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This is NOT photoshopped!!! Keep reading-Shot on a large format view camera 4x5 chrome film. I printed this in the dark room with a color head and adjusted the color filters to achieve these colors. Printed on Kodak paper for negative film. Knowing the colors would be reversed I used green apples so they would be red in the photo.
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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.
Kodak 2D
type: 5x7 large format
circa 1900s?
number stamped on bottom: 350
condition: needs work
Owner: Charlie Graf
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.
Assignment: Black Glass III
The raptors are sitting on a piece of black glass, which acts like a mirror reflecting the gelled diffusion panel behind them.
Sony A7
Custom Offset Slider
10 Frames Stitched
120 MP
Sinar F1 Monorail
Rodenstock 150mm F/5.6
F/22
Front Standard Rise 6mm
Shutter 1/50
ISO 64
Custom Pan-F+ Preset
Assignment: Backgrounds
Shooting the same object on several different backgrounds; this is a gigantic scarf I got in India. Seriously. Thing is the size of a beach towel.
Got to invite lovely friend Hannah to Jay Javier's studio after a few non-handsome dudes have been dicking around with the 5x7 view camera. Shot this one from the session myself, and blame the soft focus effect to this being my first ever shot in large format. Lit with studio lights, shot through an Industar-51 210mm lens on Ilford Photographic Paper.
More details from this session here: Portraits with the Wooden View Camera
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.
My daughter Kalei in the studio photographed with a 8x10 B&J Commercial camera on a 10.5" Cooke Portrait. The image was captured on Arista EDU Ultra 100 film and processed in Pyrocat HD at 1:1:100.
Creative assignment #5 was to make a double exposure with our 4x5 View Camera. I chose to do a triple exposure on this one. Unfortunately I had a ton of ideas that I wasn't able to shoo because of time problems. Maybe next time. I decided to take a trip to my past. This is a scan of my 4x5 transparency.
Portraits - Chambre 4x5 - Busch Pressman D - Optar 135/4.7 - Foma 100 dans Rodinal (25ml/1.5m) - stand dev
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.
Tachihara 8x10 Camera with Fujinon 250mm lens. Classic 200 film in PMK Pyro contact printed on Agfa paper.
a few other observers did make the trek up after the gate closed, so I wasn't completely alone. got my 4 exposures and packed up at 12:30.
No marine layer so the valley projected its light domes high in the sky. Temperature inversion was strong and it was still 82 F at midnight.
See my DNA... - or -View On Black
Things are not always what they seem.
Originally this image was created from an assignment to provide the visual in a poster promoting a series of performances by the Fort Worth Symphony called "If music be the fruit of love..." - but never was.
The back-story on this object d'art had it originally created by a local florist - well known for their innovative and beautiful arrangements. However, it was substantially below expectations for a serious photograph. (Large format photography can reveal the most unexpected details.) A quick trip to the local market and five hours later, this re-assembly on the set produced what you see here.
More sculpting than photograph - it was a lot of fun with art anyway...
Blumenbeet in verschiedenem Focus +++ Bloembed in variabel focus +++ Flowerbed in various focus +++ No software expression but recorded by camera movements +++ Geen software-uiting maar vastgelegd door camerabewegingen +++ Kein Software-Ausdruck, sondern aufgezeichnet durch Kamerabewegungen +++ Enhance to discover +++ Vergroot om te ontdekken +++ Vergrößere, um zu sehen+++
A Johnny Depp impersonator at C2E2's tattoo booth.
Tachihara 4" x 5"; Fuji FP-100C; Schneider 135mm f/4.7
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.