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Gelatin-silver photograph on Ultrafine Silver Eagle VC FB photographic paper, image size 16.3cm X 21.2cm, from a 4x5 Kodak Tmax 100 negative exposed in a Tachihara 45GF double extension field view camera fitted with a Nikkor-W 210mm f5.6 lens.
B+W version of Town Beach at Port Macquarie. Lack lustre sunrise but still comes out kinda nice on the Velvia.
Taken on a Cambo SC 5x7 studio view camera with a Shen Hao 6x17 roll film adapter for 5x7 and using a 120 mm Super Angulon.
Took an image on the Canon 7D to get exposure. Image not as good as this Velvia shot:
Be careful that you don't load two sheets of film in the film holder at the same time !
Otherwise, you develop the film ... which is stuck together ... and you wonder why you can see a faint image but it still looks like the emulsion is still on the film.
You discover, of course, that there are in fact two pieces of film stuck together so you re- fix the first negative and you get nice blotches and areas where the emulsion from the other sheet of film are stuck to the negative.
Actually, this image came out pretty well considering the complete cluster f@#& on my part.
I was also experimenting with a yellow filter on this shot.
f45 @ 1/2 sec
ShenHao HZX45-IIA + Fujinon-W 135mm f5.6 + Arista EDU Ultra 100 @ 50 iso + D-76 1:1 @ 8 min (Tray developed, 1 min initial agitation followed by every minute)
4x5
i cropped it some. it had a light leak.
black and white ones to come... i dont really like these ones. but oh well.
Linhof Kardan Standard / Schneider Symmar convertible / Forte Bromofort paper negative
The bayonet mount of the first generation of Kiev SLRs was replaced from the Kiev 17 onwards for a copy of the Nikon propietary bayonet. See the wheel on the top right corner? This is the aperture knob, the only way to control lens aperture. Do you follow? This is the device that makes sure that Kiev SLR lenses won't be used on anything else, which is the reason why Kiev lenses are cheaper compared to their equivalents in other mounts. Sometimes you can find M39 adapters (to fit early Zenit lenses on Kiev bodies, that is) in ebay, which I'm planning to buy, just to mount my Helios 40 on my Kiev 15. Gross ;)
Gelatin-silver photograph on Ilford Ilfobrom IB2.1P photographic paper, image size 24.6cm X 19.5cm, from a 8x10 Kodak Tmax 400 large format negative exposed in a Tachihara 810HD triple extension field view camera fitted with a Fujinon-W 300mm f5.6 lens.
Titled, signed, and stamped verso.
Portraits - Chambre 4x5 - Busch Pressman D - Optar 135/4.7 - Foma 100 dans Rodinal (25ml/1.5m) - stand dev
My four largest cameras tip the scale at a combined weight of 24 lbs. (almost 11 kg. for you folks across the pond). How bad is it at your house?
Gelatin-silver photograph on Ultrafine Silver Eagle VC FB photographic paper, image size 24.6cm X 19.5cm, from a 8x10 Fomapan 200 negative exposed in a Tachihara 810HD triple extension field view camera fitted with a Wollensak 159mm f9.5 wide angle lens. Titled, signed, 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 Ilford MG IV RC, image size 19.5cm X 24.5cm, from a Kodak TXP 4x5 negative exposed in a Tachihara 45GF double extension field view camera fitted with a Schneider Super Angulon 90mm f8 lens.
Titled and signed recto, stamped verso.
Linhof Kardan Standard / Schneider Symmar / Forte Polywarmtone direct paper shot
Cute, innit? Well, this one has seen better times, but it's not really in a bad shape. A little brassing here and there, some peeling on the glossy paint... but anything serious. All in all, I got it for a mere 50 bucks at evilbay, from a Russian seller. This time Russian roulette has not been all that bad for me. I lke very much the Industar 22 that came with the body, which has no 'ear' lever. I found this curious because I thought that they only made them with the lever. Mine is a red 'P' also, which means that the quality of the coating is the best the Russians had at the moment. Or so I've been told... It's not that I'm going to shoot with the I22 too much, because I bought a nickel Helios 44 in like new condition that operates sooooo smoothly. I really love it. Period.
This is Timothy Logan, a very talented photographer from Cleveland, and the last large format portrait I have (for the time being). Taken in Cleveland, OH.
Camera: Toyo D45M
Lens: Komura 152mm f/2.8
Kodak Ektar 100
Cambo Actus / Zeiss 21mm Distagon / Sony A7II
Scheimplfug focussing front tilt down, swing left
Copyright 2018 by Zip Zipsen Photografy .
All Rights Reserved.
Do not copy, reproduce or use in any way without permission.
If you want to licence this photo in high resolution, please contact me: zip.zipsen@gmail.com
Gelatin-silver photograph on Freestyle Private Reserve VC FB photographic paper, image size 16.4cm X 21.3cm, from a Fomapan 400 4x5 negative exposed in a Tachihara 45GF double extension field view camera fitted with a Nikkor-W 210mm f5.6 lens.
Titled and signed recto, stamped verso.
Gelatin-silver photograph on Agfa MCC IIIVC FB photographic paper, from an 8x10 Kodak Tmax 400 negative exposed in a Tachihara 810HD triple extension field view camera fitted with a Fujinon-W 300mm f5.6 lens. Signed, titled, and stamped verso.
The rare occurrence of a total lunar eclipse on the winter solstice.
Kodak Portra VC160 4x5 film
Nikkor 240mm lens
1/50 second exposures at 5 minute intervals.
this is one of my initial test shots for a DIY light tent i made.
a lot more to come. i'm enjoying this little project a lot.
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.
De domtoren van Utrecht: enkele jaren omgeven van steigers ter reparatie van de stenen. Nu weer 'naakt' en in een gezicht bekend als vanouds!
Der Domturm von Utrecht, war einige Jahren eingepackt in Steigers, um Renovationsarbeiten zu ermöglichen. Nun ist er hiervon befreit und erscheint in altgewohnter 'Nacktheit'!
The Dom Tower of Utrecht was wrapped in scaffolding for several years to allow for renovation work. Now it has been freed from this and appears in its usual 'nakedness'!
Shot with a 4x5 view camera. I started and completed this project in the Fall of 2010. All photographs were compiled in a book, which can be viewed here:
These are fantastic cameras, I used one to take most of the 1,000 or so pictures in my two-volume set of Books, GUNMAKERS OF ILLINOIS, 1683-1900. That 4" X 5" negative allows for huge enlargements, with no loss of detail. The down side? Very expensive to feed, And difficult to find anyone to process the film, even twenty years ago.