View allAll Photos Tagged viewcamera
4x5 reducing back for the 5x7 Agfa view camera project. It shows its age in the darkened brass and peeling clear lacquer finish, but it's not warped, has no cracked or broken wood, and has no broken or missing metal parts. Even the ground glass is in decent shape should clean up nicely. Overall, it's a nice accessory for the camera outfit.
Scanned as postitive. An over-exposed collodion positive is very flat but makes for a dense negative for contact printing.
Camera has front rise and tilt along with swing and shift, Back has tilt. Max focus is 34" due to bellows length and minimum is 5". This bellows was from a large vertical process / stat camera.
Gundlach Korona VI view camera. This is what is should look like.
"Korona Series VI camera was manufactured by Gundlach Optical Company in circa 1900. Designed for the professional or expert amateur as a universal camera. Adaptable for many purpose including telephoto to hand camera work. For wide angle work the front bed drops down to clear the field of view. The Series VI may be focused from the rear or front with a fine rack and pinion adjustment. It has a reversible back with spring actuated ground glass and reversible brilliant view finder. Rising and falling front, lateral front adjustment, vertical and horizontal swings. Three lens were available to compliment the long bellows, a Symmetrical, a Rectigraphic, and the Turner-Reich lens. This camera was available in 4 x 5, 5 x 7; 6 1/2 x 8 1/2; and 8 x 10 sizes. Price in 1902 ranged from $37.00 to $75.00 dollars."(www.historiccamera.com).
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 old scan of a1957 photo that I took with a view camera on Polaroid film.
Nancy is sitting in a Babee-Tenda which we bought from a door-to-door salesman in 1952 before the birth of our first child, Gary. Nancy's mother guessed the nirth date and we got the whole unit for the initial down paymnt.
It was used by all four children.
Obiettivo autocostruito montato su banco ottico, negativo Ilford Fp4 4'x5', ripresa da monitor, scansione da stampa 17,8x26,8 cm (Kentmere Art De Luxe).
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If I had been a photographer (Vermeer), 1/4 - 2010
Self made lens on LF view camera, Ilford Fp4 sheet film 5x4 inch, pc-screen shot, scanning from paper print (Kentmere Art De Luxe) size 17,8x26,8 cm / 7x10.6 inch
Product assignment for school... someone told me I needed to upload to flickr more... vioala!
I'll upload a setup shot later for you strobist freaks
Straight out of camera, minimal processing in camera raw
Many new uploads to come... I just got the lightroom action so it's easyyy
Wherever there is an I watched place, there is a good chance someone is going to dump something there. This is a prime example I found on a little photo exploration near my house.
The 150mm is very wide on the 8x10 and I quite like it.
Wehman 8x10
Nikon 150mm f/8 Nikkor-SW
Ilford Delta 100
F45 @ 1 sec
Tachihara 8x10 Camera with Fujinon 250mm lens. Classic 200 film in PMK Pyro contact printed on Agfa paper.
My first "real" large format view camera. The Graphic View was a very popular camera because it was so good, and the relatively large number of them available mean that the prices are very low. That, combined with the quality of my Graflex Super Graphic press camera convinced me that this was the right camera to get.
This camera is in very good condition (I even have the metal lensboard, but it was in a case with deteriorated felt, so I can't use it until I clean it out), and it works perfectly. The one obvious problem is the lack of the Graflex Graphic View's most iconic feature, the red bellows. Its a small price to pay, however, since the bellows have obviously been replaced recently and are in much better condition than the original red bellows would have been. Eventually I will replace these with some red leather bellows to match the original style, but for now this is fine.
Pictures taken with this camera can be found here.
Trying a view camera, first results. Polaroid 4x5 100 iso, expired. It didn't peel apart like it should on the right pic.
Walker Titan SF.
Caltar II-N 210mm f/5.6.
Fuji 160 NPL.
Firstly, I know I love the aesthetic of the way colors play together at night.
But more than that, it's about my love of industry, admiration of raw, hard work and finding beauty in these things built solely for their function and rarely for form.
I know there's more too it than that, so I have to keep shooting to find out what it is.
Which means...
I need my own Field camera. I can't shoot this work on 6x6 ever again.
Portraits - Chambre 4x5 - Busch Pressman D - Optar 135/4.7 - Foma 100 dans Rodinal (25ml/1.5m) - stand dev
The bellows look like they're in great shape for a camera that's somewhere between 60 and 90 years old.
Rise and drop, or rise and fall, is the ability to displace the lens or the film plane up and down. In this picture I show both. The left most image shows the camera in the neutral position. The middle row shows rear rise and drop. The right most row shows lens rise and drop.
The effect on film is that the image appears to slide around on the film plane. What this means in practice is that the photographer can align the camera and lens perpendicular to a subject that requires perspective control, like the face of a building, and keep all the verticals vertical and the horizontals horizontal. And then by shifting the lens or the film plane from side to side, that arrangement of verticals and horizontals can be maintained while effectively making the camera "point" up or down.
There's a common misconception that perspective control is managed by tilting the lens or the film plane. This is not the case. Tilts are used for focus control rather than for geometric control of perspective. Through the use of tilts, a view camera can move the plane of best focus so that it is no longer parallel to the film plane. This is what lets a photographer get an entire field of flowers in tack-sharp focus from two feet to infinity, at a wide-open aperture.
Image captured with my iphone, converted to negative and enlarged in Photoshop then printed on overhead transparency material on a Canon i9900. Printed on coated watercolour paper.
Gelatin-silver photograph on Ilford MG IV VC FB photographic paper, image size 19.5cm X 24.6cm, from a Kodak TriX Pan Professional 8x10 negative exposed in a Plaubel Profia 8x10 monorail view camera fitted with a 10 inch Kodak Ektar lens.
Signed, titled, and stamped verso.
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.
Gelatin-silver photograph on Agfa Classic MCC111 VC FB, image area 24.6cm x 19.6cm, from a TriX Pan Professional negative exposed in a Tachihara 810HD 8x10 triple extension field view camera fitted with a Fujinon-W 300mm f5.6 lens.
De Basiliek van de Heilige Johannes de Doper ligt in Laren, Noor-Holland en is een van de 26 basilieken die Nederland kent. 1937 werd deze kerk verheven tot basiliek door paus Pius XI.
The Basilica of Saint John the Baptist is located in Laren, North Holland and is one of the 26 basilicas in the Netherlands. In 1937 this church was elevated to a basilica by Pope Pius XI.
Die Basilika St. Johannes der Täufer befindet sich in Laren, Nordholland und ist eine der 26 Basiliken in den Niederlanden. 1937 wurde diese Kirche von Papst Pius XI. zur Basilika erhoben.
I'm playing with some large format lenses I've accumulated, and trying out my new Mod 54 developing kit. All in this series had front downward tilt. All were taken at the same height and tilt. All were taken using a White Lighting x3200 with a 24x36 softbox with a grid in front of the white panel because that was necessary to get the light level down to f/8. I chose f/8 as the maximum because of the Ektar's maximum of 7.7. These are all 600dpi scans.
These were all focused by eye only because I couldn't find my loupe, so there is probably some variability due to that. To me the Fuji doesn't look to be the sharpest, and I guess that is because of the different contrast which is probably because it's the newest lens and has the most modern coatings. But it is the sharpest of these.
My willing model, a bust of Hiawatha, has been in the family since 1900 or so. I am the current caretaker. He is made of plaster and was a carnival prize originally. He has been broken and repaired several times in his life.
If I can draw any conclusion from this very non-scientific test, using unknown cheap Chinese 100 ASA film and TMax RS at an arbitrary 6 minutes at 25 degrees C, it is that they are all very sharp lenses, and the Mod 54 is super easy to use. Next round will be older lenses when I make a lensboard adapter for their various sizes.