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Ansel's Trilogy. The Camera, The Negative, The Print. Read it, know it, live it.
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 to improve contrast.
Film: Ilford HP5+ 400 ISO Negative Film, shot at 400 ISO.
Exposure: 2 seconds @ F32.
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 home made 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.
Development: Self Developed in Kodak Xtol 1+2 dilution in Paterson Universal Tank using the Taco Method. 13 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. Cropped to taste in Lightroom 4.
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/
A canon aimed out over the Gettysburg Civil War battlefield.
4x5 for 365 Project details: greggobst.photography/4x5-for-365
Camera: Calumet 45NX 4x5 large format monorail view camera.
Lens: Rodenstock Geronar 150mm F6.3 lens in a Copal 0 shutter. Hoya Yellow-Green filter on the lens.
Film: Arista EDU 200 Ultra B&W Negative Film, shot at box speed.
Exposure: 1/30th second @ 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. Cropped in Lightroom.
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
I asked the Domiplan how did it feel in the Praktica and it said it felt like at home. I love you Domiplan, but sometimes I have to use the Oreston too!
I took this picture on a photo trip with Glen Bledsoe in the summer of 2012. I was disappointed with the negative originally, but upon further inspection, I think it was the blankness of the sky, which is never optimal. I think the rest is not so bad, though. I don't remember the exact location, though.
Camera: Deardorff 8x10
Lens: 19” Goerz APO Artar
Film: Ilford FP4 developed in Kodak HC110.
# #oregonexplored #deardorff #pnwexplored #silverton #myoregon #pacificnorthwest #largeformat #garyquay #cascadiaexplored #winter #outside #outdoors #oregon #onlyinoregon #viewfromhere #filmphotography #traveloregon #oregon #viewcamera
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Another shot for my summer portfolio. I obviously went a little Scheimpflug crazy! I had the lovely Callie Ramsay model for me. I was going for a sweet, lazy, summery feel.. Hopefully it was achieved!
Shot with a large format Sinar F1 camera on 100 ISO Fujichrome daylight balanced 4x5 sheet film.
Linhof Kardan Standard / Schneider Symmar convertible 150-260mm / Forte Bromofort
I kinda screwed the focussing in this one, not to say that scanning this god blasted Forte Bromofort paper is always a nightmare. No matter what I do, I never got it flat. I thing I'm reserving Bromofort paper for the 18x24 camera I'm getting soon. I'm running out of cut 9x12 paper 'plates' of Bromofort; I think that nest time I cut plates I will make them out of resin coated paper, which always stands flatter than fiber base.
unfortunately when I set it up my shutter on my 180 Symmar took a shit. So the 4x5 from here didn't come out.
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Part of a series I did for school called Southern California Uniquely. Good old film here, 4x5 negative (HP5) scanned.
My entry for the photo contest.
Almost didn't make it. First, I had to go home to process the slide film, then when I went to scan it I found that the old laptop I use that's hooked up to the scanner was broken. I opened it up and it is the fabled "capacitor rot" - a few 880uF caps blew on the motherboard. So I had to get vuescan installed on my laptop and get my scanner running under linux (that was fun).
Velvia 100, developed at home. Taken with a 90mm f/8 Schneider Super-Angulon on a Toyo camera.
Tilt-shift effect and a slight bit of lens fall to increase the perspective of the stairs.
No post-processing except for a bit of color correction in Gimp; I don't have lightroom installed on my laptop.
More shots from this day coming soon... they're scanning right now but I won't post them until I am back in front of my main computer.
Some serious clouds blowing in over the Palisade Head on the North Shore of Lake Superior, Minnesota.
Camera: Osaka 4x5 / Schneider APO 210
Film: Ilford Delta 100 / Pyrocat
Film scan via Epson V700 / Silverfast
This was a fun photograph. I love mushrooms and toadstools and thought I'd put a sort of quarky photograph together. It wasn't the hardest thing to photograph, but I probably photographed it somewhere around the shady side of 3-5am.
This is shot on film with a 4x5 view camera.
This piece was part of my Final Portfolio at Hallmark Institute of Photography.
Please email me if you would like a different size or if you would like greeting cards or another product with this image!
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Project Caravaggio Painting De Luijtspeler by Dirck van Baburen (1622). The painting was sealed by a group De Strakke Hand on the wall of a flat in Utrecht.
For details see :
www.duic.nl/algemeen/fotos-gigantische-muurschildering-br...
Your intrepid, and at that time, bearded NoJuan with Bill Bayer trying to focus a 24" Artar on an 11x14 Burke & James view camera at Soldier Creek. It took one person to stop down the lens while the other hunkered down under the darkcloth.
Scanned 8x8 print by Larry Scher from a Hasselblad color negative.
Ok... so I totally overdid the tilt-shift! It is kind of like the first time I got Lightroom and totally overdid the pre-set adjustments! Lots of experimentation and playing around, but actually, none of it was looked good now that I look back at the mess. LESS IS MORE. And that goes for tilt-shift too I think. This was shot at f/8 and I don't really know how deep the depth of field is when shooting 210mm large format. This might have been good tilt shift at f/16?
But, even though it is too extreme for my liking, I don't mind the shot.
Shot with Sinar P1 4x5 view camera and Fuji's instant film.
LInhof Kardan Standard / Shcneider Symmar / Agfa MCP paper negative
Yes it is. Well, not really M42, but with an adapter, who would notice? No M42 camera has a screen as bright as this one, auto expsure and feel. Yes, feel: even if it is entirely made of plastic, this camera has the feel of the real thing. And its curtain is rubberized cloth.
Did I hear Bessaflex? C'mon, you can't be serious. The bessaflex is nothing else than the proverbial Cosina body, even if Stephen Gandy is so enthusiast about it: it is the same, yes, the same body of the Canon T60, Nikon FM10, Vivitars or overtly branded Cosinas. And believe me, I tried them all and are not that good. Not to speak of the price: for 50 bucks you can have a really nice camera.
It is so convenient... that causes on me the same effect of all the other Japanese top-of-the-line cameras I tried: they're so well made, ergonomic, well designed (but not over-designed like West-German cameras), flawless and convenient... that I ultimately find them so boring and go back to my Zenits or Prakticas, which are not half as good as the Japanese, but I find more soulful, with all their flaws and sometimes questionable design issues...
Camera: Toyo-View 45GII, Fuji Fujinon NW 125mm f5.6. Film: Rollei Ortho 25, developed in Rodinal 1+50, 10min @ 20°C.
My first attempt with this film. The graduation is ways too steep, I definitely have to change development procedures.
Linhof Kardan Standard / Schneider Symmar / Agfa MCP direct paper shot
The original Zenit, back in the 50s was a fantastic development and an incredible artifact for its time: it gathered in a very small gizmo all the virtues of a Leica and of a 'modern' SLR. It was, in fact, the concept of the Exakta applied on a Leica body. Exakta body and Leica soul. For what I've been told, the West didn't even hear about it until it was badly outdated. In its time, neither Japan nor Germany had anything that could compare to it in terms of convenience.
Being essentially the same camera, the Zenit E series, that came in the mid 60s, was ages below its competitors, especially the Japanese, which introduced a bunch of well designed, well made, good quality, and cheap SLRs to the market. In the 80s, this difference was so conspicuous. It is doubtful that even 10 years before the fall of the wall, the Soviet camera industry would have survived an opening of the internal market. The Soviets kept trying, anyway. Guys at Arsenal, one of the landmarks of optico-mechanical industry of all times (among many other things), decided to discontinue their previous SLR line and focus in new designs of 'international standard' in the 80s and late 70s. This Kiev 19 is part of these efforts. I have mixed feelings towards this camera: I find it so delightful to use, and looks very sound, but I have to admit it is by no means the tool for a professional back in the 80s.
This kind of camera would have been a major success had it come... 15 or 20 years earlier, but, even if it is ages beyond a Zenit, in the 80's there were things far above it outside of the Soviet Union. To add insult to injury, the officials at Arsenal decided that the camera would use a version of the Nikon bayonet, which ultimately made the camera unexportable.
The line looks very influenced by Japanese cameras from the 70s, and the design of the lenses, which I think is, by far, the best of the system, kinda reminds me of the Olympus of the era. I have to admit that the average build quality of Kiev SLRs can beat anything else form the USSR of the era any day of the week, but even though, it is below average Japanese quality.
I'll never forget this morning. It was cold, windy, and miserable. Not to mention the lake was completely pissed off this morning, but when I walked to the shores of Lake Michigan and saw this.... THIS made it all worth it.
I've read in many places that the best landscape shots are made on days with the lousiest weather. I must say, I tend to agree with those beliefs - especially after this morning :)
April 2011
Milwaukee, WI
4x5 View Camera
150mm Rodenstock f/5.6
Kodak E100G Color Transparency Film
Cokin 3-stop Grad. ND
A precursor to my Interstate 80 project, Space Available explores the various spaces left unutilized on the Midwestern roadside. Space Available is also the name of my daily photography blog:
Custom borosilicate ground glass for my 1946 Graflex Graphic View camera by Steve Hopf. Steve makes the best replacement ground glass that I could find. I opted for borosilicate glass, clipped corners, and 1/2 grid markings. Much clearer and brighter than the original glass!
I built this 4x5/6x12 point and shoot camera many years ago but recently refurbished and improved the original. Since I mostly shoot 6x12 roll film I upgraded the finder to a 6x12 specific finder matched to this 75mm lens and added a grip that facilitates easy access top the shutter release. The lens is a 75mm Nikkor, which is about the same angle of view as a 24mm on 35mm.
I built this to take with me on trips where I really don't want to lug around my Linhof. I also built this camera to shoot in the urban environment when a traditional view camera would prove challenging.
The camera is mostly built from spare Cambo view camera parts, which are easy to find used, the lens is mounted in a flipped Toyo recessed lens board, the helicoid was ordered from ebay, however, any helicoid that is large enough to accommodate the lens can be used.