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Crown Graphic large format 4x5 press camera on tripod. Taken with Mamiya M645 Pro medium format camera with 100mm f2.8 lens and Kodak Portra 400 negative film. Location is Lake Merwin Camper's Hideaway.
made by Rochester Optical Company, Rochester, NY in 1901. Has a Rapid Rectilinear 4x5 f8 lens in a Bausch & Lomb Victor Flat Top shutter. Exposures on 4 x 5 inch plates.
The camera has front rise and rotating back. The Victor Flat Top shutter has a speed dial on it and is marked PAT JAN 6 91.
According to McKeown this shutter was manufactured in 1901.
4x5
Finally some new work. More to come. I need to spot but I have some new fashion stuff and portraits. I really would like to start shooting my more personal work again.
©2008 Phillip Nesmith - While in Maine during a short vacation my imagination was captured by the primitive aquatic plants commonly called seaweed. So many types with different colors, shapes, and flotation means.....I had to make plates of them.
Above is the first 5x7 collodion tintype of a seven plate series.
4x5 Linhof Color Kardan monorail view camera. This is a later model with the two-piece monorail, longer bellows draw, and the extra flexible section at the front of the bellows. It can be thought of as a Technika on a monorail. The rear movements are the same as a Technika, with the addition of rise, and the front end is the same as a Technika 4 or 5 with the lever action rise. And, of course, you also have the advantage of rear focusing, which the Technika does not have.
An excellent description of this model Linhof can be found at ...
Uploaded sharper version 1/4/20. Description below from 2010.
Waiting for a sunbeam in Cathedral Park. There were sunbreaks and interesting lighting all afternoon... until I got my camera set up. The clouds were spectacular, though.
Camera: Deardorff 8x10 with 4x5 back.
Lens: 210mm Schneider.
Film: Fuji Velvia 100 Quickload.
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Van Nuys, CA 2013
Toyo 45F
Nikon Nikkor-W 210mm (82A filter)
T5.6
1/60 shutter
Kodak 400NC Portra (rated 200ASA expired 2006)
process: Richard's Photo Lab Los Angeles processed normal
This neg was a mess. I should've given it another 1/2 stop exposure.
The first time around Jen wore her glasses and they got in the way of the shoot. This time around- no glasses and she wore a light green dress with a slightly lighter leaf pattern . It worked out great, this was the first and best shot of the night.
The lens I used is the 18" Wollensak Verito diffused focus lens at f/6 and the exposure was 6 seconds.
sunpak 611 , camera right in medium softbox, up high,1/4 power,tripped with optical slave by on camera 580ii,1/128 power
These are from a second round of testing with the Arista Ortho Litho film. Starting to get it dialed in I believe. These again were shot on my Cambo 4x5. This was a two light setup with the main light being a Paul C Buff White Lighting X1600 with the 86 inch PLM. The rim light was an Alien Bees with 7 inch reflector with a 30 degree grid.
These were shot with my 210mm Schneider-Kreuznach 5.6 lens at 5.6. The main strobe was set at full power and the rim light about a half stop less than full. I dragged the shutter for about 4 seconds to allow the ambient light to burn in on the background.
I shot these to experiment with the development time a little bit. I then scanned them all in at the same settings to see the difference.
This was developed in a 1+150 dilution of Rodinal at 68 degrees for 7 minutes.
7 minutes seems to give the best negative, at least for scanning. The contrast is just about right in these shots I think.
Geometry is originaly designed and constructed as an SLR to View Camera Conversion , but proved to be a very good platform for experimenting . Here it is converted to 6x9 (cm) view cam . What is missing yet is the roll film back pack , but it's on the way .
On this day I spent the early to mid-morning exploring the coastal bluffs of San Diego to study the textures and patterns on the sandstone formations. For this photograph, I used a green Wratten #58 contrast filter to separate the top red layer of rock from the overcast sky and lighter reds below.
Torrey Pines State Beach
San Diego, CA, USA
Ikeda Anba 4x5
Nikon 90mm f/8 Nikkor-SW
Ilford Delta Pro 100
This is Union Pacific Steam Locomotive # 4012 which resides on the grounds of the Steamtown National Historic Site in Scranton, PA. It's one of the "Big Boys", a series of Locomotives that were designed for hauling large loads of freight (3600 ton train) over mountains passes in Colorado and Wyoming where the incline was often up to a 1.14% grade. The 25 Big Boys were built in two groups. The first group, called "class 1", were built starting in 1941. They were numbered 4000-4019. The second group, "class 2", were built in 1944. They were numbered 4020-4024. The last revenue freight pulled by a Big Boy was in July of 1959. Most were retired in 1961. The last one was retired in July of 1962. As late as September, 1962, there were still four operational Big Boys at Green River, WY. Most of the Big Boys achieved over a million miles of service during their working life. The overall length of this locomotive is 132 feet, 9-1/4 inches. It was retired by the Union Pacific in February 1962 after logging 1,029,507 miles. The locomotive cost the UP $265,000 when it was built in the 1940s. The train weighs 1,189,500 pounds and was designed to be operated at speeds of up to 80 miles per hour.
I could have really used a more interesting sky on this day. You can be assured I will revisit and reshoot this as the weather improves this Spring/Summer.
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.
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. 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.
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
Evolution of a Tilt&Shift Brace . As you
can see it started "only tilt" on the "Tilter"
my first trial to make a View Cam Conversion for dSLR . It's the one at the back . It grew up to a tilt&shift in "Geometry" my second trial , it's the one in the middle ,
and now it became more compact and
user friendly , and is almost ready to be mounted on the third prototype ( don't know the name yet ).
The brace was the most important part , and the most difficult , because it had to be designed and constructed from the begining . No hacked parts or mechanisms .
The strangest pumpkin/gourd I have ever seen, as sold by Roots and Fruits, and even they don't know what it is. Front Swing on the monorail. Toning added after negative scan.
Arca Swiss large format camera with polaroid film back
Fuji Fp-100c instant film
model: Carolina Pérez
( Impression contact d'un négatif plan film 4x5 par le procédé cyanotype sur papier aquarelle 250 g/m2
exposition : soleil ).
Franciscan church, build 350 years ago, completed in 1731 and the organ was implemented in 1753, bult by Christian Ludwig König.
Venue : Peak
Camera : TOYOVIEW VX125G
Lens : Rodenstock Grandagon 90mm F6.8
Aperture : -
Shutter Speed:-
Film : Fomapan 100
Developer : Kodak HC110 Dilution B
Scanner : Epson GT-X970
After our basement flooded, I had to pull out part of our collection to check on it all. It was fun to see it all again.
Picked up this little bity 4x5 from Kirk Gittings at a good price. I was wanting a field camera since the monorail I was shooting with was simply too big and heavy for field work.
Though that didn't stop me from lugging it a half mile into the woods regularly.
This guy, however, I plan on taking miles and miles into the wilderness on days when I don't feel like being a street photographer.
Camera: Toyo-View 45GII, Fuji Fujinon NW 125mm f5.6. Film: Adox CHS 100 II, developed in Caffenol C (Soda 12 tsp, Lyophilized coffee crystals "Nestlé Green Blend" 24 tsp, Vitamin C 1 1/2 tsp), 18min @ 23°C.
This is a concept image I shot to show to a client, who needs imagery of bills for a web portal and publication. The final photos are probably going to photographed using a Nikon D810, and a 80mm Apo-Rodagon mounted to a PB4 bellows which has swings and shifts.
However, I like what this looks like and I think it will look fantastic printed really big. Since this image is only a concept piece, I am going to print it out to it's full scanned resolution of 46x60 inches at 240ppi, and hang it in the entrance to my studio at work.
Linhof Technika V, 90mm Fujinon
280mm bellows extension (3.3 stop correction), max front tilt back, 10mm front rise
f/16 at 6 seconds
Ilford Fp-4 at 100 ISO
Developed in Kodak Xtol using the dip and dunk method
I got some dirt cheap kodak pro100 sheet film with a 1998 expiration date. Since I've recently acquired c41 chemicals I thought I'd give it a shot. No color shift or fog that I can see. I'm no expert on these things though. Chamonix 4x5, 135mm nikkor lens.
While at one time Calumet had manufactured their own large-format cameras, by 1979 the company had become a full-line photographic distributor and were instead offering imported Horseman and Cambo models instead.
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/
A photographer sets up his "new-to-him" 8x10 view camera to photograph Wahkeena Falls in the Columbia River Gorge National Scenic Area, Oregon on the Historic Columbia River Highway. A question for large format photographers... what important piece of equipment was forgotten on this maiden outing?
I will be using this camera in week 471 of my 52 film cameras in 52 weeks project:
www.flickr.com/photos/tony_kemplen/collections/72157623113584240
For the first full week in 2019 of my 52 cameras in 52 weeks project, I decided to use my dad's Lizars Challenge folding plate camera. This dates from around 1905 and is in very good condition. I will be using a roll film back as I don't have any glass plates. I expect to take most of the 8 exposures indoors using a tripod, bit I hope to try a couple outside. I've loaded it with Rollei Pan ISO 25 black and white negative film.
Linhof Kardan Standard / Schneider Symmar / Agfa MCP paper negative
When you pick a rail camera for the first time, you tend to use it like a rigid camera for some time, until you begin to understand how it really works and that the advantages of such a camera don't end with the large frame size.
When you want to control perspective, you stop taking pictures with your intuition and start MAKING them with your intellect instead. This is such a picture, with the rail camera close to the subject, rail facing down and vertical convergence eliminated. This is how our brains tell us we see things, even if we don't really see them like that. That is the reason for perspective control: making pespective look real in the 2d, decieving light in order to look into the frame the same way our brains decieve us to see things.
Of course, if you are not obsessed with a naturalistic view of photography, this gets boring and you start looking for something else. In the meantime you stop worrying about perspective control and maybe even start twisting perspective yourself...
Arca Swiss large format camera with polaroid film back
Fuji Fp-100c instant film negative reclamation
model: Marina Mui
www.flickr.com/photos/analogtilyudai/25525439082/in/datep...
The Enslow Covered Bridge is located in Blaine Pennsylvania, a very rural area of Perry County. The structure was built in 1904, is 110 feet long and 16 feet wide and utilizes a Burr Truss design. The bridge takes Adams Grove Road over Sherman's Creek. Perry County owns and maintains the bridge, and it is in great condition in a beautiful setting. We were lucky to arrive at the bridge to shoot it in the late afternoon sun. The GPS location of the bridge is N40 19.74 W77 29.49.
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
Settings: Shot at F32. Metered with a Pentax 1 degree spot meter. I blew out the sky and should have used a filter.
Development: Self Developed film in Rodinal 1:100 using semi-stand development in Paterson Universal Tank using the Taco Method. 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 since the V600 doesn't natively support scanning 4x5 sheet film and I haven't stepped up to the V700 yet.