View allAll Photos Tagged viewcamera
Today's project entry features a vintage Olympus OM-1n 35mm SLR. The OM-1n is the similar to the earlier OM-1MD, with a redesigned film advance lever, a flash ready/sufficient flash LED in the viewfinder, and automatic X-sync regardless of the position of the FP/X switch when coupled with a T-series flash unit mounted on Flash Shoe 4. This OM-1 series was introduced by Olympus in 1973. I picked this one up at a street flea market in Philadelphia in the Summer of 2013. The lens has issues that keep it from focusing and eventually I will get around to getting a new 50mm lens for it. The body is the smallest of my 35mm SLR bodies and it would be nice to have it as an operating walk around camera one day.
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: Ilford Delta 100 B&W Negative Film, shot at box speed.
Exposure: 1/60th @ F32.
Lighting: Subject placed in light tent and lit from above with one Alien Bees B800 studio strobe in a 22" white lined beauty dish with diffusion sock @ full power. Strobe triggered with PocketWizard Plus II radio triggers.
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.
My first ever official photo shoot with the 8x10 camera!! Lots to learn, but a wicked fun experience! I was totally guessing at everything... I have no experience with how the depth of field works at 8x10 and a 330mm lens sitting around 10 or so feet away at f8. I am sure a year from now I will look back at these shots and think they are so weak, but for now.... I am stoked!
Adam is a friend of mine, a fellow photographer with swagger! He showed up and I was very happy to see the wicked outfit!
Pentax K10d , Vega 5y 4/105 enlarger lens , DIY SLR to View Camera Conversion .
Tilt approx Cam body 5 degrees back , Lens 5 degrees forth .
Aperture f :11 ( minimum for this lens ) More info about the gear used here bluescargo.gr/geometry/
These are the Miller's cottages and mill pond at the Bromley Mill, located on the Cuttalossa Creek in Solebury Township, Bucks County Pennsylvania, not far from New Hope. The Mill has been known as Bromley Lowe’s Hobby Mill or simply Bromley’s Mill. It stands across the street from the Cuttalossa Inn. The name Cuttalossa comes from the name of an Indian village which existed in the area meaning "the place of the middle spring." The original mill dates back to 1752 and was in use until 1929. On the grounds of the mill, mini Baby Doll Sheep are raised alongside Chickens and Geese. You can purchase a handful of feed from a machine in front of the Inn and feed the animals. It's a very quiet and idyllic setting, great for photography. NOTE: Sheep don't hold still for a two second exposure all that well.
Camera: Calumet CC-401 4x5 large format monorail view camera
Lens: Rodenstock Geronar 150mm F6.3 lens in a Copal 0 shutter
Film: Arista EDU 100 Ultra 4x5 B&W sheet film which I shot at 64 ISO
Exposure: 2 seconds @ F22. Metered with a Pentax 1 degree spot meter.
Development: Self Developed film in Kodak Xtol 1:2 in Paterson Universal Tank using the Taco Method. 9 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 parts and merged in Photoshop CS5.
The fog along the shoreline of Lake Ontario was incredibly dense when i shot this, in the background is a parking lot but the fog is so thick, you can't see the cars.
This tree had some lush dark green moss all over it so I thought i would experiment with the green filter to get some separation in contrast between the bark & moss.
f32-45 @ 2 seconds + Green 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)
Grandson Darin was here today while his mom worked. I pulled out my Cambo View Camera, installed the 210mm Symmar and the Polaroid 405. Took the light reading with the Sekonic and fired. Then we washed it with bleach and dried. Watched How It is Made and Rango. Then we scanned the reclaimed neg and posted it. Until today the Cambo had gone unused. Picture that!
At one time Calumet manufactured its own view cameras in Chicago. However the Horseman line were made in Japan by Komamura.
Going to slow down my photography a little bit with my latest purchase: a 4x5 view camera from the Intrepid Camera Co. of the UK. I have this set up with a 40+ year old Schneider Kreuznach 90mm f/8 Super Angulon lens. I will no doubt continue to take (and post) too many photos taken on my digital cameras, but this will be an interesting exercise in slowing things down a little bit.
This is not my camera, It's one of my friend's collection and I thought it's really one of the most interesting and oldest antique camera I ever seen
The view camera is a type of camera first developed in the era of the Daguerreotype (19th Century) and still in use today, though with many refinements. It comprises a flexible bellows which forms a light-tight seal between two adjustable standards, one of which holds a lens, and the other a viewfinder or a photographic film holder.[2]
The bellows is a flexible, accordion-pleated box, which encloses the space between the lens and film, and has the ability to flex to accommodate the movements of the standards.[3]
The front standard is a board at the front of the camera which holds the lens and, usually, a shutter.
At the other end of the bellows, the rear standard is a frame which holds a ground glass, used for focusing and composing the image before exposure, which is replaced by a holder containing the light-sensitive film, plate, or image sensor for exposure. The front and rear standards can move in various ways relative to each other, unlike most other types of camera, giving control over focus, depth of field and perspective.
The camera must have some means of support, usually provision for mounting it on a tripod.
Detail of Eucalyptus stump, leaves and lichen
Relicts - Exploring the Flora of Gondwana
18 March - 15 November 2020
Cradle Mountain Wildness Gallery
www.wildernessgallery.com.au/relicts-exploring-the-flora-...
Arca Swiss Universalis 4x5, Rodenstock Sironar S 150mm, Fujichrome Provia RDP 100f 4x5
24x30” Print on Canson Platine Fibre Rag
I stumbled across this gnarled and weathered stump whilst searching for lichens to photograph. My initial thought was to use black and white film. However, as I studied the composition, I was not convinced that a black and white shot would do justice to the subtle shades of blue, a result of the subject being in shadow, lit only by the open sky. My choice of colour film was either Velvia RVP 50 or Provia 100. In the end I decided to use Provia for its reciprocity characteristics and more subtle colour palette. Composing and focusing to ensure optimal sharpness across the frame proved to be quite a challenge because of the relief of the stump and in the end it took nearly a hour to get to the final composition. The original transparency is approximately 1/2 life size reproduction.
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/
This is Katherine. I think I made her smile with a funny joke, but I can't remember what it was. Taken in State College, PA.
Camera: Toyo D45M
Lens: Komura 152mm f/2.8
Kodak Ektar 100
©2009 Gary L. Quay
A little mist and Portland's best bridge.
Camera: Deardorff 8x10.
Lens: 12" Kodak Ektar.
Film: Ilford HP5+ developed in PMK Pyro.
Uploaded better version 04/01/23.
# #pnwexplored #oregonexplored #hawthornebridge #pacificnorthwest #garyquay #cascadiaexplored #deardorff #outside #outdoors #oregonon #onlyinoregon #viewfromhere #portland #YourShotPhotographer #nightshift #bridgeatnight #filmphotography #largeformat #viewcamera #largeformatnight
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A variation on yesterday's fruit basket still life, this time with the addition of a wine glass and a different layout of both the fruit basket and placement on wine bottle and shot on white seamless instead of black background. I wanted to see how the green sensitive X-Ray film responded to the colors green and red. Being an orthochromatic film and less sensitive to the red part of the light spectrum, the X-Ray film showed the Valentine's colored red acrylic beads in the wine glass as light black and the wine glass in the foreground, which is a deep green, as almost clear. All things to keep in mind when shooting this film with those green or red colors as dominant in the frame.
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. Yellow filter on the lens to improve contrast.
Film: Fuji Super HR-T 30 medium speed green sensitive X-Ray film. Purchased as 8x10" sheets and cut down to 4x5".
Lighting: Lit from above subject with the modeling lamp on full power in an Alien Bees B800 studio strobe placed in a 22" soft white-lined beauty dish with diffusion sock. To camera right was a second light made up of four 25 watt daylight balanced CFL bulbs in a four socket adapter placed on a light stand and aimed through a large homemade diffuser constructed from pvc pipe and white bridal satin.
Exposure: 1 minute and 17 seconds exposure @ F32 based upon an original reading of 4 seconds and compensated for reciprocity and bellows extension and filter factor.
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 with minimal inversions. Tap water stop bath. Ilford Rapid Fixer. Photo-Flo. Hung on shower curtain to dry on film
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 square format in Lightroom 4.
Linhof Kardan Standard / Schneider Symmar / Agfa Brovira paper negative
Mmmmm. No one beats Brovira's smell...
f64 @ 1 second + Orange Filter
ShenHao HZX45-IIA + Fujinon-W 135mm f5.6 + Arista EDU Ultra 100 @ 50 iso + HC-110 (9mL syrup + 600mL water) @ 8 min (Tray developed)
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
As I said some time before, Cosina never was in the camera business for glory. They made good and well made cameras, just like any other Japanese manufacturer in the second part of the XXth century. They also had an optical glass plant, in which they made both Cosinon and no-brand lenses. Some of them were mounted in cheap barrels, but Cosina glass is OK.
And that is the word for Cosina SLRs, just OK. If you've been a consummer level SLR user, chances are that you've handled a Cosina but never knew, as almost every major player in the industry has sold cameras with their name on it but made by Cosina. Even all-mighty Leica was rumored to have contacted Cosina to build a Japanese made Leica rangefinder, camera that ultimately Cosina sold themselves. People at Cosina did not trust their own name to be very valuable, so they used another trademark they owned to add value to the thing. The result was the modern Voigtländer Bessa series, a good camera. Many would say just OK.
If you want to play a funny game, just look at the speeds dial, shutter release, wind lever, ISO selector, and rewind krank of this SLR; Cosina used this set of pieces in almost every camera they made from the 70s, including the Bessa and the Hasselblad X-pan. Take any camera catalog from the 70s-90s and you'll be surprised at how many bodies with first brand badges have been made by Cosina
Gold-toned salt print from original camera negative
8x10"
(This was the very first print I executed in this proces. Tt could have a little darker, but turned out surprisingly well. Problems came later)
Gelatin-silver photograph on Ultrafine Silver Eagle VC FB photographic paper, image size 19.6cm X 24.4cm, from a 8x10 Fomapan 100 negative exposed in a Tachihara 810HD triple extension field view camera fitted with a Nikkor-W 210mm f5.6 lens.
This negative was exposed as a test for an old batch of Fomapan 100. The bookcase and photographs were handy as a subject featuring a variety of tones and fine details.
The framed photographs are from an American photographer who passed away some years ago.
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:
Another version of the same coalshute, this one taken on Velvia. (Color version vill probarbly come later on).
Linhof 6x9 Technika III (Modified) + Voigtländer Heliar 114/4,5
Gelatin-silver photograph on Ultrafine Silver Eagle VC FB photographic paper, image size 19.3cm X 24.7cm, from a 8x10 Kodak Tmax 400 negative exposed in a Tachihara 810HD field view camer fitted with a Fujinon-W 300mm f5.6 lens.
Linhof Kardan / Symmar / Forte Polygrade direct paper shot
See? This is a screwed paper negative I shot with my Kardan, some camera porn, you see. I shot this one with long time expired forte polygrade. It's so unlucky that it is so foggy. I cut it in 9x12 plates, then I develop them in the studio. I discarded this particular one beacause the paper soaked light at some point in the process, don't know when. I took it out of the stop bath tray and cast it away without fixing.
What a surprise when I looked at it the next day and found that the paper base was as white as snow. Well, somewhat yellowish; you can see the bluish cast on the positive. I'm sure I'm amazed at a not so unsusal thing, but still... I think I will experiment with this on my enlarged prints. Looks like a cyanotype, you see. The stains just add to the final effect.
Camera: 1946 Graflex Graphic View 4-x-5
Lens: Schneider-Kreuznach Super Angulon 90mm
Film: Ilford HP5 Plus 400
Exposure: 1 sec
Aperture: f/22
© Diana Yakowitz 2011 All rights reserved.
This is the fifth of my posts of studies of this vintage Kodak 5"x7" View Camera.
"Best wide-angle lens? Two steps backward. Look for the 'ah-ha'."
Ernst Haas
A couple of days ago , I had a look at my guitar , made by me in 1980 , and been in disuse for many years . I thought ( I should fix it ) . And so I did . I disassembled it , made a new body , machined a new bridge and tail , and aligned the frets with a file . Then assembled the parts togeather , et voila !! It looks great now ( sounds fine as well )
It is shot with " Geometry " my mini View Camera , using a Pentax K10d , and a Mir 26B 3,5 / 45 .
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
I've written a few lines about this camera in my blog; I really would be honored if you went there and read:
I was trying for long to find a convenient substitute to the bayonet mount of MF lenses , but finally I gave up .
This is the front plate of "Geometry" with a DIY P6 lens mount .
The rail is now retractable , here in the extended position. More info here bluescargo.gr/geometry/
Linhof Select 135mm f:5.6 Schneider Symmar convertible lens mounted on Linhof Kardan Color 4x5 monorail view camera. The lens is a recent purchase from KEH Camera.
Photographed with a 55mm f:2.8 Micro-Nikkor manual focus lens on a Canon EOS 5D body.
I recently acquired this gem from a friend's neighbor - lucky to be in the right place at the right time I guess. It was all intact but quite filthy when I got it. I cleaned it up and had to glue a couple pieces of loose trim on it, but it's now in clean working condition! This "Ideal" 10"x12" field camera was manufactured by Rochester Optical Company during the mid-1890s. It came with a Carl Zeiss Jena Protarlinse VII lens, and included 4 10x12 glass plate holders. My plan is to shoot 8x10 paper negs by attaching RC paper to 10x12 glass or plexi.
Very windy night, with lots of city illumination on the fast moving clouds over Washington, DC. Taken from just inside my front door, to block the wind.
Linhof Technika V, 125mm Fujinon w lens
Horseman 6x12 rollfilm holder
Fuji Acros film at 100 ISO
F/16 at 2 minutes
Processed in Kodak Xtol, full strength using Jobo Processor
In Portsmouth, NH, I came across this camera sitting in a field in or near the Strawberry Banke museum complex. The photographer said it used the wet plate collodion process, and he was shooting one of the historic buildings on the property. He was using a shutter speed of about a minute and a half, taking off and replacing the lens cap, using a stopwatch. I tried to ask a few more questions and expressed an interest in his work, but he was too busy with all of the steps needed to make an exposure to give me more information, and I didn't want to get in his way, so I just took this one photo and left. I believe that's the ground glass viewfinder/focusing screen on the ground; he must have already composed the scene, focused, and inserted the film plate by the time I came along. I'd like to see the resulting photo!
4x5/8x10 medium/large format wide angle lens
en.wikipedia.org/wiki/Aperture
en.wikipedia.org/wiki/Schneider_Kreuznach#Large_format_le...
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edited in Picnik with posterize filter.