View allAll Photos Tagged viewcamera
5x7 Marvel view camera with 4x5 reducing back.
It's actually a Burke & James Watson sold under the Sears, Roebuck & Co. label.
How could I resist this vintage view camera in really beautiful condition?
I wonder how many people realize you used to be able buy a camera like this at Sears?
8x10 View Camera
240mm Rodenstock
Ilford HP5 N development in HC110 dilution B
Toned Gelatin Silver Print
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.
1- tripod and guide,
2- the scanner chassis mounted on the rail
3- the scanner assembly mounted on the chassis
4- lens and bellows mounted on the rail and on the scanner.
after that usually i put another cloth on the camera and bellows, to block even the brightest light.
This is still in the "concept design" phase and I can't decide if turn it in a medium format camera or leave it large format and build a better structure. the second option is the one that permits the best quality with the minimum amount of cash, but it's the most uncomfortable solution EVER.
This the full-scale subject of my previous image: "Filing Away the Time". A 1:1 Macro on 4x5 film, shot with the Sinar F and 210mm f/5.6 Rodenstock at 1/15th and f/5.6 on Ilford HP5+ rated at box speed (ISO 400). Developed in Photographer's Formulary FA-1027 at 68 degrees for 10:00 (one minute push) with light agitation to preserve some detail in the highlights. Lit with 3 Arri Fresnel Cine lights (through large white scrims) and one small reflector in an "X-Pattern" to compliment the hourglass shape.
Scanned with an Epson V700 @ 3200dpi via VueScan Professional as Raw DNG, processing in Lightroom CC for dust, slight burn of the top of the glass, and slight dodge of the iron filings in the bottom. No crop, this is framed as shot.
This is about 15000x11500 pixels....a HUGE file, and Flickr just cannot do this justice....you can hold the negative next to the hourglass and see them at the same size, it's pretty crazy.
FORGIVE THE DUST ON THE RIGHT SIDE...LOOKS LIKE i EXPORTED THE WRONG "COPY" FROM LIGHTROOM.
"Look pleasant" is what the horse/photographer is saying as a donkey and boy pose for a photo.
This is a postcard addressed on the other side to Mrs. Emma Cranford, Lisbon, Ohio, R.F.D. No. 2, and postmarked Wilson, Pa., June 27, 1910.
Handwritten message: "Sun. eve., just closing. All well and have been busy all day. Will write you a letter tomorrow. Got cherries and were fine and many thanks till better paid [I'm not sure of the meaning of this run-on sentence]. Love, Alice & Jno.
As long as we are following the early Union Pacific Railroad, let's leave the Cheyenne depot behind and head over the mountains toward Laramie itself. All aboard! The UP encountered plenty of obstacles on their way over the top. One was Dale Creek as you can see in this stereo view. It was a long drag up through here. This view did not last very long at all. The Dale Creek trestle's days were numbered because before long, the UP lead drags of bottom and side-dump gondolas onto the trestle and started to fill the chasm to ease travel over that section of the road. It looks to me that the original route through this section was pretty darn crusty! This was working on a rock pile for sure. I bet black powder was used in barrels. I blew up a section and all the ties are pretty random but fresh. Looking closely, I found rough cut instead of machine cut ties. I still wonder about the variations found on the left and right views so I guess there may have been two plates used to capture this.
William Henry Jackson photographed yet another historic place for the USGS "United States Geological Survey". It looks like he was heading west. This shot shows the effort it took grading over Sherman Hill, Dale Creek, Laramie and down to Green River, even for the paltry American type 4-4-0 locomotive drawn trains. It would have been terrific if he had caught a train on this shot, unlike all his photographs of early Colorado narrow gauge routes. I think Jackson was in a bit of a hurry or under paid. Once in a while, he etched a train onto a glass plate negative for effect.
America employed labor and a lot of it in those days - loggers, tie hacks, graders, rail layers and well as construction workers. They couldn't export the construction of the line. Steam engines especially for repair and maintenance. They DID import a lot of Irish and Chinese labor but we built engines, cars and forged steel in our own factories. The UP used a lot of steel rails. Consider that worker tents were not possible in a lot of places so the workforce was shuttled to the end of rails.
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 "emulsion" 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 quality 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 Dale Creek was probably shot on a later day, after Cheyenne.
I needed a final shot to finish off the group of holders, and to help throw off what my actual reason for being in the area was, so I though this bramble of trees might make a good shallow DOF shot, it did!
Graflex Pacemaker Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Kodak Tri-X 320 @ ASA-320
Kodak D-76 (Stock) 5:30 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
Calumet Cambo View Camera Schneinder-Kreuznach Symmar 210mm f5.6 FujiFilm FP-100C Instant Pack Film silverlightalchemy.blogspot.com/2012/11/wilted-passions-i...
Camera: Toyo 45 GII, Schneider Super Angulon 90mm f8.0. Exposure: f22, 1s. Film: Ilford FP4+, developed in Rodinal 1+50, 14:20 @20.2°C.
Linhof Kardan Standard / Schneider Symmar / Forte Polywarmtone contact print from paper negative
I'm not as pro as some people out there who modify themselves their lenses with machine tooling, but I wanted to use my fantastic Helios 103 with other cameras than its native Contax-mount Kiev body. And I'm not feeling like buying a Bessa R2C anytime soon, I was crazy about using this lens with leica thread bodies cause some say the Helios 103 is an exact copy of the early Leica Summicron, fantastic classic lens of which I have not seen any clean copy. I've seen some in evilbay that claim to be 'near mint' and sell more than 900$, almost double than a 'regular' one, like the one I had some time ago, which was so foggy I can't really tell if it was a good lens or not.
So what I did was buying this Kipon lens adapter. I can't really say I'm happy with it. It cost some 200$ and I can't see why. It is not definitely a product of good workmanship. It is stiff, the opeartion is not smooth at all, and if you force it just a little, it is likely to get dismounted accidentally. Besides this, I think the flange distance is not well adjusted. I just have to shoot a couple more test rolls to see.
An enormously flattering 8"x10" selfie on Impossible Project instant film.
Because of the large number of images I made of people taking selfies during the Vietnam trip last year, I thought I should include one of my own selfies for balance.
Ansco 8"x10" commercial view camera ("Lucille"), 250mm
(10 inch) Kodak Wide Field Ektar lens, studio lighting.
First Negative with Cambo 4x5. I held the negative up to the light, shot a pic with my phone and reversed it in mobile photoshop. I can't wait to either make a contact print or scan it properly. Dev in Rodinol 1+19
Diana baby 110, venturing into a bad neighborhood.
In the photo:
Diana Baby 110
Rolleiflex Automat (1939 model)
Yashica Mat 124G
Lubitel 166B
Ricohflex VI
All but the Ricohflex VI are in perfect working order.
4x5 for 365 Project details: greggobst.com/4x5-for-365/
Camera: Calumet 45NX 4x5 large format monorail view camera.
Lens: Rodenstock Geronar 150mm F6.3 lens in a Copal 0 shutter.
Film: Fuji Super HR-T 30 medium speed green sensitive X-Ray film. Purchased as 8x10" sheets and cut down to 4x5" using a rotary trimmer under 11w red bulb safelight.
Exposure: 1/60th second @ F45.
Lighting: Alien Bees B800 studio strobe @ 3/4 power in 22" soft white beauty dish with diffusion sock, positioned above and slightly in front of camera position. A second B800 @ 1/4 power just to camera right with 7" reflector positioned to give a little more front fill. A 30" silver reflector on reflector stand positioned to camera left to bounce some light back onto the subject. Strobes triggered with PocketWizard Plus II radio triggers.
Development: Self Developed film in Rodinal (Adox Adinol) 1:100 in three reel Paterson Universal Tank using Mod54 six sheet 4x5 insert. 6 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.
Gelatin-silver photograph on Ultrafine Silver Eagle VC FB photographic paper, image size 24.6cm X 19.5cm, from a 8x10 Fomapan 100 negative exposed in a Tachihara 810HD triple extension field view camera fitted with a Wollensak 159mm f9.5 lens. Titled, signed, and stamped verso.
I haven't posted any shots from the ShenHao lately but I finally got to develop a couple of negatives I shot in the fall.
Clearly there was a huge dynamic range in this shot from shadows to highlights. I exposed for the shadows and should have compressed my development time for better control of the highlights ... live and learn from the mistakes. Will have to revisit this place to experiment with some more shots when i get the time.
f45-64 @ 2 seconds
ShenHao HZX45-IIA + Fujinon-W 135mm f5.6 + Arista EDU Ultra 100 @ 50 iso + Rodinal 1:50@ 8 min (Tray developed)
This one-room schoolhouse is located on Allemaengel Road in New Tripoli, Pennsylvania. It sits in a farm field and was converted, at some point, from a school into a storage building for the farmer whose land the building sits on. The sliding door the farmer installed on the front is now missing, but the rest of the structure seems to be in pretty sound condition. I couldn't find any information about the school's name or years of operation, though the architecture and building materials are consistent with other one-room schools in the area that were built in the 1880-1910 time frame. The birdhouse on the tree makes it easy to imagine the school kids gathering under the tree for shade during warm June days and looking up to watch the birds.
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. Tiffen # 29 Red filter on the lens to darken sky and improve contrast.
Film: Ilford Delta 100 ISO Negative Film, shot at box speed.
Exposure: With adjustments for film reciprocity and filter factor the exposure was 20 seconds @ F32.
Development: Self Developed in Kodak Xtol 1+2 dilution in Paterson Universal Tank using the Taco Method. 13 minutes @ 20 degrees Celsius. Tap water 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.
Toyo 45CF 4x5", Rodenstock Grandagon N 90mm f4.5 lens, Fuji Velvia 50, Tripod
aperture: f16.0
exposure: 8 s.
Cambo SC II 4x5 viewcamera + Schneider 150mm f/5.6 lens
Kodak Professional Tri-X 320 black and white film
I'm still trying to get the hang of this camera. It's really fun, but very slow.
I liked the slashes of light cast under the bridge here. This was the first shot I made with a newly acquired 121mm Schneider Super Angulon lens. It’s a bit too wide for my tastes for 8x10, although I like it on 5x7.
Chamonix 8x10 View Camera
121mm Schneider Super Angulon lens
Arista EDU 200 Film
F32 @ 1/4 second
Developed in Rodinal 1:50 at N-2
©2012 Gary L. Quay
This church is made of a distinctive type of sandstone found around the Potsdam area. It's quite red, and impressive. Naturally, I captured it in B&W because I was traveling light that day, and had only my last few Fuji Acros Quickloads.
Camera: Super Speed Graphic 4x5.
Lens: 135mm Rodenstock Optar.
Film: Fuji Acros developed in Ilfotec HC.
Uploaded sharper version 7/11/21.
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Re-scanned and uploaded an improved version of this picture 3/28/20. This one was much easier to “process”, and it looks better than the original. I’ve learned more of the ins and outs of photoshop since 2012. I spent hours on the first version, and it still looked fake, and the colors were off. I rescanned the same negative, and spent about 5 minutes this time. It’s still not super saturated because I used an uncoatd lens to take it. Uncoated optics are less saturated, and I wanted to preserve that look, which, to me, gives it a nice, summery feel.
Many of the older buildings in this part of pennsylvania were built with that light, gray stone. They really are beautiful, but they are still being torn down when they should be preserved.
Camera: Super Speed Graphic 4x5 with 6x9 back.
Lens: 8" Cooke Anastigmat (uncoated) with a polarizer.
Film: Kodak Portra 400
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Gelatin-silver photograph on Kodak Fine Art VC FB photographic paper, image size 24.5cm X 19.6cm, from an 8x10 Kodak Tmax 400 negative exposed in a Tachihara 810HD triple extension field view camera fitted with a 300mm f5.6 Fujinon-W lens and a #25 red filter.
Titled, signed, and stamped verso.
Horseman L45
Schneider Krueznach Symmar-S 135mm
Ilford Ortho Plus
Rodinal 1+50, 15mins (slightly lower agitation per min)
Epson V850
The Symmar struggled with the movement here, I've clipped the worst of the vignetting, but still a good bit there
Linhof Kardan Standard / Schneider Symmar / Agfa MCP paper negative
It's all here. There are thousands of things that make this camera so special, but the weirdest of the weird are in the back. You can see the vertical travelling focal plane rubberized cloth shutter, the vertically hinged door, the single tooth winding mechanism, the ridicully small eyepiece, the shutter release in the back...
Farm Utilities Corp. window
[1919 or 1920]
1 negative : glass ; 8 x 6 in.
Notes:
Title from unverified data provided by the National Photo Company on the negative or negative sleeve.
Date from negatives in same range.
Includes photographer's reflection in the display window.
Gift; Herbert A. French; 1947.
This glass negative might show streaks and other blemishes resulting from a natural deterioration in the original coatings.
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA
Part Of: National Photo Company Collection (Library of Congress)
Persistent URL: hdl.loc.gov/loc.pnp/npcc.28924
Call Number: LC-F82- 3986
Taken at Berwick Park in Pacific Grove looking east across the Bay.
Galvin 6x9 Pocket View Camera, 135mm Schneider Xenotar lens with a .9 Neutral Density filter
Kodak Ektachome 100 (EPP) at ISO 80
f/22 at 10 seconds
1897 Ak-sar-ben Camera - Eskofot Ultragon 305mm - f/64 - Fomapan 200 - 8x10 Film - HC110 1+100 - Unaltered Negative Scan