View allAll Photos Tagged viewcamera
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
No, I'm not indulging into digital, this is also from my wife's everyday gear. The lens says Leica, but it's not. I mean, even if it was made in Germany, which I doubt; even if it was overseen by Leica advisors, it is not attatched to a worthy body. Because no worthy body is a digital body. Period.
True, I have never tried a digital M body, but I don't really think they can offer anything much better than a XPRO1, a M4/3 or a full frame DSLR. I mean: I take my pics, then I develop them and then I digitalise them. With a digital camera you skip half the fun.
And no digital camera is a Leica because no digital camera feels like one (that's where a digital M may beat other cameras); no digital camera I've handled feels like a real camera: it feels more like a toy. Well, this is also true for 1990s 35mm cameras, which were all plastic. Eew.
I'm not saying this is a bad camera. For a digital camera, I mean. It can take good pics, but, nowadays, with the lens tech they have, which I have to admit, it is the only thing in cameras nowadays superior than what they had in the thirties; who can't take good pics? Is it relevant that the lens is labeled Leica Vario-Elmar rather than Panasonic? I don't really think so.
I'm completely sure that digital will some day offer something (affordable) that I will love, that will be worth skipping all the fun of the analog process, but by now...
Model 46 Centar Series II camera for 4x5 exposures made by Century Camera Company circa 1900. Has rotating back with ground glass, double-extension bellows, front rise & fall, left-right shift and tilt.
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?
If I had to highlight one Y2011 photography-related event, it probably would be building something that counts as a polaroid view camera. And getting those images exhibited in a real gallery.
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.
"Shorelines" series
A very foggy day !
Used the Jobo tank for HC-110 stand development, unfortunately resulted in some uneven development with some of the negatives.
I think with the amount of control 4x5 gives you in shooting one negative at a time and the amount of time it takes to compose some scenes, going back to tray development is the right choice. It makes sense to maintain that control in the development process when you have made the effort to invest time and energy into creating each individual negative.
I'll use the Jobo to develop multiple 35mm and 120 film.
f45 @ 1 second + Orange Filter
ShenHao HZX45-IIA + Fujinon-W 135mm f5.6 + Arista EDU Ultra 100 @ 50 iso + HC-110 1:200 @ 60 min (Jobo Tank, 1 min initial agitation followed by 3 turns @ every minute for next 5 minutes, slight turn at 30 minutes, stand developed)
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!
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.
Linhof Kardan Standard / Schneider Symmar / Agfa MCP direct paper shot
Here's the Exakta RTL 1000, or should I say the Praktica? As you would have noticed, there's more similarities to the famous Pentacon SLR than to any other camera called Exakta. In fact, this is nothing else than a Praktica VLC with an Exakta bayonet mount. Well, not quite, as the RTL 1000 also incorporates an Exakta-like preview button and a slow speeds dial, a feature present in earlier Exaktas (which actually is nothing more than a self timer in disguise). You would love it or hate it depending on how much you would love or hate the VLC, which is itself a nice camera, with a more 'system' scope than other Prakticas, meaning, mostly that it takes interchangeable prisms, like this metered weirdo you see in the picture.
Camera: Chamonix 45n-1
Lens: Rodenstock 180mm Apo-Sironar-S f5.6
Film: Ilford FP4 @ ISO 64
Exposure: f5.6 @ 1/125 sec
Date: December 27, 2017
Identifier: lf_2017-12-27_001
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
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.
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
8x10 View Camera
240mm Rodenstock
Ilford HP5 N development in HC110 dilution B
Toned Gelatin Silver Print
"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.
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.
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.
Toyo 45CF 4x5", Rodenstock Grandagon N 90mm f4.5 lens, Fuji Velvia 50, Tripod
aperture: f16.0
exposure: 8 s.
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 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
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 / 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...
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
This rig is also good for leica screw mount rangefinders. If you're one of the fast of mind, you'll have noticed that this is pedestrian instumental to look for the accuracy of lens/rangefinder gear. Not standard, but available to a simple photographer. Well, the fancy exakta finder is not mandatory, in fact, you can use a small piece of matte glass or even a small sheet of onion paper. The exakta finder is just more convenient because of the double magnification of the domed viewing screen and the magnifiying loupe.
All you have to do is holding the viefinder against the focal plane while the shutter is wide open in 'b' mode to check it all.
In this case it was all right; seems that my poor results with the rig are more due to me being an abysmal rangefinder photog than anything else...
©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.
# #newyork #potsdamsandstone #garyquay #viewfromhere #YourShotPhotographer #filmphotography #largeformat #viewcamera #fujifilm #saintlawrencecounty #potsdam
My Website and Blog: Gary L. Quay Photography
On Twitter Gary L. Quay Photography
On Tumblr Gary L. Quay Photography
On Instagram Gary L. Quay Photography
On Facebook Gary L. Quay Photography
My stock portfolio on Shutterstock
My stock portfolio on iStock
My stock portfolio on Adobe
My stock portfolio on Alamy
My stock portfolio on Dreamstime
Feel free to join my Flickr groups
and Mosier, Oreogn
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.
Cliff and Shore platform detail
Arca-Swiss 4x5 F-Line & Universalis hybrid, Schneider Super Symmar XL 80mm, Fujichrome Provia 100f 4x5
There seems to be a lot of these style marker all around the cemetery.
Pacemaker Crown Graphic - Schneider-Krueznack Symmar-S 1:5.6/210 - New55 Atomic-X @ ASA-64
Ilford Microphen (Stock) 8:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC (2018)
Linhof Kardan Standard / Helios 135 makeshift lens / Forte Polywarmtone direct paper shot
I shot this one with a makeshift lens&front plate. It turns out that i had a broken Helios 135 lens, a f 2.8 mild tele lens that was pretty soft wide open and which I planned to replace for a Jupiter 11 some day. There was no rush... till the lens dismounted in my very hands as I was unscrewing a filter from it. I could not reassemble it, and I thougt it was so silly to take a 25$ lens to the repairman to fix it.
Yesterday, I picked the optical part to take some photos of it and suddenly came to my mind that why not take some pics WITH it attatched to my Kardan Standard. I cut a makeshift plate out of a cardboard box in my studio and taped the optical barrel to it. My surprise was that the lens covered the full 9x12 frame, without shifts/titls. What I did not see on the ground glass is that the circle of confusion was so small, It is perfectly understandable, it is a 35mm lens after all. And you know what, I kinda like the small confusion circle and the narrow DoF the lens gives. I think I will try to mount it on some kind of more permanent plate to use it in the future.
Enough with the lens. What you see here is my father's very first camera: a Voigtländer Vito CL, whcih was bought to him by his parents back then in the sixties. He kept shooting with it until the eigties, when he bought himself a pretty pretty Fujica STX 1-n. This makes more than twenty years of use for a very modest camera. And it looks almost like new, nobody would say it has been used so much. When I take it in my hands, it appears to a be an extremely well built gizmo, brick solid, no rattling anywhere, all metal and leather; a top quality article compared to Russian or American viewfinder cameras from the same times. But the very best of it is the extremely bright brightline viewfinder, most gorgeous I have ever seen. You should try it, they sell so cheap in evilbay that it is foolish not to have one.
Just finished refurbishing this Graflex Crown Graphic. Bare wood finish fresh wrinkle coat paint job, complete with swing modified front standard and a cool wooden tripod. Old brass lens from Kodak 5x7 camera.
its up for sale now.