View allAll Photos Tagged viewcamera
This is an image from a seven picture series (1998) which I printed as gum bichromates using tritone separation and halftone negatives.
A gift from a work colleague. A lovely chunky view camera from the late fifties. One of the big things about this viewfinder camera is it's large and clear 1:1 viewfinder. Sadly this viewfinder is useless. It's like looking through the dappled, frosted glass of a bathroom window.
Seems the two rear elements in the rear of the viewfinder have seperated. Whatever held them together has deteriorated leaving the cloggy adhesive behind. Beyond a bit of a clean.
Nowadays these cameras can be be had for not much, around £20 or so. Depending how the first roll of film goes, I might look into buying a problem one but with a decent viewfinder and swap it over.
This camera belonged to my friends late father, so I'm determined to get some action out of it.
Meanwhile to aid functionality I'm using an external 50mm finder.
*Update* Everyone can now sleep easy as I bought a donor camera. The donor has problems but the viewfinder is clear and as it should be. It is now transplanted into this camera.
Large format Portraits
Busch Pressman D, Foma 100, stand dev
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The experimentation with the new Meniscus lens continues.
I have always wanted to take some shots of this cathedral and what better format than large format.
I am still experimenting trying to find the sweet spot of this lens. The lens offers good coverage on the ground glass.
What is very cool, is that you can see the effect of opening up the lens and the degree of bokeh or soft focus real time on the ground glass. My focal point in this shot was the large circular window area. I started with the lens wide open at f4.5 and stopped down to just between f8-11.0. This resulted in the window being the sharp focal point and the surrounding negative still being awash in the dreamy soft focus effect.
This is exactly what I got this lens for, to dial in on a specific area of the negative, render it as a sharp portion of the negative while the surroundings are still soft.
Despite being quite a distance from the church, I am surprised that the depth of field is so small.
I need to do some more experimentation with different subjects, should be a fun process. Maybe introduce some filters as well to dial up the contrast.
f 8.0 - 11.0 @ 1/60 sec
ShenHao HZX45-IIA + Antique 4X5 Achromatic Meniscus Lens + Arista EDU Ultra 100 @ 50 iso + Rodinal 1:50@ 8 min (Tray developed)
Taken in either the late '90's or early 2000's with the Galvin View Camera. Not a properly exposed negative, perhaps appropriate for the subject.
My sister (left) having a friendly chat with a fellow dog-lover, while guarding my "priceless" 8x10 view camera setup.
Had the chance to walk around Westpoint Military Academy with my sister, thanks to her awesome military access. It was a gorgeous late fall afternoon, and it was just plain fun hiking around a new place.
As seen in The 52 Project, Week 26: Visiting My Sister
www.matmarrash.com/blog/2011/2/16/the-52-project-week-26-...
Hasselblad 500c
1/125th @ f/5.6
VERY expired Portra 160VC
My friend Le Fras agreed to help me with a shoot and showed up with a suit on, We went to an abandoned building site and took a few photos. Shot using my DIY large format camera. Arista Ortho 2.0 film. 4 second exposure at f32.
©2011 Gary L. Quay
I had been trying to get out of Portland more for my night photographywhen I took this picture. Funny that I ended up moving there in 2015. Sadly, I had to move back to the Portland area 4 years later.
This is Cascade Ave. in Hood River.
Fuji Acros is excellent for night shots because its reciprocity characteristics are top notch.
Camera: Sinar Alpina 4x5
Lens: 150mm Fujinon.
Film: Fuji Acros 100 Quickload, developed in Kodak HC-110 dilution H.
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Camera: Toyo-View 45GII, Schneider-Kreuznach Super-Angulon 90mm f/8. Film: Rollei Ortho 25, developed in Rollei RLC Low Contrast.
Wet plate collodion is one of the the first photographic processes. It requires the photographer to sensitize, photograph and process the image all while the collodion substrate is wet. During the late 1800s wet plate photographers had to design and build the majority of their own equipment - the same is true today. After 4 months of acquiring chemicals, building a darkbox (portable darkroom), crafting a wet plate camera back and restoring a +100 year old camera here is my first image.
Thoughts? Well, my technique needs some serious work but I'm amazed the chemistry and exposure were dead on first shot. The collodion lifted from the glass (not an entirely bad looking effect) - something easily rectified by intense glass cleaning. Also, there is a yellow colour cast in the middle of the image, this I suspect is either from pulling the image from the fix too early or inadequately filtered silver nitrate (sensitizing) solution.
Why my GTI? Well, it was what was in front of the garage I was working in.
In the coming weeks I plan on testing out the process' aesthetic strength - portraiture.
Poor condition with various bits and pieces missing and worn bellows. Ground glass intact.
Better photos to follow
©Alex Suárez. All rights reserved.
As promised to the CapMac Photo SIG, I’m posting a couple of old photos I shot circa 1990 using a “painting with light” technique.
This image was shot on 4x5 Polaroid film. It was shot with an Alpina 4x5 view camera. A Mini Maglite flashlight was use as the only light source for the entire image.
This was taken in my darkened living room one one night. The shutter was set to bulb and I then walked up to the subject and started "painting" the light on him, little by little from head to toe. I then stepped behind him and drew the back and forth light pattern before returning to the camera and closing the shutter.
The model in this photograph is none other than a much younger fellow flickr photographer Tom Haymes.
Description: We see three students standing on the crest of a hill with their cameras on tripods. One is under a black sheet, which allows him to composes his shot. The other two, one of whom is peeking out of her black sheet, are looking up to see into the distance. The Minneapolis College of Art and Design was previously named the Minneapolis School of Fine Arts from 1886-1909 and the Minneapolis School of Art from 1910-1969.
Inscription: recto-(in ink) "x burn-out sky?"; verso-(stamped) "Please return to: MCAD Publications" "Minneapolis College of Art and Design" "2501 Stevens Avenue South" "Minneapolis, MN 55404" (stamped and in red marker) "MCAD PHOTO FILE 19__" "Subject " "Photographer" "Negs available? " "Other Photo class at Minnesota Landscape Arboretum" (in marker) "26 (8)"
Creator:
Date of Creation:
Item Type: Still Image
Item Physical Format: gelatin silver print
Dimensions: 20.2 cm x 25.3 cm
Image ID: 1980_classrooms_001.jpg
Gelatin-silver photograph on Agfa Classic MCC 111 VC FB, image size 24.6cm X 19.5cm, from a 8x10 Kodak Tmax 400 negative exposed in a Plaubel Profia monorail view camera fitted with 10 inch Commercial Ektar lens.
I ordered a new lens board for the Meniscus lens (posted below) and both the lens and the board arrived in the mail on the same day ... go figure !
Now all I needed was some time to shoot a couple of frames to test this new lens out ... not so easy as I have been busy as hell.
I was able to shoot one frame this weekend ... speed shooting ... park car, grab camera bag & tripod, set up quickly. Pick a scene in less than a minute, compose, set lens to wide open at f4.5, take meter reading and fire away.
Pack up ... run back to car.
Not the most interesting scene or subject and the light was very flat. I will be interested to see what the results are like in contrasty light and I will have to experiment with aperture settings to get the ideal balance between sharp focus on a particular area of the negative versus the soft focus qualities of this lens.
f4.5 @ 1/15 sec
ShenHao HZX45-IIA + Antique 4X5 Achromatic Meniscus Lens + Arista EDU Ultra 100 @ 50 iso + Rodinal 1:50@ 8 min (Tray developed)
I must say, for a little nuthin' still life, er, still death, this has nice a nice smoove tone. *pat pat* Thank you "Yellow Father"!
Audio triggered flash. Chamonix 4x5 camera with Rodenstock 240mm lens. Kodak Portra NC160 film scanned on a V750.
Torrey Pines State Natural Reserve
San Diego, CA, USA
Ikeda Anba 4x5
Kodak Wide Field Ektar 100mm f/6.3
Fujichrome Velvia 100
Developed at Northcoast Photographic Services, Carlsbad, CA
11x14 with two Speedotron 2403x power packs on full combined power for each strobe, putting out a total of 4800 watts per second of face-melting light
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 an Apo-Nikkor 610mm f9 lens working at f128. Titled, signed, and stamped verso.
Taken with a t2i and a custom made (Read hot glued) adapter made out of a recessed board and $10 extension tubes on the back of a Toyo 45 C with a Caltar II-N MC 150mm f/5.6 @ f/8
Edited in Lr. Slight sharpening because it was shot in RAW. Slight vignette added. No color or saturation correction.
I could have paid more attention to depth of field, but you get the idea that was behind this camera.
Porsche, There is No Substitute.
4x5 for 365 Project details: greggobst.com/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-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: 35 seconds @ F45 after compensation for filter factor, bellows extension and film reciprocity.
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 and diffused through a home made diffuser made of white bridal satin around a pvc pipe frame positioned to camera right. Above the subject was placed an Alien Bees B800 studio strobe in a 22" white lined beauty dish with diffusion sock with just the modeling light on @ full power. The reflection of the black background causes the mirror surface to reflect as black.
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. 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 taste in Lightroom 4.