. It underwent restoration from 2010 and opened in 2012 as a Blazac's Coffee Shop returned to how it would have appeared in 1913.
Graflex Crown Graphic - Nikon Nikkor-W 1:5.6/180 - Ilford HP5+ @ ASA-200
Pyrocat-HD (1+1+100) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scaner: Epson V700
Editor: Adobe Photoshop CC
The Roundhouse is one design of locomotive storage that crosses all railroad operators and is as old as the railroad itself in Ontario. Toronto was once home to several of these massive locomotive storage facilities, today there is only one survivor, the John Street Roundhouse. Constructed between 1929 and 1931 for Canadian Pacific, the John Street Roundhouse clocks in at 9,300 square meters and could house 32 locomotives at a time. At the centre a 120-foot turn table allowed for quick deployment of these locomotives onto tracks. The John Street yards were Canadian Pacific's primary engine storage and service facility and the complex at its height contained 43 buildings on 16 acres. The shops operated 24 hours a day and locomotives maintained there always left with a John Street Polish. Even after the last steam locomotive was retired from the CPR fleet in 1960, John Street continued to service CPR and Diesel Engines until 1986. At this point, much of the once mighty rail lands in the city were disappearing and CPR donated the roundhouse to the city who in 1997 created Roundhouse Park. Today the Roundhouse is home to the Toronto Railway Historical Association, Toronto Railway Museum, Steam Whistle Brewing and the Rec Room entertainment complex and is home to several pieces of rolling stock and former railroad structures.
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
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.
This Photograph that I took in September 1991 shows Madison Photo Plus in Madison, New Jersey, where I bought most of my Photography Equipment before 1996, when I still lived in New Jersey. Next door is Rocco's Pizza, where I often ate lunch when I worked in nearby Florham Park.
Disclaimer: I took these photos in September 1991 with my Minolta Maxxim 5000 SLR using Color Print Film, when I was just learning photograph; so they are very soft & grainy. I scanned the Color Negatives and used Photoshop Elements to correct the exposure and to generate these Digital Images.
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.
My Web Site and Blog: Gary L. Quay Photography
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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.
Another recent one. It took three weeks of nagging but my best bud eventually sat for a portrait in front of the big camera. :-)
taken with 1901 Spanish made wooden field camera / lens FD Espagne triplet / Forte Polywarmtone direct paper shot
Early morning shot of the jade lady peak in heavy fog. I have to wait until well after sunrise before the fog cleared enough to even see the peak. Unfortunately by that time, most of the low fog over the water had already cleared and the light was getting slightly too harsh for my taste.
The shot was made using the Rodenstock Apo-Sironar-S 240mm f/5.6 with a 2-stop soft grad. The film used was Foampan 100, home developed in ADOX Rodinal 1+25 dilution then scanned on an Epson V850 flatbed.
William Henry Jackson's original stereo view of Cheyenne's roundhouse. The left and right hand images were apparently not shot on a stereo camera on a single sheet of film. However, it seems Jackson was scheduled to photograph an auspicious event in Utah.
As you can see below, I did an extensive edit but left it ostensibly old.
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative developed with 'Wineol' / Positive silver contact print copy in Forte Polywarmtone developed with Wineol
Wow, I find the results I got with my hand-made developer just impressing. It is slow, yes, smells of sewer, yes; but its interaction with Forte Polywarmtone RC paper is amazing. I NEVER got similar results without toning, either in PS or by chemical means; specially tones as strong as this precious golden brass shade. The softening effect of the paper contact print adds even more to the image. I love it.
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.
Please go here to see more images of Photographers at Work
www.flickr.com/photos/69559277@N04/sets/72157629353901321...
Produced from the original negative in my collection.
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).
This is an image from a seven picture series (1998) which I printed as gum bichromates using tritone separation and halftone negatives.
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.
This is a carved statue depicting a Mother and her Son. A valentines day gift for my Wife, one of the most loving Mothers I know.
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: 20 seconds @ F22 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 left. 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.
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. Slightly sepia toned in Lightroom 4.
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)
Glory in the Highest to God.
Pacemaker Crown Graphic - Schneider-Krueznack Symmar-S 1:5.6/210 - Agfa APX 100 @ ASA-100
Kodak HC-110 Dil. B 7:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC (2018)
The Cecil H. Green Library at Stanford
Libraries are dangerous places. You step into the stacks, pick up a book and you never know what you're going to learn.
Fujifilm RVP 100, Sinar F1, 90mm f/8, 3:30 exposure, pulled 1.0 stops. I had to sign a release and speak with the administration to be allowed to photograph here - but the folks at the Green Library were very helpful.
Libraries are, in some ways, transforming. I came from a university that built a library where robots retrieve volumes from an underground labyrinth and I now work at one that built the first "bookless" library.
Be that as it may, for as long as I live, I will still remember fondly the firm stone floors and darkened hallways leading from the reading rooms to the stacks. There's something about the smell of old paper and the chill breeze; every corner is a new intellectual adventure.
It's a simple bit of magic, really. A matter of curiosity leads you to a cryptic number and through the winding maze of onionskin and tattered, yellow pages. Then, somewhere, in the bowels of the place, you find the callnumber at the end of a long row of shelves that recede into soot and pitch. On the bottom of a dusty shelf, crammed between like volumes you find communion with an expert often long passed. But the magic goes beyond this first act. The stacks are, in reality, a system of positional information. Next to your tome are 10 others in varying degrees of utility directly related to your quarry. And so, rarely, have I headed to circulation with the one volume I sought.
And speaking of magic, I will write more in the future about the experience of 4x5 color film photography, but, for now, let it be said that the scan you see on this page is an attempt to faithfully recapture the luminosity, saturation and vibrance of seeing the frame of film through a loupe on a lightbox. The attempt invariably falls short in the same way that a well-brewed cup of coffee only partly recreates the aroma of the perfect roast.
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.
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
The Twelfth night is a blessing even for us unholy unvelievers. Epiphany has been generous for me this year, as the three kings brought me this little jewel from the Lomography wares. My wife paid for a KM, Lomography sent me a KM Plus. What can be better than this?
Well, the camera itself is not that exciting. I feel a little sting every time I look at it, thinking that there won't be any more Zenits. And maybe this is good, because this camera is not really what I would call a worthy heir to the name of Zenit, not even the Zenit Automat line.
I find it funny that most of the (too) many camera commenters in the Internet are so stubbornly insistent on comparing the KM and KM+ to mehcanical Leica-inspired Zenits, like the TTL, the E or the later 212-312-412 line, when, in fact, they are nothing even close.
The KM+ is the last iteration of the Zenit Automat, a SLR that only shares names with the original Zenits. It is a SLR of more Japanese inspiration; I think the amateur Canons were a final influence on them. They were substantial cameras, with a sturdy look; one only has to look at the (normal sized) mirror to see that the insides were absolutely different than those the original Zenits. This KM is to the Automat the same the 412 is to the TTL: a 'made in Russia' cheap feeling plastic body with an attractive design.
I find strange that the name of this camera is 'KM' because KMZ used the 'M' designation for their auto diaphragm M42 cameras, while they used 'K' for their Pentax bayonet ones. Thus, 'KM' is a name not too consistent with previous KMZ nomenclature, which of course doesn't matter because no other Zenits will ever be made...
Over the past 2 years, I have attempted to photograph this classic overlook in San Diego near sunset with disappointing results. The lighting has either been harsh and inordinately contrasty, or flat due to overcast skies. I had not been able to time it just right. This past week, though, I dedicated a stretch of days to scout and await the right conditions. I was hoping Nature would provide modest cloud cover with a patch of sunlight to impart a *touch* of contrast to the landscape. On this particular day, Nature delivered the goods.
Torrey Pines State Natural Reserve
San Diego, CA, USA
Tachihara 8x10
Fujinon-A 240mm f/9
Kodak Tri-X
Developed at Northcoast Photographic Services,
Carlsbad, CA
I describe the making of this photograph in an article on the on-line publication Photography Life .
Linhof Kardan Standard / Meopta Belar 4,5 75mm enlarger lens / Agfa MCP direct paper negative
See? This is my next project: a trashed Graflex reflex model I picked for almost nothing in the evilbay. Truth is that I thought it would be far worse than it is. The only visible damage is in the leatherette and the carrying strap, which is missing. There was no front lens rig door, and the bellows of the lens bed was diattatched but it was perfect, almost like new. When I unfolded the viewfinder I was surprised to see that it was also like new. It looks like it has not really been used since it was made. The focal plane shutter works well, better than expected. The only issue i've noticed is that the i can't wind to the '6' tension position, but I don't really care. So a few repairs and the camera will be shooting again!
Well, not quite, cause there's one more minor issue with it: the film holder back is not Graflok, but of the older Graflex type. Back in its day, it could have been desirable, as it allowed for up to 12 expositions without changing holders, but nowadays, the kind of film pack for this holders is no longer made. I tried to fit a standard 4x5 back in with no good results. I don't know yet waht to do: I'm trying to locate some two exposures 4x5 backs for this system, but I'ven't had much success. I've thought also that I could buy some more film pack adapters like the one I have and use them as one exposure backs, wich could be done just by washing the distance between the flattening springs and the focal plane, but this is not ideal. The best solution would be replacing the whole thing for a standard Graflex back with or without focussing glass, but this sounds to me like no little adventure as doing things with my hands is not really for me, and Graflex backs are expensive.
I really took this picture to test one of the lenses I was planning to use with the camera: an enlarger Meopta Belar 4,5/75. I'm a little bit puzzled by the 'personality' this lens has. I really hadn't expected the extreme softness and low contrast rendered, but I think I will live with this. I'm also considering other options for this focal range, like a Volna 3 P6 mount lens, which I still have to test. One other option would be using Leica Visoflex heads for the 90 and 135 ranges; I'm quite sure they cover without any problems the 6x7 frame, as there are some guys out there using them with their Pentax 67 medium format cameras.
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.
Josef Nollet, Ehemann der Photografin Anna Nollet in Schlanders (Tirol) nebst einer historischen Kamera.
Josef Nolle, postman and husband of the photoger Anna Nollet in Schlanders (Tirol) with her camera.
Mehr zur Photographin Anna Nollet
Linhof Kardan Standard / Ernolux 2.5 75mm projection lens / Agfa MCP paper negative
Ok, many of us iconomecanophiles dispassionately despise Kodak camera production. This is quite unfair, I have to concede that. And I'm not only thinking about Ektra and the top of the line Kodaks, the grandeur of Kodak resides in models like this Bullet: a small and foolproof camera for everyone, which is what Kodak mainly did.
Natural light, shot with a Calumet 4x5 view camera, on Kodak Portra 160 and developed at home with a Jobo C-41 Press Kit in a Patterson Universal Tank, using the "taco method" of folding the film with hair bands.
The chemicals were exhausted, so there was a minor color shift, and I'll probably not use hair bands next time to avoid marks, though that wasn't a major issue. Overall, this was a positive and productive first attempt at developing 4x5 film at home. Except the part where I sprayed Blix all over the kitchen sink.
www.jcm-photo.com (Major updates coming soon!)