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©2011 Gary L. Quay
I decided to work on a picture I posted about 9 years ago, back when I had a functioning darkroom. I usually replace the originals on Flickr, rather than posting new versions, but the original was a scan of the print, and this is of the negative, and I wanted to leave both up for posterity.
This was taken with my 760mm SK Grimes lens fitted with a red # 25 filter on 8x10 Ilford FP4+.
Since I had two negs to process, I tried two different methods to get the sky to print easily next to the shaded foreground. The first method was to try divided D23: 4 minutes in the developer and 3 minutes in the alkalie bath. The negative came out splotchy, and completely unusable. Since one was ruined, I had to try something more fool-proof. I used Kodak HC110 and semi-stand development. This seems to largely have done the trick. The sky requires a little burning in, but not much.
Camera: Deardorff 8x10.
Lens: 760mm SK Grimes with red # 25 filter.
Film: Ilford FP4+ developed in Kodak HC110 semi-stand at 22:15 minutes.
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This scene has such a magical dream-like quality to it for me. The leaves on the trees glow and almost seem disconnected like they are floating in space like a cloud of glowing fairies. As I made this image, I stood beneath an overhanging weeping wall covered in dripping water, wrapping over me like a cave. The trees were illuminated by sunlight filtering into the depths of the canyon from above and reflected light filled the colossal majestic space.
Details:
This image is a 0.8% sized export of an 180MP scan from a large format film image made on Fuji Velvia 100 with The Intrepid Camera Co. 4x5 Field Camera and my Schneider-Kreuznach 90mm ƒ/8 Super-Angulon lens. 10am, 8s @ ƒ/32, CPL
In other words, this thing will print to 40x50 inches with enough quality that you can put your face right up to it with a magnifying glass and only see more detail. These large format film images contain approximately 20x the level of detail of my digital images made with current generation DSLRs, and I've printed those to 40x60" with good results! This is one of many reasons I am now working in large format film instead of digital. I also prefer the aesthetic qualities of these films. Additionally, the experience of working with the silent elegant simplicity a wooden view camera in the field is so much better than dealing with scrolling menus, flickering lights, and glowing screens while in the wilderness.
By all means, zoom in and pan around. I don't make these things to be consumed as thumbnails!
I used a cut dark slide to shoot 4x10 format on the 150mm lens which fitted the scene nicely, this was shot from my usual spot more as an exercise to get to know the lenses better.
Development was dome with ADOX Rodinal at 1+50 dilution and scanned on an Epson V850 flatbed with Silverfast.
©2022 Gary L. Quay
The film holder I used has a light leak. I lost a little of the negative, and it will never be printable in the darkroom, but the my first attempt at stand development in 8 years was a success. The scene was dark, and I had to compensate for reciprocity. Rather than cutting development time, I used stand development with Rodinal 1:100. Iw ould be a very usable negative if it weren't for the light leak.
Camera: Deardorff 8x10
Lens: 12" Goerz Dagor
Film: Efke PL 50 stand developed in Adox Rodinal 1:00 for 1 hour
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Chatswood, Sydney, NSW, Australia.
March 2021.
Instax Wide.
Chorma Camera Carbon Adventurer 4x5 + Nikkor W 135/5.6.
10sec f/45.
©2022 Gary L. Quay
I took a trip to the Oregon Coast for my "Places of Doom" project. I was there to get pictures of a little body of water called Dope Creek, which turned out to be nigh impossible. Boiler Bay almost qualifies as a Place of Doom because of the way it got its name. A ship ran aground and exploded in 1910, and all that remains is the boiler, which can be seen at very low tides. I did manage to photograph Dope Creek at a distance, and got some Lensbaby pictures of the "Devil's Punchbowl", which is on the list of Places of Doom, but the feature - a sea cave where the roof fell in - is not very picturesque. I hoped that the Lansbaby Edge 35 would bring it to life.
I'm mostly happy with the developement of this one, but there was a light leak in the lower left corner, which I cleaned up in Photoshop. I will have to test that film holder.
Camera: Deardorff 8x10
Lens: 10" Kodak Commercial Ektar
Film: Ilford FP4+ developed in Rodinal 1:50
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My Website and Blog: Gary L. Quay Photography
On Twitter Gary L. Quay Photography
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My stock portfolio on Shutterstock
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My stock portfolio on Alamy
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Feel free to join my Flickr groups
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1905 Korona View - Agfa Repromaster 210mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
©2018 Gary L. Quay
We took a trip to White River Falls a couple of years ago, and stopped for this picture on the way.
Camera: Speed Graphic 4x5.
Lens: 15” Wollensak Tele-optar
Film: T-Max 400 shot at 200 ASA, and developed in Clayton F76+
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My Web Site and Blog: Gary L. Quay Photography
My stock portfolio on Shutterstock
My stock portfolio on iStock
My stock portfolio on Adobe
Feel free to join my Flickr groups
and Flickr Today 2
December, 1993
Ikeda Wood View Camera, 210mm Symmar S
Agfacolor Optima 125 4x5
My new scanner has unlocked my 4x5 and medium format collection, and will allow me to post new work along with the oldies. This one is a souvenir of a winter trek on showshoes lugging my gear.
I had some tables at a camera show in Portland Oregon Saturday and not having any tools with me, I found this well used but complete Swiss Army knife at another seller's table and fixed the loose screw on the wooden view camera I had for sale.
I was pleasantly surprised that the knife still has the tweezers, tooth pick and the extra small screwdriver that lives inside the corkscrew.
The camera is a 5x7 Rochester Optical Monitor made between 1894 and 1901.
1891 Rochester Optical Company Universal - Ilex Paragon 260mm - f/45 - Fomapan 100 - 4x5 Film - HC 110 1+100 - Unaltered Negative Scan
Chamonix 8x10, Rodenstock 300mm f/5.6 Apo-Sironar-S www.lylevincent.com www.lylevincent.photodeck.com www.instagram.com/lylevincent
4x5 transparency. I may use for my "big and beautiful" assignment. Still deciding which image to use.
The view from Rowena Crest in the early Spring 2015. I didn’t record the specifics on this one like I usually do, so I’m not sure of the developing. I know the rest, though.
Camera: Deardorff 8x10
Lens: 240mm Nikkor-W
Film: Ilford HP5+
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My Web Site and Blog: Gary L. Quay Photography
My stock portfolio on Shutterstock
My stock portfolio on iStock
My stock portfolio on Adobe
Feel free to join my Flickr groups
and Flickr Today 2
1891 Rochester Optical Company Universal - G-Claron (Dagor Type) 210mm - f/45 - Fomapan 100 - 4x5 Film - HC 110 1+100 - Unaltered Negative Scan
Photographed outside her studio with a lage format view camera. Schneider 210mm APO Symmar 1/60th F8 Tmax400
Verlaten (abandoned)
Model: Anne
Artist: Paul van Bueren
Cambo SC-1
Fomapan 400
Copyright by Paul van Bueren
1905 Korona View - Kodak Commerical Ektar 213mm - f/45 - Fomapan 100 - 5x7 Film - HC110 1+100 - Unaltered Negative Scan
Have a new to me 8.5 inch Commercial Ektar I'm testing out
Hilba view camera with Lomograflok back, Symmar 180mm F/16 1/15s, Flash through umbrella with modelling light on.
Instax Wide Film
24.Oktober 2022
1891 Rochester Optical Company Universal - Repromaster 135mm - f/45 - Fomapan 100 - 4x5 Film - HC 110 1+100 - Unaltered Negative
Salt Print on Canson 300gsm paper; X-ray Negative made from 5x7 Silver Positive Contact Print
Been in the Salt Printing Vortex lately. A simple simple process with a more subtle result than a platinum or kallitype. Also not an expensive one to do.
After shooting the jade lady peak, I suddenly saw this little group of pale looking trees glowing in the sunlight that was now filtering through the mountains behind me. I quickly scrambled over the boulders in an attempt to still catch the fast moving light and ended up with this image. Again unfortunately the long exposure needed almost make what's left of the thin fog over the water almost vanish in the final image.
The shot was made using the Rodenstock Apo-Sironar-S 240mm f/5.6 with a 2-stop soft grad. The film used was Foampan 100, home developed in ADOX Rodinal 1+25 dilution then scanned on an Epson V850 flatbed.
Contact print from 8’x10’ Foma film
printed on hahnemüle paper with kallitype process
dev am.cit/sd cit. No toned.
1891 Rochester Optical Company Universal - Schneider Angulon 90mm - f/45 - Fomapan 100 - 4x5 Film - HC 110 1+100 - Unaltered Negative Scan
New Lens! Very excited to explore this lens. It seems great. This is not the "super" angulon, just the angulon.