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Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
I bought for cheap (in relation to its actual price) this FED Summar. I know it didn't work too well, as according to the description by its vendor, the blades were stuck. Not too much of a problem, I thought, as this is easily repaired, maybe 30 bucks if you don't dare to do it yourself. So I bought.
But it turned it wasn't so cheap, as there were more issues apart of those described by the scammer who sold it to me.
Just for the sake of playing, I attached it to a Zenit S. Yes, i know that this is like shootting through an extension tube, but I just wanted do see image through this lens. To my dismay, I dound the image strangely dark; thus, I began to suspect I had been scammed. I don't have a Leica M digital, so to test focus I attached a ground glass to the back of my Canon 7s rangefinder and set it in 'T' exposure mode. It was impossible to focus, it was so so far from infinity.
I had a theory, but to confirm it I had to disassemble the lens, something I don't feel comfortable doing normally, and what i found was to confirm my thoughts. Just two elements, one at the rear and one at the front; nothing in the middle except for a poorly mounted iris. Sigh.
This exposure was of an adjacent fern to that in the previous exposure, but under illumination of more contrasty light and at 1:1 range.
Cambo SC 4x5
Fujinon-A 240mm f/9
Ilford HP5 Plus
Toyo View 57G, Rodenstock Apo-Ronar 300mm F:9(f11 at 2'), 1200w blue light reflector+300W fill, 4x5 clear glass, wet plate PoeBoy collodion, Fe2SO3 negative developer, 20% tiosulphate fixer, not varnished
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Camera: Chamonix 045N-2
Lens: Schneider Symmar-S 210mm (Copal 1)
Film: Ilford Delta 100 (expired 2006)
Shutter Speed: 1/2s
Aperture: f5.6
Development: Self developed in Microphen Stock for 10mins. Additional time given due to pushing 2 stops. I failed to take both reciprocity and bellows extension into factor.
Scanning: Scanned via drymount on betterscanning holders using an Epson v700.
Details: Taken in Cypress, Texas. 2015. My third sheet of 4x5 film ever taken. Lighting was artificial. A lamp with LED bulb and pillowcase over lamp.
My first ever official photo shoot with the 8x10 camera!! Lots to learn, but a wicked fun experience! I was totally guessing at everything... I have no experience with how the depth of field works at 8x10 and a 330mm lens sitting around 10 or so feet away at f8. I am sure a year from now I will look back at these shots and think they are so weak, but for now.... I am stoked!
Adam is a friend of mine, a fellow photographer with swagger! He showed up and I was very happy to see the wicked outfit!
Portraits - Chambre 4x5 - Busch Pressman D - Optar 135/4.7 - Foma 100 dans Rodinal (25ml/1.5m) - stand dev
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
Camomile flowers shot with a Rittreck View and a 90mm Super Angulon.
13x18 x-ray film (green sensitive Fuji HR-E).
Rotary development in Ilford MG 1+50 in diy PVC tube for 8min.
Scan from contact print on Ilford MG Warmtone paper at grade 2.
Camera: Toyo-View 45GII, Fuji Fujinon NW 125mm f5.6, exposure f8-11, 1/8s. Film: Fujichrome Velvia 50 exp. 10/2013, home-developed with the Tetenal Colortec E-6 3-bath kit.
Taken with Cambo SC view camera with Emil Busch Portrait Aplanat №4 (355.6 mm - 14 inch. f/4). Exposure time is about 1 minute.
Kathedrale basiliek Sint-Jan Evangelist 'S-Hertogenbosch Start building in 1350, became cathedral in 1561; burned in 1584 and was rebuild until 1622
Photographed with view camera Cambo ActusMini and Zeiss Distagon 21mm f/2.8 with Sony 7MII
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
I normally visit antiques shops looking for cameras; you never know what you fill find there, and as I'm planning on starting a camera buying and selling business in the mid-term (if I get enough funding) I find it a useful experience.
This is what I got a few days ago at a local 'antiques shop'. In fact, it was more an indoors junkyard than anything else; these are the kind of shops I like.
I looked at the shelves until I found the camera section: a cupboard with a glass door filled with trashed brownies, abysmal 8mm cameras, some rusty SLRs and three or four folding 6x9s. When I took a close look I could not believe what I saw: the camera above, nothing less than an Argos. The salesman was hard on bargaining; he was not going to offer a discount on the outrageously high price he demanded for the camera. He asked double for all foldings than for a working Canon AE-1 (which I ended buying with a 50mm 1.8 lens for a ridicously low price). That's why I hate dealing with people that doesn't know what they're selling: they do things like that.
Even If he had been a real camera dealer, I doubt he would have known that, ok, I paid for the Argos much more than I thought I was going to pay, but even though, the camera is worth one hundred times more than what he got for it.
Nothing less than an Argos! This camera was made in the post-war era in Spain (that means from the forties onwards), a grindingly poor and wretched country that banned the importation of practically everything. So, Spanish manufacturers would corner local markets without great products. This was a paradigmatic example.
This camera was sold by OsmiaService, which before the war had been the official distributor of Univex cameras in Spain, selling Univex cameras manufactured locally. In the dawn of WWII, OsmiaService kept using the Univex trademark in spite of the relationship between the two firms had not been formally renewed. The two first versions of the Argos were called Única III and Única IIIa, just like real models of Univex designed cameras were called in the local market. I don't know for sure why the last model was rechristened Argos.
Few units would have been made, all with shoddy quality and abysmal design. It is very provable that their owners simply disposed of them once they had the opportunitty to get something better. Thus, this is a very rare camera, a jewel for a collector, even a modest one like me.
1966/Spring, “International Photo Technik” (photography magazine from Germany, English edition).
Back cover.
Same print as the stragith one, but this time toned in Moersch MT3 sepia kit, using solution "E". Bleached for about 5 mins until well into the midtones. Toned for 5mins in fotospeed Se toner (1/5) to acheive the colour shift. Film was HP5, taken on a Chamonix 045n-2. Printed on Ilford MGIV FB.
Hvaler. Kamera: Horseman L810. Objektiv: Rodenstock Apo Sironar N 240mm f/5.6. Film: Ilford FP4+ 8x10
Arca Swiss 69 F-Line View Camera, 100mm Rodenstock Sironar-N lens
Fuji Acros Film at ISO 100
f/32 at 1/8 seconds
Developed in Ilford DD-X using a Jobo processor
Digitized using a Fuji GFX with 105mm Micro Nikkor lens
Harris & Ewing,, photographer.
Posing Cliff Berryman
[between 1905 and 1940]
1 negative : glass, dry plate ; 8 x 10 in.
Notes:
Title from unverified caption data received with the Harris & Ewing Collection.
Glass negatives are not served for regular reference use.
Photograph shows a photographer kneeling in front of cartoonist Clifford Berryman, who is seated in a chair.
Forms part of: Harris & Ewing Collection (Library of Congress).
Subjects:
Berryman, Clifford Kennedy,--1869-1949,--Social life.
Photography--1900-1940.
Photographers--1900-1940.
Photographic apparatus & supplies--1900-1940.
Format: Portrait photographs--1900-1940.
Glass negatives--1900-1940.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA
Persistent URL: hdl.loc.gov/loc.pnp/ppmscd.00017
Call Number: LC-H25- 23400-C
Camera: Toyo-View 45GII, Schneider-Kreuznach Super Angulon 90mm f8. Film: Fujichrome Provia 100F, home-developed with the Tetenal Colortec E-6 3-bath kit.
Established in 1897, the T.C. Esser Paint & Glass Company distributed paint to all of Milwaukee.
This particular building was the last of 7 structures at T.C. Esser Paint & Glass site (located at 32nd and Galena in Milwaukee, WI).
The building was eventually demolished during the fall of 2011. The area has remained undeveloped to this day.
October 2010
Milwaukee, WI
4x5 Omega View Camera
150 mm Rodenstock Sironar f/5.6 MC
Ilford Delta 100 B&W Sheet Film
Red Contrast Filter
D76 Developer
N-3 Development
Note: I forgot my handheld light meter w/ the 1 degree spot attachment at home for this shot. Instead of getting flustered and giving up, I decided to use the 5 degree spot-meter inside of my Olympus 35mm camera (OM-4) which was conveniently fitted with a 70-200mm lens. Don't ask why I had the 35mm camera with me and not my actual lightmeter, but hey, it worked out in the end anyway lol.
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.
Fomapan 100 @ iso 100. Adolux APH09 (Rodinal). Dilution 1:100, (4ml in 400ml), 19c, 90 minutes. Agitation - 4 inversions 30 minutes. Two water baths (stop). Alkaline fix for three minutes.
Photographed in November, 2004.
Linhof Technika
Schneider Super Angulon 90mm f5.6
Exposure of 2 min @ f32
Film developed in Rodinal
The Garden Camera gets new bellows.
I've probably put no more than a half dozen rolls of film through this since I made it back in 2003, but I figured it deserved a new set of bellows to accompany the new pinhole shutter I prepared last week. So time to break out the matte red.
It's an awkward toy in its own way and fully warrants its title of 'Garden' camera (being so much smaller than a folding 'Field') but it's still probably about the lightest 6x7 around. RB67 film back.
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.
Venue : Peak
Camera : TOYOVIEW VX125G
Lens : Rodenstock Grandagon 90mm F6.8
Aperture : -
Shutter Speed:-
Film : Fujifilm RVP 50
Scanner : Epson GT-X970
Torrey Pines State Reserve
San Diego, CA, USA
Ikeda Anba 4x5
Nikkor-SW 90mm f/8
Kodak Ektar 100
I describe the making of this photograph in an article on the on-line publication Photography Life.
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.