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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
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.
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.
©2021 Gary L. Quay
Lyle, Washington is located in the eastern Columbia Gorge, directly across from Rowena Crest. The Columbia River is fairly wide there, and it takes one hell of a lens to do this. I used one hell of a camera too. It's an Eastman Kodak Commercial 8x10 view camera that is capable of a yard of bellows extension.
I have had some trouble with the film. I'm not sure why it was happening, but this film, and a pack of HP5 had some diffuse lines of higher density running through it. I have to clean them up in Photoshop. They are about 3/4" wide, and there is sometimes smaller lines. You can see them in the water at the bottom, and in the sky at the top. I cleaned them up as best as I could. I keep the film in the freezer until I am ready to load it, but I am wondering if something happened in the freezer. I am going to try some different film from the freezer soon, but what is concerning is that I have about 5 boxes of Efke film, which is no longer available, in the freezer. If all of the film that was in the freezer at about the same time period was ruined like this, that would really suck.
Camera: Eastman Kodak Commercial view camera
Lens: 760mm SK Grimes
Film: Ilford Ortho+ developed in Kodak HC-110
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1897 Ak-sar-ben Camera - Repromaster 210mm - f/45 - Fomapan 100 - 8x10 Film (5x10 Mask) - Legacy Pro L110 1+100 - Unaltered Negative Scan
IN ENGLISH BELOW THE LINE
Aquesta càmera 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 càmera, 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 aquí, 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 càmera 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!
WillTravel 5x7 3D Printed Camera - Eskofot Ultragon 150mm - f/32 - Fomapan 100 - 5x7 Film - 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.
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:
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 ƒ/8 Super-Angulon lens. 2s @ ƒ/45, swing & tilt. It was my only exposure of this scene.
Own a signed limited edition print of this image at: lowerylandscapes.com/zion
Railroad cars at the Chehalis-Centralia Railroad & Museum in Chehalis, Washington.
Camera: Zeiss Ikon Maximar 207/7 9X12cm
Lens: Carl Zeiss Jena Tessar, 13.5cm, f/4.5
Film: Fomapan 100
Developer: HC110 Dilution B
Impossible Project 8x10 color instant film. Shot with 1926 Eastman Kodak 2D 8x10 camera with Darlot brass projection lens. Model: Ellie Neumeier.
Owl Head Lodge, Gulgong, NSW, Australia.
November 2020. Fomapan 400 at ISO200.
Developed in D96, stock solution, 7min30sec with agitaitons every 30sec, 20c.
Chroma Camera Carbon Adventurer 4x5 + Nikkor W 135/5.6.
1min30sec f/5.6 (under a full moon).
1891 Rochester Optical Company Universal - G-Claron (Dagor Type) 210mm - f/45 - Fomapan 100 - 4x5 Film - HC 110 1+100 - Unaltered Negative Scan
IG: @vladyurkov
Kodak E100 4x5
Chamonix 45f2
210mm f45 1/2s
This scene was taken during our one and only sea level Island winter storm on a local hill near my home.
The cool winter morning light definitely could have benefited from some warming filtration, however the blowing wet snow had other plans and didn't make for favourable conditions for using glass filters. I ended up adding a touch of warmth, saturation, and colour balance in post to bring the scene closer to what I had envisioned. The posted video shows the slide as slightly cooler and duller than my final image which was fully expected.
1897 Ak-sar-ben Camera - Repromaster 210mm - f/45 - Catlabs 80 - 8x10 Film (5x10 Mask) - HC110 1+100 - Unaltered Negative Scan
From earlier this week, before the rains. 1897 Ak-sar-ben Camera - G-Claron 240mm - f/45 - Fomapan 100 - 8x10 Film (5x10 Mask) - Legacy Pro L110 1+100 - Unaltered Negative Scan
Verlaten (abandoned)
Muse: Hannah
Artist: Paul van Bueren
Sinar P2
Fomapan 400
Copyright by Paul van Bueren
1905 Korona View - Schneider G-Claron 240mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
The presence of several historical societies within Oakville has made this project possible. The Oakville Historical Society got its start in the 1930s, when Hazel Chisholm Mathews discovered several papers, historical records, and documents in the Customs House, which she used as an apartment for herself. Hazel took an immidiate interest in the local history and with other citizens saved the town's first post office, moving it to Lakeside Park in 195. Using these documents plus additional ones found throughout Earchless and the nearby post office, Hazel along with other citizens founded the Oakville Historical Society in 1953. The Thomas house followed in 1955. When a high-rise threatened Earchless and the Customs House, the town purchased the entire property in 1971 and the Historical Society found a home in one of the estates outbuildings. Here is Potter's Folly, one of the many signed buildings and one of my favourites in the northern part of the old town.
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Arista EDU.Ultra 400 @ ASA-200
Ilford Ilfotec HC (1+47) 7:30 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
Burke & James 8x10 "Rembrandt" circa 1955 with Lerebours et Secretan Petzval lens circa 1860. A winning pair.
And "The Beast" of Stephen Byard's nightmares, lol
Purchased about 40 years ago in rough shape without any of the front standard hardware for $75 with 8x10 and 5x7 backs. The front standard was the same "battleship gray" as the rear but so badly scratched that I stripped (to discover it is figured rock maple) and refinished it. Otherwise, its a stock camera. One of the best investments I made in photography.
Once the jewel of the downtown, the Thompson House hotel was known for it's amazing rooms, live music, wine cellar, and restaurant. And while those days are long gone at least the restaurant aspect is carried on with an Italian place.
Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Ilford FP4+ @ ASA-64
Pyrocat-HD (1+1+100) 8:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
1891 Rochester Optical Company Universal - G-Claron 210mm - f/45 - Fomapan 100 - 4x5 Film - HC 110 1+100 - Unaltered Negative Scan
©2023 Gary L. Quay
We were driving near Celilo Village before returning home. Sunlight slanted in from a break in the clouds, and illuminated parts of the hill and the sagebrush below. I though it would make a nice picture.
I find the landscapes east of the Cascade Range in Oregon to be remarkably, and starkly beautifful.
Camera: Horseman 985
Lens: 150mm Horseman Super ER
Film: Kodak TMax 400 developed in Rodinal 1:50.
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WillTravel 3D Printed Camera - Eskofot Ultragon 150mm - f/32 - Fomapan 100 - 5x7 Film - Legacy Pro L110 1+100 - Unaltered Negative Scan
1891 Rochester Optical Company Universal - Friedrich Munchen Axinon 125mm - f/32 - Fomapan 100 - 4x5 Film - HC 110 1+100 - Unaltered Negative Scan
1897 Ak-sar-ben Camera - G-Claron 240mm - f/45 - Fomapan 100 - 8x10 Film (5x10 Mask) - Legacy Pro L110 1+100 - Unaltered Negative Scan
©2020 Gary L. Quay
While it feels good to be back in the darkroom again, I am experiencing some of the same frustrations that I used to get in the previous darkroom: frustrations over ruined film. I used 2 sheets of 8x10 film to take this picture (I always take a second on in case I ruin one in the darkroom). I am using a new developing tray, which is a daylight tray (you can use it with the light on). It’s new to me, so I’m getting used to it. It’s supposed to hold the negative flat, and allow for as little as 500ml of developer to be used. I’m testing a developer called Eco-Pro. It’s basically Kodak Xtol by another name. My goal is to find a developer/film combination to stick with, and not get lost in the hundreds of combinations out there. The first negative somehow did not lay flat in the tray, so a large corner of it was not developed at all. The second one (this one) had little spots all over it. I cleaned them off in Photoshop, but the negative is uselsss for optical printing. It also had some darkened patches at the top, which looked like they were at the places where the plastic peices are that center the negative in the tray. The little spots I mentioned are likely from unmixed developer. I mixed it immediately before I used it, and I noticed some unmixed powder in the bottom of the beaker after I added the developer to the tray. I apparently did not mix it well enough.
I like the Eco-Pro developer so far (other than when I don’t mix it well enough). I’m trying to use more environmentlaly safe chemicals. I’d like it to work out. I already use their neutral fixer. That said, I read a blog post recently where someone is making Rodinal out of peppermint leaves. I’m intrigued.
Camera: Deardorff 8x10
Lens: 165mm Schneider Angulon
Film: Bergger Panchro 400 developed in Eco-Pro Film Developer.
# #pnwexplored #deardorff #oregonexplored #pacificnorthwest #garyquay #cascadiaexplored #outside #outdoors #oregon #onlyinoregon #viewfromhere #YourShotPhotographer #traveloregon #oregoncoast #myoregon #eco-pro #film #filmphotography #largeformat #viewcamera
My Web Site and Blog: Gary L. Quay Photography
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Feel free to join my Flickr groups
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Trying different film types with my 4x5" camera. 2 strobes.
Symmar 180mm
Instax Wide film in Lomagraflok back
11. Dezember 2025
Quincy in the sun.
Camera: Graflex Pacemaker Crown Graphic 34
Lens: Kodak Ektar 127mm f/4.7
Film: Shanghai GP3 100
Developer: Rodinal 1:50 for 15 minutes.
This hollow old ash tree stump is still has some healthy growth. Photographed beside a path in Shadwell Wood Ashdon in Essex.
MPP Micro Technical 5 x 4in and Schneider Kreuznach Xenar 1:4.5/150mm, Fomapan 100, f16 at 1/2 sec. Scanned with Epson Perfection V800.