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Sony A7
Custom Offset Slider
10 Frames Stitched
120 MP
Sinar F1 Monorail
Rodenstock 150mm F/5.6
F/16
Front Standard tilt 5°
Rear Standard drop 6mm
Shutter 1/125
ISO100
Quick set up here, but not bad results for the speed I did this. Composing is a little tricky since the camera is on a slider. My focus glass is only useful for film. I might build a focusing screen to see if that helps.
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.
Shot with Horseman VH view camera on 120 Kodak Ektar film, 6x9 back, with a Horseman 65mm lens, tilted forward. This is identical to the other photo, except for the tilt. The tilt gives a much deeper field of focus. That's I guess the whole deal with a view camera with movements!
The Certo Durata II with serial #4042, was a less expensive variant of the Super Dollina II produced after the war (1950s) without a rangefinder. It has a top plate integrating the viewfinder. The shutters included the Cludor 200. Sports a Meyer Trioplan 50mm f/2.9 lens. Made in Germany.
Sinar F 4x5 Camera, with Schneider-Kreuznach 150/5.6 lens
Ilford HP5 Plus 400 developed in-lab.
A softboxed light was placed just above the camera and the light fall-off was actually the shadow of the camera, which, in my opinion, made the picture more interesting.
View it large: here.
Reading Railroad diesel locomotive 902 was one of the first six FP7s ordered by the railroad in March 1950 to replace passenger steam locomotives. It and sister Reading 903 were completed on June 1 of that year and delivered to the Reading via the Baltimore and Ohio Railroad. The pair pulled their first train on June 6. In the following years, the two locomotives sometimes worked together, and sometimes were split, depending on the size of their trains. Both 902 and 903 are currently on loan to the Steamtown National Historic Site in Scranton Pennsylvania where this photo was taken.
4x5 for 365 Project details: greggobst.photography/4x5-for-365
Camera: Calumet 45NX 4x5 large format monorail view camera.
Lens: Schneider 90mm f/5.6 Super-Angulon lens in a Copal 0 shutter mounted on recessed lens board. B+W brand Yellow filter on the lens to help with contrast. I should have brought my bag bellows along on this trip. You can see how the 90mm lens with a normal bellows was struggling with light falloff on the right side with the tint bit of swing movement I was doing.
Film: Arista EDU 200 Ultra B&W Negative Film, shot at box speed.
Exposure: 6 seconds @ F45.
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.
Camera: Toyo-View 45GII, Fuji Fujinon NW 125mm f5.6. Film: Fujichrome Provia 100F, home-developed with the Tetenal Colortec E-6 3-bath kit.
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.
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.
Sometimes all you have is the roof over your head. Sometimes you don't even have that. Ruins from blast furnace # 8 at Lockridge Furnace in Alburtis, Pennsylvania.
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: Fuji Super HR-T 30 medium speed green sensitive X-Ray film. Purchased as 8x10" sheets and cut down to 4x5". Film rated at 100 ISO.
Exposure: 1/15th @ F45.
Development: Self Developed film in Rodinal (Adox Adinol) 1:100 in three reel Paterson Universal Tank using Mod54 six sheet 4x5 insert. 6 1/2 minutes @ 20 degrees Celsius with minimal inversions. Kodak indicator stop bath. Ilford Rapid Fixer. Photo-Flo.
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.
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