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Gaia and I went to Newport in September. I got out the 4x5, and used up some T-Max 400. It was way out of date, so it needed to happen.
I like the way this one turned out, although, my scanner has trouble with thinner negatives.
Camera: Sinar 4x5
Lens: 150mm Fujinon
Film: Kodak T-Max 400 developed in Clayton F76+
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St Margaret's Church Cowlinge in Suffolk.
MPP Micro Technical 5 x 4in and Schneider Kreuznach Xenar 1:4.5/150mm, Fomapan 200, f32 at 1/5 sec. Scanned with Epson Perfection V800.
Susan in our mutual studio, with her up in the air somewhere products.
strobist: large open softbox (whitedome)
Fuji Neopan Acros 100, 4" x 5", 80 iso, N + 1/2 development in Rodinal developer, 1:50, 11:00minutes, 24C. Taken July 2017. Ebony SV45TU. Fujinon-A 240mm.
I used a six stop neutral density filter, and a #25 red filter to both increase contrast, and allow for a long exposure. Exposure time was 1 minute at F20.0. My goal was to show some motion in the foreground grasses and the sky while keeping the house itself sharp. I think it worked...? This old house is near Andrew, Alberta in Lamont County.
Model: Alexia Day www.facebook.com/AlexiaDayModel/?fref=ts
Camera: 4x5 view camera
Film: Fuji FP-100C45 expired
'Roid Week (Polaroid Week) Day 5
Autumn's Embrace"
On the end of day 2 of my Zion fall color trip, I was exploring unnamed slot canyons searching for compositions when I came across this little scene. A young cottonwood sapling adorned in the brilliant yellow of peak fall color leans in towards a bright red maple sapling, which in turn leans in towards the cottonwood from a shelf above. This is an unusual scene, to see deciduous trees in fall color living in a desert slot canyon, and I think the juxtaposition of these different elements makes for a very beautiful combination.
Details:
Intrepid 4x5" Field Camera, Schneider-Kreuznach 90mm Æ’/8 Super-Angulon lens.
8s @ Æ’/32 6:15pm.
Own a signed limited edition print of this image at: lowerylandscapes.com/zion
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.
1897 Ak-sar-ben Camera - G-Claron 210mm (Dagor type) - f/45 - Fomapan 100 - 8x10 Film - HC110 1+100 - Unaltered Negative Scan
Camera: Graflex Graphic View
Lens: Kodak Ektar 127mm Æ’/4.7
Film: Arista EDU 100
Development: Rodinal 1:100 stand for 1 hour (loose film in Paterson tank)
Scan: Nikon D7100 w/ Sigma 17-50mm Æ’/2.8 over light table
1905 Korona View - Schneider G-Claron 240mm - f/64 - Fomapan 200 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
1905 Korona View - Kodak Commerical Ektar 213mm - f/45 - Fomapan 100 - 5x7 Film - HC110 1+100 - Unaltered Negative Scan
Camera: Eastman View No. 2-D 8x10
Lens: Ilex Process Paragon 15"/9
Shutter: Packard
Exposure: 7 min. f/45
Film: Arista Edu 100 8x10
Tray Development: D-76 1:1 68 degrees 12 min. continuous rocking of tray.
Scanned from print developed 5 Min. in undiluted Caffenol-C at 80 degrees on Adorama RC Perle.
SEE THE CAMERA AT THE LINK BELOW:
©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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and Mosier, Oreogn
Lower right corner of the ground-glass focus plate on the Burke and James 5x7 view camera I picked up at the camera club auction a couple weeks ago.
Approximately 2.5" edge to edge.
1897 Ak-sar-ben Camera - Repromaster 210mm - f/45 - Ektascan B/ra - 8x10 X-Ray Film (5x10 Mask) - HC110 1+100 - Unaltered Negative Scan
1905 Korona View - Repromaster 210mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
1905 Korona View - Kodak Commerical Ektar 213mm - f/45 - Fomapan 100 - 5x7 Film - HC110 1+100 - Unaltered Negative Scan
1897 Ak-sar-ben Camera - Schneider G-Claron 240mm - f/45 - Fuji UM/MA X-ray - 8x10 Film - Legacy Pro L110 1+100 - Unaltered Negative Scan
1897 Ak-sar-ben Camera - Schneider G-Claron 210mm (Dagor Type) - f/45 - Fomapan 100 - 8x10 Film (5x10 Mask) - Legacy Pro L110 1+100 - Unaltered Negative Scan
1905 Korona View - Kodak Commerical Ektar 213mm - f/45 - Fomapan 100 - 5x7 Film - HC110 1+100 - Unaltered Negative Scan
We had a hurricane in my part of the US and the river rose because of it so of course I had to photograph it...
I went to Astoria, Oregon shortly after moving back to the Portland area this past summer. I dragged a bunch of film cameras along, and managed to get them out and use them. This is a picture I wanted to take another crack at since my first LF negatives of the Astoria-Megler Bridge had, shall we say, issues. This one is much better.
Camera: Sinar Alpina 4x5
Lens: 90mm Nikkor
Film: Kodak T-Max 400 developed in Clayton F76+
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My Blog: Gary L. Quay Photography
My portfolio on Shutterstock
My portfolio on iStock
My portfolio on Adobe
Feel free to join my Flickr groups
1897 Ak-sar-ben Camera - Repromaster 210mm - f/45 - Fomapan 100 - 8x10 Film (5x10 Mask) - Legacy Pro L110 1+100 - Unaltered Negative Scan
El Capitan, the dramatic end of the Guadalupe Mountains in west Texas. From above it looks like the prow of a ship sailing across the desert. A favorite location and subject for me.
This is a large format film shot I did on my Arca-Swiss 4x5 camera with a Nikon 210mm lens (normal view about a 55mm in full frame digital terms). The sheet film was Efke 25 which is a B+W negative film that I had processed by DR5 Chrome into a positive. Yes, a black and white positive. Love looking at these on the light table. Scanned on my Epson 4990 flatbed scanner.
This waterfall was located inside a privately run park somewhere down a very badly kept dirt road winding into the mountains just outside the national park. During the holidays the park was basically left unattended and I was the only visitor there that day. Too bad that the footpaths were very narrow and my options for compositions were rather limited. I am however, very happy with how the Fomapan 100 handled the dynamic range in this shot, I was looking at least at a 7-stop range if not more and I'm pretty happy with how the exposure came out.
The shot was made using the Schneider Super-Symmar XL 150mm f/5.6 with Iva center filter. The film used was Foampan 100, home developed in ADOX Rodinal 1+25 dilution then scanned on an Epson V850 flatbed.
1897 Ak-sar-ben Camera - Repromaster 210mm - f/45 - Fuji UM/MA - 8x10 X-Ray Film (5x10 Mask) - HC110 1+100 - Unaltered Negative Scan
WillTravel 5x7 3D Printed Camera - Eskofot Ultragon 150mm - f/32 - Fomapan 100 - 5x7 Film - Legacy Pro L110 1+100 - Unaltered Negative Scan
IN ENGLISH BELOW THE LINE
Aquesta cà mera tipus "tailboard" o "reisekamera" com en diuen en alemany, de format 13x18 cm, és d'un model força estandard i molt practic. Per això la vaig escollir. Però a sobre té la particularitat de conservar la plaqueta del fabricant i a sobre un objectiu a joc també amb el nom del fabricant. Això la fa especialment atractiva.
Aquesta reisekamera, doncs, fou fabricada i venguda per Konrad G. Seitz a Nuremberg, a finals del s. XIX o principis del XX. Per raons que detallaré, crec que data d'entorn el 1895. Encara fa més gracia que el negoci fotografic de la familia Seitz encara existeix avui en dia, encara al costat de la St. Lorenzkirche: Photo Seitz GmbH.
L'objectiu és força interesant i representatiu del seu moment. Tot ell lacat en negre i amb detalls cromats, s'allunya ja de la estètica de llauto que va dominar els objectius fotografics del s. XIX. Tot i portar el mateix nom del fabricant i venedor de la cà mera, dubto molt que també fos fabricat a Nuremberg. El text del objectiu, parcialment en lletra gòtica, diu:
"Konrad G. Seitz, Nürnberg,
Universal Aplanat, Extra Rapid, 16981".
La clau aquÃ, es que si busqueu "Universal Aplanat Extra Rapid", veureu que hi ha molts objectius identics, amb el mateix lacat negre i text similar PERO amb noms i ciutats diferents. La majoria d'Alemania i Austria, però també de França i Catalunya i tot. De fet, vaig trobar un article sobre dos objectius com aquest però indicant dues botigues de Barcelona. Gracies a aquests noms podien saber que es tractava de objectius fabricats just a finals del s. XIX (quan estan documentats aquells negocis barcelonins). Per això crec que aquest objectiu data del entorn del 1895. Tant pel nº de serie anterior als mencionats objectius com per tenir diafragma amb "stops" senzillament numerats 1-2-3-4 etc, i no f8-f11-f16-f22...
No sé on es fabricaren aquests Universal Aplanats, però tot apunta a Alemania, tant per la distribució com per l'us de lletra gòtica en el text. Deurien ser fets per encarrec d'aquells que els venien amb el seu nom inscrit, i obviament això sembla indicar optiques més aviat barates. Si un objectiu Zeiss, Vöigtlander o Dallmeyer, calia pagar més.
Aquesta cà mera la vaig comprar perque anava en conjunt amb 3 portaplaques de tipus "bookform", perfectament utilitzables per a fer plaques de col·lodió. I funciona molt bé!
en.wikipedia.org/wiki/Reisekamera
www.girona.cat/sgdap/docs/b3ljavifoix_2018.pdf
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This large format tailboard camera or "reisekamera" as they say in German, format 13x18 cm, is a fairly standard early XX Century model and very practical, as in folding position the ground glass is protected. That’s why I chose her. But on top of that it has the particularity of keeping the manufacturer's plate and even a matching lens also with the manufacturer's name. This makes her especially attractive.
This reisekamera, therefore, was manufactured and sold by Konrad G. Seitz in Nuremberg, at the end of the XIX or early XX Centuries. For reasons I will detail, I think it dates back to c.1895. It is even more interesting to know that the photographic business of the Seitz family still exists today, next to the St. Lorenzkirche, in Nuremberg: it's Photo Seitz GmbH, in Pfannenschmiedsgasse.
The lens is quite interesting and representative of his time. All lacquered in black and with chrome details, it is already moving away from the brass aesthetic that dominated the photographic lenses of the XIX Century. Despite bearing the same name as the camera manufacturer and seller, I highly doubt it was also made in Nuremberg. The text of the objective, partially in gothic letter, says:
"Konrad G. Seitz, Nürnberg,
Universal Aplanat, Extra Rapid, 16981 ".
The key here, is that if you search for "Universal Aplanat Extra Rapid", you will see that there are many identical lenses, with the same black lacquer and similarly styled text BUT with different names and cities. Some also have Waterhouse stops, others, diaphragms. Most indicate cities of Germany and Austria, but also France and even Barcelona, in Catalonia. In fact, I found an article (in Catalan) about two lenses like this but named after two retailers in Barcelona, long gone ("A. Busquets y Duran", and "Vda. de F. Rus"). Thanks to these names they could know that these were lenses manufactured just at the end of the s. XIX (when those Barcelona businesses are documented). That is why I think this lens dates from around 1895, just a few years before the others. Both for the serial number lower than those lenses and for having a diaphragm with "stops" simply numbered 1-2-3-4 etc, and not f8-f11-f16-f22. ..
I don't know where these lacquered Universal Aplanats were made, but everything points to Germany, both for the distribution and the use of Gothic lettering in the text. They probably were made by order by those who sold them with their name inscribed on them, and obviously this seems to indicate rather cheap optics.
I bought this camera because it came with 3 "bookform" type plate holders, perfectly usable for making collodion plates. And it works great!
Happy Birthday Ansel Adams! With Feb 20 being Ansel's birthday, I thought posting a large format, black and white image would be appropriate.
A Texas windmill on a socially distanced day drive west of Fort Worth last summer.
Shot on my 4x5 Arca-Swiss camera and a Fujinon 125mm lens. I was using a red 25 filter to darken the sky and Arista 100 EDU sheet film.
1 second at f/45
I made this shot on the same morning as the "Emperor Peak" shot, the fog in the mountains seem to be flowing out in between the peaks in the distance almost like an avalanche. What drew me to this scene is the serenity of the village in the morning with the eternal background which looks almost like those Chinese watercolour paintings. Both the contrast between human elements and nature, and the contrast between the sharp foreground and soft ethereal background is what makes this image interesting for me personally.
The Chamonix Alpinist X was used for this shot, with the Fujinon C 600mm f/11.5 lens at f/45 and 2 sec exposure. The film used was Fomapan 100 which was then developed in ADOX Rodinal at 1+50 dilution and scanned on an Epson V850 flatbed with Silverfast.
Walking through this place was one of the most peaceful and enjoyable things I've had the pleasure of experiencing. The juxtaposition of vivid leaves with warm desert tones and geology makes an unusually beautiful combination. I love this scene because it captures an incredibly ephemeral moment in time. The wash had just been flooded, leaving the sand wet and forming gorgeous ripple and wave patterns. The vivid leaves fell onto the sand and rested there. A few days earlier, there would have been dry, loose sand and no leaves. A few days later, and there would be dry, loose sand and a bunch of dry, dead, colorless leaves.
This was a rather precarious scene to capture. I used my Intrepid 4x5 view camera, and view cameras are designed to be used perfectly level. They have a flat "bed" on which are mounted two moving "standards," one holding the film, and the other holding the lens, connected by a fabric bellows in between. Tipping that assembly on end so it faces the ground puts all the weight on the standard mounts, which aren't made to support it. It also makes viewing the dim ground glass under a focusing hood very difficult, as I had to lean out over the top of the tripod, which was balanced spread over these leaves, trying not to ruin the delicate mud with footprints or shadow, while focusing on the reversed & inverted ground glass. Then it began to rain! I was in a flash flood wash, where 7 people were suddenly killed by a flash flood a couple years ago. I hurriedly finished the image, and ran to high ground to wait out the rain before getting back to work.
By all means, zoom in and pan around. I don't make these things to be consumed as thumbnails!
Details:
This large format film image was made on Fuji Velvia 100 with my Intrepid 4x5 Camera and Schneider-Kreuznach 90mm Æ’/8 Super-Angulon lens. 2s @ Æ’/45, swing & tilt. It was my only exposure of this scene.
Own a signed limited edition print of this image at: lowerylandscapes.com/zion