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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!
© Julia Grace Arts
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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...
This was my first glassware photograph and it is still one of my favorites. I found the bottle and glasses at Salvation Armani and knew I had to photograph them. It was another one of those ideas I had even before school started.
This is shot on film with a 4x5 view camera.
This piece was also one of my Extras in my Hallmark Institute of Photography final portfolio. It was also used for my first glassware assignment in phase 1 or 2.
Please email me if you would like a different size or if you would like greeting cards or another product with this image!
© Julia Grace Arts
Do NOT reproduce, use, or distribute without permission. Check out my usage guidelines here.
Please DO Feature on Flickr, Pin, Share, or Tweet my work!
Quick Links
Photostream | Profile | My Website | Store | Blog | Twitter | Facebook | deviantART | Pinterest | Goodreads
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.
The front doorway to the Sciota Mill in Hamilton Township, Pennsylvania. The mill was built in 1800 by Bernhard Fenner and replaced an earlier mill built of logs. The mill has also been known as Brinker's Mill. In 1989, Hamilton Township received a sizeable contribution from the Robacker Estate for the restoration of the mill. The Hamilton Township Supervisors engaged Gus Roof, a millwright, who restored the millworks to a working 1700’s condition. The mill was placed on the National Register of Historic Places in May of 1976.
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: 1/2 second @ F22.
Development: Self Developed in Kodak Xtol 1+2 dilution in Paterson Universal Tank using the Taco Method. 6 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.
Long exposure made as I dug the grave for my 17-year old cat Jezebel in my back yard (Jan. 2009)
NOTE: This was scanned and adjusted on a PC...so will likely look washed out on an Apple. (If you have an Apple, just look up at your screen from an angle to darken it until the plants on the left side are almost black....heh! My secret method.)
Technical details:
Making the exposure (Jan., 2009):
- Ilford FP4+, 5x7 format (expired Nov., 2007, stored room temperature)
- Kodak No. 2 view camera (c. teens)
- Schneider 121mm f/8 barrel lens in Sinar DBM mount (taped onto front standard)
- Bogen 3051 tripod with 3047 head
- Brockway Norwood Director incident light meter (basically an early version of the Sekonic Studio Deluxe)
- Metered for foreground, facing roughly toward camera, away from background sky
- Film rated at EI 32
- 25 minutes at f/64
- 3 stops of ND for an effective f/180
- That means I made the exposure for an EV 6.0 mid tone (factoring in the two-full-speed dowrating I gave the film to help combat the expected reciprocity failure)
- Exposure made after sunset as twilight fell
Processing the film (Dec., 2009):
- Agfa Rodinal 1:250, 502 mL of solution (500 water and 2 Rodinal concentrate), 8x10 tray
- 1 hour development, constant for first minute, then 30 seconds of every ten minutes
- 19 C starting temperature
- water stop
- Ilford Rapid Fixer 1:4, 5 minutes
- 20 minutes washing in tray with slow stream of water from faucet
- Photo Flo 200 at 1:200, 15 sec.
Making the print (Dec., 2009):
- contact print on Agfa Portriga Rapid PRW 113 (grade 2 matte)
- Photographer's Formulary 20x24 contact printing frame (used one corner)
- Omega B22XL enlarger
- 50mm lens
- lens to baseboard distance, approx 60 cm
- 15 sec @ f/4
- Arista powdered A+B chemistry, 2 L total developer volume, consisting of 1 L almost totally dead (2+ years old) old brown, 400 mL part A, 400 mL part B, water to make 2 L.
- Total dilution: 2 parts A, 2 parts B, 1 part water, 5 parts nearly dead old brown.
- counting the old brown as plain water, it makes the ratio 1 part A, 1 part B, 3 parts water
- approx 8 minutes development
- cold temperatures (for So. Cal.) - Approx. 15 C
- two-bath fixing, first fixer bath used in place of stop bath, 3 minutes each bath
- Ilford Rapid fixer 1:9, two trays of 500 mL working solution each
- first fixer poured out for recycling at end of session
- approx 20 5x7 sheets passed through first fixer bath (half of its stated capacity for fiber paper)
- second fixer bath saved to use as first fixer bath next session
- all prints soaked in holding tank for entirely of session (about 6 hours)
- 1 hour, 30 minute wash in rotating "cage" print washer, all 20 prints at once
In retrospect/lessons learned:
- Since making the exposure, I have done some research, and found an Ilford-published formula to use for long exposures with Ilford FP4 and HP5. The formula is to take the indicated exposure, in seconds, and raise it to the power of 1.48. (I am not sure if it applies to Pan F as well, but I am guessing that it does not apply to the Delta films, as they usually have much better reciprocity maintenance during long exposure than random-grained films.)
- The above formula means that to get my desired 25-minute exposure time, I should have aimed for an indicated exposure of only 140 seconds. If I had taken the shot with the lens at f/64, I would have been overexposing this by 2/3 stop: NOT a big deal at all, and not even undesirable in this sort of situation.
- Instead, I used an exposure of 25 minutes (1,500 seconds) at f/180, rating my film at EI 32 to help combat reciprocity failure. How accurately did this idea work in this case? Putting this form of "shotgun" compensation ("rerating") aside, and using the film's actual speed (ISO 125), my indicated exposure was thus equivalent to 325 seconds at f/180. Using Ilford's formula, this calls for an approximately 90 minute exposure (5,219 seconds, to be exact). Using the two-stop downrating method, I ended up giving the film only 1,500 seconds of exposure. 1,500 is only 29 percent of 5,219. Thus, my half-assed downrating method gave me less than 1/3 of the exposure time needed. What does this mean? Because of the exponential nature of reciprocity failure, it means only one very specific thing: When using Ilford FP4 or HP5, if you have an indicated exposure of about six minutes at box speed, give your film 87 minutes instead. Shoot! All I needed to do to know that was to use the Ilford formula!!! To show how smart I am, I am going to make a chart for all the indicated times I am likely to encounter, in third-step increments, and carry it with me.
- I exposed the negative knowing that I would be stand developing it, and this was the right choice. It pulled whatever could be pulled out of the underexposed foreground, and restrained the sky in the background enough that it is workable, and did not bleed into the tree branches or anywhere else in the picture.
- Still, I might have gone longer with the stand development (perhaps 2 hours), and gone to 15 minute agitation intervals instead of 10, to try to dig more density, "micro contrast", and acutance out of the foreground, and maybe some more pronounced "edge effects" where the tree branches intersect with the sky.
- If I had had a duplicate negative, I would have loved to have tried it in a pyro developer.
- Portriga Rapid has a nice, mild, pinkish/peachy tone for lith printing.
- Lith printing allowed very fine "Zone-System-esque" control over the tonal relationship between the sky and the rest of the picture. Due to the underexposed foreground, I am not sure how easy to print it will be using standard methods.
- This makes me want to try lithing with warmed-up developer, which I have heard can provide for more extreme effects.
- Since the negative is underexposed, yet contrast is not totally out of hand, I may intensify the negative using chromium intensifier, after attempting a standard print to see what I can get.
- I may mask the negative for contrast control and "edge effects".
- BEWARE OF THE EXTREME DRYDOWN AND LOSS OF SHADOWS WITH MATTE FIBER PAPER!!! I lost several "good" prints due to this. It had been so long since I had printed on matte that I forgot how badly it holds shadows.
One of the set of arches found at the Moravian Pottery and Tile works in Bucks County, Pennsylvania. At the Pottery and Tile works, which is now a living history museum, handmade tiles are still produced in a manner similar to that developed by the pottery's founder and builder, Henry Chapman Mercer (1856-1930). Mercer was a major proponent of the Arts & Crafts Movement in America. He directed the work at the pottery from 1898 until his death in 1930.
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: 6 seconds @ F64.
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.
Esta cámara para placas o película de 3¼" × 4¼" (8x10,5 cm) fue desarrollada por el escultor inglés Frederick H. Sanderson cuyo interés por la arquitectura le llevó a diseñar unas cámaras que, a través de los fuelles y de la manipulación de una serie de tirantes y tornillos, se posibilitasen movimientos horizontales, verticales y de basculamiento, consiguiendo así diferentes distancias relativas de los paneles del objetivo y de la película para obtener fotografías de obras arquitectónicas sin que se produjesen distorsiones significativas.
Esa solución que patentó en 1895, denominada "Swin Front" o "Frontal Basculante" hizo que este tipo de cámaras superaran limitaciones de otras muy similares.
Existe un modelo similar en la colección, pero fabricado con cuerpo de madera no forrado para su uso en zonas tropicales o Sanderson Tropical .
This post is an addition to my previous one, and it's meant to be helpful to other users of xray films for in-camera negatives.
Check the previous post for detailed notes in the exposure/processing used to obtain the data used to produce the family of curves on the bottom. On top are the published data from Fuji for comparison.
The only difference between this family of curves and the previous one, is the developer dilution.
The family of curves in my previous post resulted from processing the films in 1000ml of distilled water containing 20ml of Adox RO9 concentrate (1+50).
The family of curves on the bottom here shows the densities produced when the same test was conducted, using 10ml of Adox RO9 concentrate (1+100).