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Rodenstock Imagon lens in Compur Compound shutter.
A few neat things about this lens & Shutter:
The shutter operates using pneumatics. A cylinder fills with air and the release rate of the air determines shutter speed.
The lens is from around 1960. It is designed to be soft focus using spherical aberration. An imperfect image gets layered behind a sharp image because of an uncorrected element.
The strainers in front of the lens are the apertures. They limit the amount of distortion the lens provides.
Taken with Fuji 135mm f5.6, Fuli FP100C45, 20 seconds f11
The "seldom seen" folding Rochester "Empire State" (c. 1892) 5x7 viewcamera with black bellows, brass lens, with mahogony & cherry wood. I'm told that this model could also be configured as a stereo camera. Recently acquired in ABQ.
All hail the new Shelf-Queen!
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.
contactprint from 4x5’ HP5 film
Printed on Arches paper with kallitype process Dev. Sodium Citric handmade, no toned
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#parconazionaleabruzzo
Check out my new website to view my photos
I’ll be selling some of my 100,000 images on there,
Initially just screen savers, eventually Larger Prints (check back)
Tony
Drammen river estuary
Forgot the ground glass at home, so this is in effect pointed and shot.
Polaview DIY Polaroid View Camera, Ysarex 127mm f4.7, Fuji FP100C
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.
An absolutely magnificent dominating oak in a nearby forest. Taken on Chamonix 045N-2 with a Fujinon S250mm F5.6. Great lens, the detail in this neg is unreal. There is a little flare up in the top right, despite the use of a hood, but it was taken against a much brighter sky. Exposure was F32 for about 45 secs IIRC
Neg scan
FP4 in Rodinal 50:1 tray developed 15mins
a 4x5 Pony Premo No. 4 camera by Rochester Optical Co circa 1906-12. Plantograph f8 lens in a Bausch & Lomb Automat shutter.
Arca Swiss large format camera with polaroid film back
Fuji Fp-100c instant film
model: Luciana Cáceres
A fencerow on the Gettysburg Civil War battlefield.
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: 1/30th second @ 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.
This is the Sherfy Farm on Emmitsburg Road in Gettysburg, Pennsylvania. During the Civil War battle of Gettysburg on July 2nd and 3rd of 1863, the Sherfy family was ordered off their farm while the battle commenced, eventually leaving the house and barn ransacked and hit by at least seven artillery shells. Their field was left covered with their possessions, bloody parts and dead bodies and 48 dead horses. The barn had been burned and the charred remains of men who had sought refuge from the fighting outside were piled high inside the burn. Eventually, the Sherfy family rebuilt the barn and repaired the house and replanted the fields. Today the farm is owned by the National Park Service and the farmhouse is rented out.
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. Deep red (29A) filter on the lens to create a dramatic sky.
Film: Arista EDU 200 Ultra B&W Negative Film, shot at box speed.
Exposure: 1/2 second @ F45. I place zone III on the stonework in the shadows of the overhang on the barn.
Development: Self Developed in Rodinal (Adox Adonal) 1:50 dilution in Paterson Universal Tank using the Taco Method. 9 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.
Linhof Kardan Standard / Schneider Symmar / Agfa MCP paper negative
Ah! I love Kievs. Contrary to what most evilbay Russian sellers say, it's not a copy, but the legal continuation of the original Contax II. The Kiev 5 is the try made at Arsenal to evolve the concept of the camera. Evolve what? Contax II? They could not be serious. To be true: this is just a Kiev 4 without a cap for the selenium meter. One has to admit that the viewfinder, with its projected lines is good, though; anywhere near Leica M or Canon 7 but pretty good...
A battle scene as it may have played out on the Gettysburg Civil War battlefield.
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: 1/15th second @ 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.
I built this 4x5/6x12 point and shoot camera many years ago but recently refurbished and improved the original. Since I mostly shoot 6x12 roll film I upgraded the finder to a 6x12 specific finder matched to this 75mm lens and added a grip that facilitates easy access top the shutter release. The lens is a 75mm Nikkor, which is about the same angle of view as a 24mm on 35mm.
I built this to take with me on trips where I really don't want to lug around my Linhof. I also built this camera to shoot in the urban environment when a traditional view camera would prove challenging.
The camera is mostly built from spare Cambo view camera parts, which are easy to find used, the lens is mounted in a flipped Toyo recessed lens board, the helicoid was ordered from ebay, however, any helicoid that is large enough to accommodate the lens can be used.
"I've got all the money I'll ever need, if I die by four o'clock." --Henny Youngman
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. 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". Film rated at 100 ISO.
Lighting: Lit from a constant light made up of four 25 watt daylight balanced CFL bulbs in a four socket adapter placed on a light stand to camera left.
Exposure: 24 seconds @ F16 after adjusting for bellows extension, film reciprocity and filter factors.
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.
This evening I (sort of) finished the re-assembly of my Deadorff V8. Now I just have the epic task of constructing an 8x10 tapered, square cornered bellows.
This is the final steps in the restoration of a Burke & James Grover 4x5 camera. No more battleship gray! Brand new bellows. Brand new tripod mounting block (the original one was missing).
When I think that I had this one sitting in a box in the basement for 20 years... All it needs now is a lens.
These four postcards show a boy with a variety of cameras, including one that appears to be an early Kodak, photographing an Easter rabbit with a basket of eggs.
4x5
I'm not cleaning up the negatives because they are all not in good condition. i just felt like sharing them. So please don't point this out to me.
Linhof Rollex 6x9 format roll film back for 4x5 cameras like the Linhof Kardan Color view camera in the background.
Looking at the east wall inside the sanctuary of Gary's City Methodist Church.
February 2012
City Methodist Church
Gary, IN
4x5 Horseman View Camera
90mm Nikon Nikkor SW f/8
Ilford FP4 125 B&W Negative Sheet Film
Cokin P001 (Yellow) Filter
Kodak D76 Developer
N-3 Development
14.5" Verito at f/5, 5x7 Tmax, Tmax developer 1:15 in a JOBO, Burke & James "Rembrandt" 8x10 camera with a 5x7 reducing back. Shot in 1997 and finally scanned.
Linhof Kardan Standard / Jupiter 11 / Agfa MCP paper negative
I attatched the J-11 on a linhof front plate just to see if it covered the whole 9x12 area and... well, it does not, but it still amazes me how those Zeiss designs cover perfectly well 6x6 and even 6x9. Anyway, the vignetting looks like barrel occlusion, because the definition doesn't really fall dramatically in the edges. I don't really think this will be a shooting rig I will use very much, I did only for the sake of experimenting with lenses; I'm not disappointed at all with the results.
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
Just try and google the title of this picture and you will find many results in Russian ebay stores and wiki pages. The sentence is very often literally copied from Princelle's book on Soviet cameras. Apart from proving that most Russian ebay sellers are pretty unimaginative, it shows us that they really didn't value too much their own camera production, as it has taken a foreigner like Princelle to show them that what was produced in their own country really has some value.
Copying is not bad 'per se', but well, in this case I guess it is, because the sentence is a part of a copyright document, but my point is not that.
I will explain myself: Princelle is a great researcher, a giant of iconomecanophily, and many of us owe him almost all we know about Soviet and Russian cameras. But even Princelle makes mistakes. I'm not speaking here about the numerous parts of the english version of the book with expressions with meaning lost in translation, heavy use of false friends, or entire paragraphs that have inadvertently been left in the original french, no.
Princelle, this giant of communication is sometimes wrong: the Zenitar 2/50 is, by no means, 'a pretty new version of the aging Helios'. I'm pointing here not just at differences in a cosmetic or mechanical sense, but also optical formula: I've not radiographiated the thing, but the Zenitar forcefully has to be a different formula from the Helios, a Biotar design, as it does not share its 'personality', beggining with the well known swirling bokeh. You see, sometimes even the best of the best are wrong.
Cyclop watching you.
New (last !?) step in format, a 4X5 camera. Not first for the larger film, but for tilt and shift.
Sinar F2 + Symmar-S MC f5.6 150mm.
Graflex 6X7 back.
Waiting for a large tripod head (here it's directly on the tripod base, so no movment, little frustrating)
On the wish list :
- Polaroid/Fuji pack backs to put my fuji fp-100/3000 packs, and the 45 version too.
- Sony/Minolta back adapter.
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
I couldn't believe my luck when I found this camera in a shabby antique store in my area. Once again, I paid dearly for it. Well, not so much, but much more than I wanted to pay. Even, though, it is a fraction of its real value.
The shutter works, and I'm going to take some pictures with it this week, just to see how the triplet 135mm f6.8 lens performs.
It is really exciting having this beautiful and very rare camera in my hands.
Kathedrale basiliek Sint-Jan Evangelist 'S-Hertogenbosch Start building in 1350, became cathedral in 1561; burned in 1584 and was rebuild until 1622
Photographed with view camera Cambo ActusMini and Actar 24mmf/3.5 with Sony 7MII
This was from my other Senior project. The project was inspired by Michael Wolf's work in "The Transparent City". These are scanned 4x5's. I was exploring the very short window during the day where you can see into the windows of buildings but there is still ambient light in the sky. This was possibly one of my favorite projects ever, the photos turned out beautiful, I printed them HUGE in the dark room so the colors are just amazing.
(also the building to the right is one of Columbia's buildings ---my school) and used to work at the hotel haha so i love this photo
Anyway, I hope you like it!