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With many thanks to my friends Rachael and Duncan (leafpeeker) for the shell.
Taken with a D700 mounted (with extension tubes and super-glue) to the back of a 1947 Speed Graphic 4x5. Lens was a 250mm Fujinon (large format), racked out fully, released with self-timer and focused on live view (which is very easy as you can zoom in to perfect focus before stopping the lens down, and it will even meter if you want). 15 seconds at f22.
I think this is a terrific macro and portrait set-up for studio, given the tilt/shift and rise possibilities to manipulate or optimize the plane of focus. The same idea applied to a view camera would be great for architecture.
600W photofloods + 80A filter.
The colors on the print are perfect; the scan doesn't do it justice.
Burke & James 5x7 view camera with 4x5 reducing back, 8" f/7.5 Graflex Optar, Polaroid Type 59.
Testshot with my "new" DAGOR, a 125mm F:6.8...I must say I was quite lycky to get such a short one, often you tend to find them in 135mm and longer.
It came fitted in a pneumatic shutter that have about 2x faster speeds so its 1/1-1/100 speedrange should become something like 1/2-1/100 (i dont think the top speed is affekted.). Hopefully it is somewhat linear...until I am certain I have to make a few tests. The shutter is in unfinished brass (!) and the aperature scale is standard and not the goerz-scale.
I think this shot was taken at about f8 or f12
The camera used is a Linhof 6x9 Super-Technika IV.
The film in efke OP12, a ortocromatic lith-film exposed at 6asa in this case and developed in kodak technidol. Native 6,5x9 sheet-film.
The 1024 of flicker only gives a "preview" of the scan and my crappy 9000F doent even get near the resolution of this neg so there is quite a lot to get from this lens.
My boots, cover, patches, and coins from my last two deployments.
Calumet 4x5 view camera
Provia 100 ISO color transparency film
Camera: Chamonix 45n-1
Lens: Rodenstock 90mm Grandagon-N f/6.8
Film: Ilford FP4+ @ ISO 64
Exposure: 2 sec @ f22
Date: April 23, 2017
Identifier: lf_2017-04-23-003
Shot with a 4x5 large format film camera [210mm] on Ilford HP5 (ISO 400). Scanned with a tablet as a light source, sandwich bag diffuser and a camera+tripod for actual image acquisition.
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.
Camera: Toyo-View 45GII, Fuji Fujinon NW 125mm f5.6. Film: Rollei Ortho 25, developed in Rodinal 1+50, 10min @ 20°C.
My first attempt with this film. The graduation is ways too steep, I definitely have to change development procedures.
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 had a half a dozen loaded 4x5 film cartridges, a gigantic view camera on a heavy tripod and an hour at lunchtime to shoot. I wandered up and down 5th Street getting the view camera shots - architecture, trams - but as I was heading back I walked past Tom sitting outside a cafe.
'Hey, you wanna take my picture?', he calls out as I struggle past with 20kg worth of gear.
I was down to my last couple of loaded sheets, and I thought - what the hell, this is the street, I have a camera so I'm going to do some real slow street photography.
'Sure! Can you wait a couple of minutes while I set up?'
Tom is momentarily taken aback - 'Hey, I was only kidding!'.
'Nope, all good - I'd love to get your picture if you're down for it!'
I set up the camera in record time and I didn't spend too much time composing. I put the blackout cloth over my head, emerged and said 'don't move.' It took what seemed like an age to slam the cartridge into place; I slid out the dark slide, banished thoughts of stuck shutters and hit the release.
It was the best shot of the day - thanks Tom :]
Shot with a 4x5 large format film camera [210mm] on Ilford HP5 (ISO 400). Scanned with a tablet as a light source, sandwich bag diffuser and a camera+tripod for actual image acquisition.
Stranger 14 of 100
This is Varnya (pronounced Vania, "it's the Australian spelling") and Cass (short for Cassidy)!
I was walking along Queen St. during my lunch, and it started getting a little toasty. I had the Crown Graphic slung across my body to my right and my bag slung over to my left, tying my coat down on me. I stopped by a bench to put my stuff down and take off my coat. Sitting on that bench was a woman playing with her child.
"Look at that big camera!" she said, and her son looked over and smiled. I asked him if he's seen one that big before, and he shook his head. "That's the biggest camera in the world!" he said. I told him that it was bigger than my face, and he smiled.
When I asked him how old he was, Cass replied "three and three quarters!" I told him I moved to Canada around that age, from Hong Kong. "Now THAT'S a cool city!" Varnya exclaimed. She's visited Hong Kong before, but Cass has only flown over it when travelling from Australia to Canada.
Varnya and Cass are visiting from Vancouver Island, though they're originally from Toronto. They're in Toronto visiting a few friends.
"We love Toronto," Varnya said.
I told them about my summer in Vancouver and how my girlfriend is from there. I told her that we visited Pender Island, which I felt had a creepy vibe to it. "Definitely, it does!" Varnya said.
The two were headed to see the CN Tower today, a Toronto landmark that I haven't visited yet.
Graflex Crown Graphic | 135mm f4.7 Graflex Optar | Arista 400 EDU | Epson 4870
I love old, mechanical things, with dials and switches. That's why I love old cameras. This is a painting of a Rolleiflex View camera, introduced, I believe, in 1949 featuring "the original twin-lens reflex". An advertisement from the day boasted, "In all fine photographic collections, most places of distinction are held by Rolleiflex pictures." I don't know if that's true...I just dig old cameras.
According to an article on Wikipedia,The Rolleiflex TLR film cameras were notable for their exceptional build quality, compact size, modest weight, superior optics, durable, simple, reliable mechanics and bright viewfinders. They were popular and widely imitated. The high-quality 7.5 cm focal length lenses, manufactured by Zeiss and Schneider, allowed for a smaller, lighter, more compact camera than their imitators[citation needed], further differentiating the Rolleiflex TLR from many of its competitors, who were forced by inferior optics to use 8.0 cm or 8.5 cm focal length lenses.
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.
This image is a part of six image series from 1998, shot on large format film with a view camera and then made into photopolymer gravures.
11x14" print from 4x5" Tri-X320 B&W negative shot through a Sinar monorail view camera with a vertical raise and a forward tilt to the front plane. Exposed for 1/60th at f/32. Burned on the stairs significantly, and dodged on the pair of teachers at the middle left.
I did not have a lens wide enough nor the correct time of day available to mimic the original picture as precisely as I would have hoped.
Here's my Burke&James Grover Large Format 4x5. It's been recently rescued from my parents home, and is living with us now. Just needs some lens cleaning and some polaroid type55 :)
Gelatin-silver photograph on Ultrafine Silver Eagle VC FB photographic paper, image size 21.2cm X 16.3cm, from a 4x5 Efke IR820 negative exposed in a Tachihara 45GF double extension field view camera fitted with a Schneider 75mm f5.6 lens and IR680 infrared filter. Titled and signed recto, stamped verso.
I often say "flickr made me do it" when I make a post. In this case it was paws22 who was the vehicle for a four image addition to my photostream.
This is the view of the top of the French statue of a photographer with his view camera that I have posted. The cut-away top of the camera shows the surprising face of the photographer. We think the gaunt face and pointed goatee looks rather devilish so we call him the devil photographer.
The well know and widely published back mark for the California photographer, S. A. Wolf. must have been based on this 7" metal statue. I am also posting scans of a Wolf cabinet card of a child and the back mark of the card.
Thanks paws22 for the nudge to do it.