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The Solvay Coke & Gas Company of Milwaukee was opened in 1906. This once state of the art facility was used to procure coke; a fuel derived from coal. In April 1983 the site was closed as the demand for coal fuel diminished and ultimately replaced by natural gas.
Demolition of the site has been in the works for years, but because of high levels of soil contaminants in conjunction with the extensive cleanup mandates established by the EPA, the site has remained untouched for nearly 3 decades.
February 2012
Milwaukee, WI
4x5 Omega View Camera
150 mm Rodenstock Sironar f/5.6 MC
Ilford FP4 125 B&W Sheet Film
Cokin P003 Red Contrast Filter
Developed in D76
N-3 Development
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
It is no surprise that there are Praktica fans out there. After all, if a compact camera like the Lomo Kompakt Automat have a cult behind, why not the Praktica, which offers MUCH to collectors when it comes to seeking rare and transition samples and, the models and lenses in the range, etc. Guys at praktica-users.com website, sadly now defunct, stated that, even if in its time there were for sure options that offered better quality than the Praktica line, the Praktica was quality at a very low price in comparison.
Quality for sure? Well, maybe if we compare the Praktica line with other products of communist economies we can say that it was made up of quality products. Trying to speak about quality more than 20 yeaars after the demise of a mass produced product is difficult, because, if we think logically, only good samples will be in circulation by now for collectors and users to acquire...
If we compare Prakticas, products of planned economy as they are, to Soviet cameras, for instance, it is true that Prakticas and Pentacon glass look much better. The übermenschen theory, with many proponents, not just in the camera production field, is that the Germans (more often stated as "we Germans") kept their inherent seriousness and savoir fair even in the times of an economic system that discouraged quality in favor of numbers. Russians, inferior as they were, could never achieve similar results. Maybe there's some truth in that. Maybe there are other factors too, like that of the Soviet economy and resources being constantly drained by the absolutely disastrous economies of East Europe or the comparatively much smaller size of the industry conglomerates in DDR to those in USSR, which would have made for more flexible and easy management. And many more. Proponents of the übermenschen theory would not listen to any of the former, of course.
Whatever the reason, it is true that generally speaking, almost any Praktica sample you will find in ebay or in a fleamarket will be in significantly better shape than any used Soviet SLR the same vintage. And that speaking only of all-mechanical models; if we extend this to electronic ones, the difference is even greater.
So yes, Prakticas are better than Zenits.
But Zenits are cooler. Period
My friend Le Fras agreed to help me with a shoot and showed up wearing a suit. We went to an abandoned building site and took a few photos. Shot using my DIY large format camera. Arista Ortho 2.0 film. 4 second exposure at f32.
Don’t you like it when something turns out right the first time.
The two 5x7 glass plate holders I bought off eBay arrived today and they fit the camera perfectly. Something you can never count on when matching film holders to a 120 year old camera
The camera is a Rochester Optical Monitor made between 1894 and 1901. One of the holders is marked Rochester Optical and Patent Dated 1890. The other holder its identical, but it isn’t marked. As a bonus, both holders have metal film sheaths to make them able to use 5x7 sheet film. The seller's description didn't mention the Rochester Optical markings so that was really a pleasant surprise.
I have a Dagor lens coming to complete the outfit and the plan is to shoot some glass plate negatives while showing grandson John how a large format view camera operates. I'd like to give him an idea of how I spent my time under a darkcloth in the '70s, '80s, and most of the '90s.
I'll bet this would look amazing if it had some water running through it and down into a small waterfall into the main creek below.
Pacemaker Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Rollei RPX 400 @ ASA-400
Kodak HC-110 Dil. B 6:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC (2015)
Venue : Peak
Camera : TOYOVIEW VX125G
Lens : Rodenstock Grandagon 90mm F6.8
Aperture : -
Shutter Speed:-
Film : Fujifilm RVP 50
Scanner : Epson GT-X970
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
The Soviet camera industry didn't look too much to America to copy their products (let's face it, few Soviet cameras were original concepts). Most of the time they designed cameras based on German and Japanese concepts; just because they were not fools, as Germans and Japanese were the leading powers in this business.
Thus, the Moment is a strange beast in the Soviet camera world. It is to the Polaroid 95 what the Kiev 6C was to the Pentacon Six: a model very much inspired in the original, so much that it couldn't be sold in the West because of flagrant patent infringement; but it wasn't an exact copy.
The entrails are pretty much the same, as the instant photography system was copied exactly, but there are many different things.
The Soviet Moment looks much more like a camera from the twenties than the Polaroid 95: the lens assembly of the Polaroid is rather innovative and complicated compared to the one on the Moment, which even has a reflex finder like earlier folders. The shutter of the Polaroid is especially made for people that do not know too much about photography; this path was strictly followed by Polaroid in the subsequent decades. The shutter of the moment is a more classic design; in fact, it is probably a part adapted from other cameras.
As far as I know, the lens of the Polaroid is a simple doublet lens, while the lens of the Moment is a Triplet, as can be deduced by the letter 'T' in its name. The Soviets used to name their lenses by their optical design, pretty much like Zeiss. As for the max speed, the moment is 6.9 and the Pola is f11. Yes, the Russian lens is better, but we have to admit that the Polaroid lens is more than enough to take 8x10cm images that will not be enlarged.
The bellows of the Moment is of better quality, being leather. Ironically, the synthetic bellows of the early polas have aged better, as natural leather, being organic, is more likely to have issues like fungus, mold, etc.
I think that all this differences are more likely to be due to use of available parts and a rather conservative approximation to design than to a genuine attempt to improve the original Polaroid 95 model.
I love both cameras and, from time to time i load them with regular photographic paper and shoot a few negs. I love them.
A simple Slinky reflecting on a mirror, a shot that works well with the high contrast nature of X-Ray film to feature the specular highlights from the metal of the Slinky.
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.
Linhof Kardan Standard / Schneider Symmar / Agfa MCP direct paper shot
This is a Zorki 1e, according to Princelle's classification, with a 'luxurious synthetic leather' cover made to commemorate a VIP visit to Krasnogorsk. This passage in Princelle's book has always intrigued me, serious. What VIP? Does Princelle mean that this was given to VIPs in their visit to the factory? Is this kind of cover common?Damn, I think I'll never know, but I really do not find anything luxurious in this cover; I really like the regular one more.
I bought this set for almost nothing from a Lithuanian non camera specialist seller in evilbay, who did not provide any info about the history of the item. In fact, it was sold left for dead, as the lens iris was stuck, the front element of the I-50 looked fogged, the rangefinder was badly misaligned and had little contrast. Fortunately, all these issues were easy to solve, all I needed were a tissue and a jeweler screwdriver set; once the job was done, the camera was restored to full working order. Darn, if all repairs were so easy...
Cambo Actus / Zeiss 21mm Distagon / Sony A7II
Scheimplfug focussing front tilt down, swing left
If you want to licence this photo in high resolution, please contact me: zip.zipsen@gmail.com
A Sanderson quarter-plate camera, circa 1905. It was my great-grandfather's, and now my grandfather is preparing to move house and has passed on his photographic collection to me.
I'd really like to be able to get it working: it needs various little bits of trivial mending on the case, I don't yet know what state the bellows are in and the shutter on this lens definitely needs work. Even if I can get it working, the plates are no longer available so I'd be working with sheet film laid over plain glass. I'd also need a proper darkroom to do tray processing. It seems that sheet film of the appropriate size (4¼ x 3¼ inches) is available, if rare.
The lens mounted on it is a Cooke Aviar 5¼in. f/4.5 in a dial-set Ilex shutter, and is rather later than the camera – 1920s or later. I also have an Aldis Brothers lens in a pneumatic Bausch & Lomb shutter that was used by my great-grandfather with the camera.
Toyo 45CF 4x5", Rodenstock Grandagon N 90mm f4.5 lens, Fuji Velvia 50, Tripod
aperture: f22.0
exposure: 12 min.
DRUM SCANS BY CASTORSCAN
Photo: Marcus Schneider
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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.
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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.
Uploaded sharper version 3/9/20. Also corrected the color balance as much as was possible. I may have to rescan this one, and start over. The description below is from 2013.
I shot this with my friend Mike Jensen, known on Flickr as Forlorn Film Cameras, on a June photo expedition just before he left for Texas. I suppose I could have shot from the roadway below, but I kind of like the Old Columbia Gorge Highway. There's a lot of interesting history there. I don't mind including a slice of it in my photographs.
Camera: Speed Graphic 4x5.
Lens: 127mm Kodak Ektar.
Film: Kodak Portra 160 VC
# #pnwexplored #myoregon #vistahouse #garyquay #cascadiaexplored #oregonexplored #summer #hoodgorge #outside #outdoors #pacificnorthwest #speedgraphic #viewfromhere #onlyinoregon #traveloregon #columbiagorge #filmphotography #film #largeformat #viewcamera
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Linhof Kardan Standard / Helios 40 / Polaroid Chocolate instant film
I'm fascinated with the results I get with Helios 40 in large format. Well, sort of, cuz the effective image area of my Polaroid back is 7x9ish.
Aero Ektar? Ha! You want narrow focus and swirl at the edges? Just try Helios 40 in your view camera and you will know the real thing: a few mm focussing zone and biotar bokeh.
I once found a lens review page that rated Helios 40 an 'underdog'. UNDERDOG? Very soft, they said, no resolution around the edges, they said. IT'S A PORTRAIT LENS, FOR GOD'S SAKE. It is supposed to be soft everywhere. BTW, it excels at what I use it for: a soft soft pictorial lens.
Arca Swiss large format camera with polaroid film back
Fuji Fp-100c instant film negative reclamation
model: Marina Mui
Located just outside of Reading, PA, this mill was built by David Gring in 1811. The Miller's house was built in 1831. There is also a large barn off to the left that was built in 1896. Today Gring's Mill is a park and recreation area and the buildings house the Berks County Parks and Recreation Department's administration and maintenance offices. The Union Canal Trail that runs alongside the creek is a favorite with the local joggers and walkers.
Shot with the Calumet CC-401 4x5 large format monorail view camera
Rodenstock Geronar 150mm F6.3 lens in a Copal 0 shutter
Arista EDU 100 Ultra 4x5 B&W sheet film which I shot at 64 ISO
Shot at F32, 1/8th second shutter speed. Metered with a Pentax 1 degree spot meter.
Self Developed film in Rodinal 1:100 using semi-stand development in Paterson Tank using the Taco Method. Tap water stop bath. Ilford Rapid Fixer. Photo-Flo. Hung on shower curtain to dry on film clips.
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.
Zeiss Ikon 7.5cm f6.3 (wide open)
todaystomorrow.tumblr.com/post/19109939479/the-5dmkii-vie...
Built in the 1850s as the seat of Halton County and Court, the building served in that roll until the mid 1970s and has seen extensive renovations in the 1980s to the new Milton Town Hall and still serves that purpose today.
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford HP5+ @ ASA-400
FA-1027 (1+14) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
Double Exposure
Intrepid 4x5 MkIV
Rodekstock Sinar 210mm Lens @F/8
Kodak Tri-X P 320
Dev: D-76 Stock for 6 Min
Death Valley National Park, California, USA
Tachihara 4x5
Nikkor-M 300mm f/9
Ilford Delta Pro 100
Developed at Northcoast Photographic Services, Carlsbad, CA
The history of St. Peters dates back to 1825 with the original settlement of Erindale. The first building constructed in 1826 was a simple wooden frame church, the first services were held a year later and consecration took place in 1828. The white frame church survived until 1886, and in 1887 a new stone church began construction and the old church torn down. The new building was constructed out of local stone, and moved by hand up the hill where the church stood. The bell tower and steeple were completed in 1910 and the basement was expanded to hold a Church School during the 1930s. A narthex and church hall were added in 1959. Today St. Peter's remains an active church in the village.
Graflex Pacemaker Crown Graphic - Wollensak 90mm f/6.8 Raptar Wide Angle - Kodak Tri-X 320 @ ASA-320
Kodak D-76 (Stock) 5:30 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
Van Nuys, CA 2013
Toyo/Omega 45F
Nikon Nikkor-W 210mm (82A filter)
T5.6
1/30 shutter
Fuji 160NC (rated 80 ASA expired 2006)
process: Richard's Photo Lab Los Angeles processed normal
scan: Epson 4490
color: Lightroom
"Eastman View No. 2 Improved Model of Century View and Empire State No. 2" by Eastman Kodak. Not uncommon, but hard to find one in such fine condition. Super wood & glass. The original red bellows extends to about 24" with auxillary rail.
Now you''re probably thinking I'm totally mad, because I spent a lot of money and time to design a compact version with a plastic custom body, and now I'm thinking again to go back to the bulky view camera...
At this point I don't care anymore about expenses. every time I try to not spend too much I end up with something not perfect and then i have to spend more to change it. so this is my last and definitive design(well.. by now it's only a sketch...): the premise is to build a camera even more precise than the "big ones" (like the Alpa) to take the maximum advantage of the scanner's resolution.
I don't care if it will weigth a ton. I'll use aluminium, stainless steel and brass, with high precision guides and ball bearings.
Also I'm re-designing the entire interior of the camera.
I hope to finish it before winter 2011.
Last month I purchased 300 sheets of 5x7" Thermo Scientific CL-Xposure blue base X-Ray Film (mystery film) on eBay for a total of $30 and Monday was the day to test some out. My Wife's birthday was on Friday and she received these flowers from a family member so I decided to test out the film with the flowers and my Burke and James 5x7.
There were several goals I had in mind for this test including making sure the film was good, figuring out what the film's ISO was, trying out development of X-Ray film using glass lined trays under red safelight instead of my usual daylight tank processing and finally to try developing X-Ray film with Pyrocat HD instead of my usual Rodinal. I think I succeeded on all counts. I'm a happy camper with 299 more sheets of 5x7 to shoot.
Technical details:
Burke and James 5x7 large format film camera.
210mm Commercial Komura F6.3 lens, of a Tessar design, in Copal 1 shutter.
5x7" Thermo Scientific CL-Xposure blue base X-Ray Film rated at 100 ISO.
2 seconds at F32.
Lighting via two large fluorescent bulbs placed camera left and white bounce card camera right.
Developed in Pyrocat HD 1:1:100 @ 20 degrees Celsius in trays using development by inspection under red safelight. Development time about 5 minutes.
5x7" negative scanned with Epson V600 in three passes and merged together in Photoshop using Photomerge function.
Linhof Kardan Standard / Schneider Symmar / Agfa MCP paper negative
Here you have the cutest of SLRs, the Zenit C with the amazing but monstrously huge Helios 40 (notice the low series number on the lens front). This is a rig I would not really use to go shooting out; I just show it ofr illustrative reasons: I mean, that the lens that should really live in a first generation Zrnit (like a C, 3, 3m or Kristall) is an Industar 50 (or its early version, the 22) and nothing else. Anything else looks exremely unblanced, even a Helios 44, which is by no means a big lens, looks so off in a Zenit. It looses its elegance, its beauty, its balance... it stops being a Zorki, a Russian made Barnack Leica, a killer design, with a mirror box and starts being just another SLR...
Seth is one of the finest analog color photographers in Seattle and tonight I had the honor of taking his portrait.
A section of the Snyder path located at the intersection of Emmitsburg Road and West Confederate Avenue on the Gettysburg Battlefield National Historic Site.
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 #29 red filter on the lens to bring out some drama in the sky. Unfortunately, there wasn't much in the way of cloud formations, only a vapor trail from a jet.
Exposure: 1/4 second @ F45 with film rated at box speed. Metered with a Pentax 1 degree spot meter.
Film: Ilford HP5+ B&W 400 ISO Negative Film.
Development: Self Developed film in Kodak Xtol 1+2 in Paterson Universal Tank using the Taco Method. 15 1/2 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 scans and merged back together in PhotoShop since the V600 doesn't natively support 4x5 scans in one pass. Cropped to square format in Lightroom.
The ski lifts are long shut down, and all the snow has left the hill (finally) although I do hope to get back for the Hops and Harvest Festival this fall!
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Agfa APX 100 @ ASA-100
Kodak HC-110 Dil. H 14:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
De oude plek waar de HKU (High School of Art Utrecht) was gevestigd en nu dit nieuwe gebouw werd opgezet.
The old place where the HKU (High School of Art Utrecht) was located and now this new building was established.
Open diafragma @ f/4