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Testing front tilt of the lens on the ShenHao to see the impact on foreground and background sharpness.
f45-64 @ 1/2 second
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)
Kicking of a project with my new Intrepid 4x5 view camera: capturing significant Grant Wood landmarks in Iowa. This morning it was the old art building where he taught at the University of Iowa.
sunpak 611 , camera right in medium softbox, up high,1/4 power,tripped with optical slave by on camera 580ii,1/128 power
Taken in the late afternoon in Valley of Fire State Park, just northwest of Las Vegas in the Nevada Desert. A very geologically diverse park that provides many photographic opportunities.
Linhof Technika V, 90mm Fujinon SW with orange filter.
12 degrees of front tilt.
Ilford FP4, ISO 100, f/22 at 1/60 sec.
Developed in Kodak Xtol 1:1 using a Jobo processor with a 4x5 expert drum
Regardless of how or if you voted yesterday or what country you call home, try to be a better, kinder, more compassionate, more selfless, more honest, more fair, more understanding person today than you were yesterday. Love people. Be kind to everyone. Take time to breathe and to think. Attempt to understand those with different views. Be responsible for your actions. Care for who and what you hold dear. We're all in this thing we call life together.
On my trip into Devil's Postpile National Monument, I decided to only bring black and white film, because the basalt formations and pines reminded me of Yosemite National Park and the work of Ansel Adams, and I knew this place would play well with the strengths of that medium. This place is defined by stark contrasts, rich textures, and harsh light, so I knew that Fuji Neopan Acros 100 would be a great film for the job with its silky whites, inky blacks, and beautiful tonal gradations. The image you see here is a tiny downsampling of a small 135-megapixel crop from a 180-megapixel scan from 4x5" film.
I uploaded a 135 MP file to Flickr. Yes, I'm that crazy! Be sure to use the zoom feature to get in close and pan around the image to take in all the juicy details!
The Intrepid Camera Co. 4x5 Field Camera
Schneider-Kreuznach Super-Angulon 90mm f/8
Fujifilm Neopan Acros 100 4x5" large format black & white sheet film
My Shen-Hao large-format view-camera getting some action.
See the next photo in my stream for what it took.
Taken whilst travelling through Lochalsh area on holiday hunting scenery.
Taken on the 2nd to last day for Garde Rail Gallery in Seattle. Hasta Luego Karen!
Garde Rail Gallery will be closing its Seattle doors Saturday August 22, 2009, and starting a new chapter in Austin, TX. Garde Rail Gallery owners Karen Light-Piña and Marcus Piña are relocating their family to Austin and will move the gallery there and reopen in the fall.
Read more- www.garde-rail.com/index.html
check out my blog- www.daniel-carrillo.com/blog/
(Apologies to the B52's). The Bromley Mill, located on the Cuttalossa Creek in Solebury Township, Bucks County Pennsylvania raises baby Doll Sheep in addition to being a bed and breakfast. This little shack is a place where the Sheep can seek shelter in the event of a sudden downpour or snow. After a heavy Summer rain, the greens on the moss clinging to the roof glows with this wonderful green hue that makes this spot in the valley seem otherworldly.
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: 4 seconds @ F22. 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.
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
Indeed! I love leicamorphs, even if I'm not truly adept at handling them. Who I wanna decieve, it's a pain in the ass for me shooting a rangefinder of any kind, and I own a Leica M6 and a Bessa R2, so I know what is state of the art rangefinder tech... but I love leicamorphs anyway. I love having one on my hands and shooting a roll or two from time to time... but not so often.
Toyo 45CF 4x5", Rodenstock Grandagon N 90mm f4.5 lens, AGFA RSX II 100, Tripod
aperture: f16.0
exposure: 1/60 s
Here it is, Chamonix 045N-2.
I am so glad to have upgraded to this wonderful camera.
Haven't taken any photos with it yet.
Death Valley National Park
California, USA
Tachihara 8x10
Caltar II-N 240mm f/5.6
Rollei Ortho 25 Plus
Developed at Northcoast Photographic Services, Carlsbad, California.
I describe the making of this photograph in an article on the on-line publication, Photography Life.
This rail is tall and the runway is tight on this side. I was actually shooting someone skating the rail on the right, so forgive my composition.
Having some small inconsistent light leak issues. Guess I need to be more diligent about draping my dark cloth over the film holders during exposure.
Toyo Field 4 3/4 x 6 1/2 Sakai Special
CM Fujinon W S 125mm f/5.6
Ilford HP5 plus @ 400iso
B+W 550/040 Orange filter
11:00 min in HC-110 (dil-h) 1:62 @ 20ºC.
Epson V800
2024013-6b
Satoshi and Yudai
© Dan Hirsch, 2014.
3.3 Gb drum scan by CastorScan
(CROP, 100% FULL RES)
PLEASE ZOOM IN!
Full picture here: www.flickr.com/photos/castorscan/17060245570/in/photostream/
Arca Swiss F-Metric,
Rodenstock Apo Sironar,
Kodak Portra 8x10 inches.
Taken with a Lizars "Challenge" 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.
The film is Rollei PAN 25, an ISO 25 black and white negative film, devloped in Rodinal 1:50 for 11 minutes at 20 degrees.
Exposure approx 40 seconds at f22.
Death Valley National Park, California, USA
Tachihara 8x10
Fujinon-C 300mm f/8.5
Kodak Ektar 100
Developed at Northcoast Photographic Services, Carlsbad, CA
Gelatin-silver photograph on Ultrafine Silver Eagle 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.
The Aurajoki river and The old cathedral at Turku, Finland.
11/3/2009
Toyo-View 4x5, Symmar-S 5.6/150mm, Fuji Acros 100 film.
Vostok
1948
Sn.0015
Film type 9x12cm
Lens I-51 (4,5/21cm) sn.4710367
One of the rarest soviet cameras.
(Probably copy of New-Vue 4x5)
"Presented by the photographic press in a general roundup of Soviet triumphs, and later in a work by E.A.Oofis entitled FotoKinoTechnica, this fascinating technical camera was produced in tiny quantities in 1948 and '49 in Tashkent (Uzbekistan) by an aviation produces company.
This is a 9x12cm camera with injection-molded aluminum frame, equipped with all shifts, swings and tilts. It was clearly destined for use by knowledgeable professionals.
The interchangeable front lens board takes the Industar-51 4.5/210mm, but no shutter seems to have been foreseen.
The rotating back takes double sided film holders that can be loaded with either glass plates or sheet film.
Very precise focusing is done on the groundglass, by means of a focusing knob located between two rails.
Dimensions: 235x260x255mm. Weight: 3,76kg.
A quality studio camera, unfortunately discontinued because it was too expensive to make in 1948."
/Jean Loup Princelle - "Made in USSR. The Authentic Guide To Russian And Soviet Cameras." Enlarged second edition. 2004/
If you have lived in the Kansas City area for any time, you have probably had a close encounter with this old Guard at the Nelson Atkins Museum of Art.
www.nelson-atkins.org/art/CollectionDatabase.cfm?id=20739...
I had to wait for what seemed like forever until all the joggers and walkers had cleared this scene and the wind had died down enough but it was worth it in the end. Shot on 11-2-2013 at the Berks Heritage Center in Berks County Pennsylvania.
Camera: Calumet 45NX 4x5 large format monorail view camera.
Lens: Rodenstock Geronar 150mm F6.3 lens in a Copal 0 shutter.
Exposure: 1/4 @ F22. Metered with Pentax 1 degree spot meter.
Film: Kodak Ektar 100 C41 Color Negative Film.
Development: Self Developed film using Tetenal C41 color development press kit in a Paterson Universal Tank using taco method, 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.
Time for a roundhouse punch. William Henry Jackson photographed many historic places for the USGS "United States Geological Survey" on his 20X24 inch "glass wet plate" view camera. This shot does not appear to show enough detail as such an enormous plate should. The differences between the left and right hand side suggest that they were not shot on the same plate.
Wet plate shooting required a lot of time: darkroom set up, plate prep, shooting and follow up processing. In order to use such a process, glass plates needed transporting and thorough cleanings. The next step involved preparing the light sensitive "gelatin" wet emulsion chemistry needed to coat the glass in a tent "lightroom." That would have been an experience. I assume that the plate was not allowed to dry very long and we can theorize the "emulson" was more sensitive when wet. At that point, the glass plate needed to be slipped into a light-tight film holder with a dark slide protecting the emulsion side. Finally, the film holder could be taken outside and slipped into the view camera back. I bet that the lightroom tent was always set up close to the camera and tripod. No time to waste. I bet W.H.Jackson already had the better part of an hour involved already setting up the tent, hauling and mixing chemicals to the light of a warm filtered candle lantern. They say that sufficiently advanced science looks like magic to common folk. Kind of like global warming science to steadfast thumpers.
The film holder was slipped into the back of the view camera after thoroughly focusing and adjusting before removing the dark slide whereupon, the exposure calculated and the lens cap removed for the proper length of the exposure, probably for only brief seconds. Fast blue-sensitive film, that! Time was a wasting at that point. The dark slide was returned to the holder and the assembly carried back to the dark tent for immediate processing before the emulsion dried out. Jackson had to have a good eye for the qualiy of the glass plate in the three processing trays. That process took fewer than ten minutes but washing the plate free of chemicals took the better part of a half hour before setting out to dry. I bet Jackson was nearly ready to shoot another take after a couple of hours. Jackson's station images, coming up, were probably shot on a later day.
Too bad we can't see inside! eDDie and I got inside the Cheyenne engine house on last summer's tour. Note that we recently found plenty of wheels on axles around as can seen here.
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
I don't know if it's truly legit to call the Smena 35 a Soviet camera, as if one looks for the serial number, will find that they're made well after the demise of the USSR. This means that either the serial numbers do not match the years of production, which is not really consistent; or they were embossed 'made in the USSR' being actually made in the Russian Federation. This could be for a number of reasons, but I'm inclined to think that the embossing was part of the injection molds and guys at LOMO were not to change them to better reflect were the camera was made, which is really more consistent with the "anything goes" way of doing things in Soviet industry...
Sinar Norma 4x5 view camera, Nikkor 90mm f/8 SW,
LEE 23A light red filter
Kodak TMAX 100,panoramic crop
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Hope you can be with your Valentine today!
We collect valentines that feature several of our interests. Today I am posting four more of our valentine's with cameras. Three, like this one are girl photographers which is one of the sub-sets I especially like and one if a boy photographer I scanned for Jack to post on facebook.
This illustration of the use of mirrors to produce a photograph with five images of the sitter was origninally published in Scientific American. It was reusued in Encylopaedic Dictionary of Photography, 1896 and in Photographic Amusements. The back of the sitter is photographed with two mirrors set at 75˚.
There are several feral cats that roam our neighborhood and apparently one of them was checking out the snow and ice on our backyard pond as evidenced by a ring of tracks. I think they were headed to the waterfall area where the ice is open and they could get a drink of water.
Technical details:
Burke and James 5x7" large format field camera with 4x5 reducing back.
300 mm Commercial-Astragon f6.3 Lens in Copal 3 shutter.
Ilford FP4+ B&W film, shot at ISO 125.
Exposure was 1/8 seconds at F32.
Developed in Adox Rodinal 1:50 dilution for 12 minutes @ 20 degrees Celsius using a Beseler 8x10 print drum placed on Unicolor Uniroller 352 auto-reversing rotary base.
4x5" negative scanned with Epson V600.
Cropped to desired size in post.
Straight from the deep archives. In 2000 & 2001, I spent most of my free time shooting 4x5 with a Wista 45DX field camera. I finally decided to spring for some Imacon 848 scans of my color transparencies from the era.
Fujichrome Provia 100F.
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
... but I just don't have patience to wait for a f64 shot for perfect DOF, so I go for f16 and get all-not-that-wonderful results.
This is a special spot for me as i grew up across the street from here.I took this with the 8x10 deardorff,8.25''Dagor lens.
Johnston, Frances Benjamin,, 1864-1952,, photographer.
Mountain Home, Leesburg vic., Loudoun County, Virginia
[between ca. 1930 and 1939]
1 negative : safety film ; 8 x 10 in.
Notes:
Title from photographer's inventory.
Home of George Rust, brother of Col. A.T.M. Rust of Rockland.
Corresponding reference print in LOT 11841-54.
Shows photographer's shadow.
Forms part of: Carnegie Survey of the Architecture of the South (Library of Congress).
Subjects:
Fences.
Porches.
Shadows.
Stone buildings.
United States--Virginia--Loudoun County--Leesburg vic.
Format: Safety film negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Persistent URL: hdl.loc.gov/loc.pnp/csas.06380
Call Number: LC-J7-VA- 3435