View allAll Photos Tagged viewcamera
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.
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.
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)
This is an image from a seven picture series (1998) which I printed as gum bichromates using tritone separation and halftone negatives.
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 .
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.
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...
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.
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.
Another recent one. It took three weeks of nagging but my best bud eventually sat for a portrait in front of the big camera. :-)
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.
Mount your L-mount camera to the back of a large format 4x5 film camera with our 4x5 to L-mount Stretch stitching adapter! Use the stitching guides to slide the camera's sensor back and forth, capturing multiple photos to stitch together in post for a final large format image. This adapter only works with 4x5 cameras that use a Graflok back.
Learn more: fotodioxpro.com/products/4x5-l-p
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.
Lake Calumet, Chicago. Some time around 1994. Shot on an old flatbed 5x7 view camera with a 210mm lens.
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.
I HATE cropping a shot taken on a 4x5 large format negative... but I totally screwed up the composition on this shot! Still getting used to composing upside down!
Anyway, I am just amazed at the resolution & tonality of Large Format.
I just got my first box of 8x10 black and white film yesterday... I can't wait to see the results from 8x10!!!
Clouds over the hills above Eagle Rock in Los Angeles.
November 7th, 2020
There is a light leak in my film holder that affected the lower right of the frame so I have cropped this image. I think the composition works better this way.
Arista EDU 200 (8x10 film cut down to 4x10)
Chamonix 8x10 Camera
165mm Super Angulon
#29 Red filter
Scanned from a split grade contact print made on Ilford MGFB paper.
I have a ton of holders for 9x12 cm glass plates and adapters for them to fit into standard 4x5 and Graflok backs.
I cut metal sheets of 9x12 cm and put them into the holders where the glass plates would go.
Now Instax sheets can be clamped under the edge on one side and held with a piece of sticky tape on the other.
I made 10 of them so I can preload a pack of Instax 100 into the holders and use them in my view camera.
Then I take them in a darkroom and drop them back into the cartridge to have them squeezed.
I also made a viewing screen by mounting a piece of ground glass in a plate holder and cutting a window into its rear wall with the correct borders.
This is not necessary with my 4x5 view cam but it is good to have on a graflok camera.
While this is not instant photography it is near instant compared to developing negative sheet films .
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.
An old 8x10 Century Studio Camera No. 7A - produced by Eastman Kodak Company, circa 1900. This huge view camera stands about 5 feet high, and probably weighs over 100 pounds. (During the weekend, I came across this old camera in a museum exhibit about the history of photography, and I could not resist taking a photo.)
A modest test shot with a vintage brass barrel lens (manufactured in 1930). I used the old fashioned "hat shutter" for the exposure. ;-)
Ikeda Anba 4x5
Carl Zeiss Jena Tessar 180mm f/4.5
Ilford Delta 100
Design and manufacture of a Folding focusing hood for Linhof Kardan Super Color.
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Brașov, Romania
22 October 2018
Korona View 5x7 (large format). Ilford HP5+
Scanned negative
I scanned this negative on the flatbed scanner, but I need to make a contact print for better image quality.
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Fonthill was the home of the American archaeologist and tile maker Henry Chapman Mercer. Built between 1908 and 1912, it is an early example of poured-in-place concrete and features 44 rooms, over 200 windows, 18 fireplaces and 10 bathrooms. The mansion is filled with an extensive collection of ceramics embedded in the concrete of the house, as well as other artifacts from his world travels, including cuneiform tablets discovered in Mesopotamia dating back to over 2,300 B.C.E. The home also contains around 1,000 prints from Mercer's extensive collection, as well as over six thousand books, almost all of which were annotated by Mercer himself. It has also been long rumored that the ghost of Henry Chapman Mercer's housekeeper still haunts the Fonthill castle, making it one of Doylestown, PA's prime supernatural hot spots.
I completely messed up the exposure on this one but I still like it enough to post, knowing I will go back and shoot it again in the future.
4x5 for 365 Project details: greggobst.photography/4x5-for-365
Camera: Calumet 45NX 4x5 large format monorail view camera.
Lens: Schneider 90mm f/5.6 Super-Angulon lens in a Copal 0 shutter mounted on recessed lens board. B+W brand Yellow filter on the lens to help with contrast.
Film: Arista EDU 200 Ultra B&W Negative Film, shot at box speed.
Exposure: 1/15th @ F45.
Development: Self Developed in Kodak Xtol 1+2 dilution in Paterson Universal Tank using the Taco Method. 12 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.
Camera: Toyo-View 45GII, Fuji Fujinon NW 125mm f5.6. Exposure: f16, 1/2 sec. Film: Fujichrome Velvia 50 exp 10/2013, home-developed with the Tetenal Colortec E-6 3-bath kit.
Camera: Eastman View No. 2-D 8x10
Lens: Ilex Process Paragon 15"/9
Shutter: Packard
Exposure: 3 min. f/22
Film: Arista Edu 100 8x10
Tray Development: Caffenol-C 17 min. 68 F
Scanned from print - Adorama VG RC Perle
SEE THE CAMERA AT THE LINK BELOW:
First scan on my new (old) Imacon scanner.
This was taken with the Linhof 6x9 Technika and Voigtländer 114/4,5 Heliar. The plane of focus is tilted to be almost flat along the floor, probarbly both front and back tilt employed.
The film is Efke OP12 in 6,5x9 sheet film (A graphic film, the closest I know of now is Rollei ATO 2.1 but the ATO is not as hard to tame as the OP12.).
Developed in (used) Rodinal 1:50 1h semi stand development (ag + 30min still + ag 30min still).
Scaned on an Imacon Flextight Photo.