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Shen Hao 617 TFC617-B | Schneider Kreuznach Apo Symmar 180mm f5.6 MC | Ilford SFX 200 R72 Infrared Filter | Howtek D4000 Drum Scan
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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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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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.
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
Impossible Project 8x10 color instant film. Shot with 1926 Eastman Kodak 2D 8x10 camera with Darlot brass projection lens. Model: Ellie Neumeier.
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
1905 Korona View - Repromaster 210mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 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!
1897 Ak-sar-ben Camera - G-Claron 240mm - f/45 - Fomapan 100 - 8x10 Film (5x10 Mask) - Legacy Pro L110 1+100 - Unaltered Negative Scan
I set up one of the old cameras for a still life last month. We were in full peach season, and I wanted to test Rollei RPX 25 film. Here is the result.
Camera: Calumet C-1
Lens: 11” Hyatt’s Rapid
Film: Rollei RPX 25 developed in Kodak HC-110 diluted 1:39.
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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
5x10 from Friday: 1897 Ak-sar-ben Camera - Repromaster 210mm - f/45 - Fomapan 100 - 8x10 Film - HC110 1+100 - Unaltered Negative Scan
1905 Korona View - Schneider G-Claron 240mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
Self-constructed 645-format view camera based on Mamiya 645 Auto Bellows, Mamiya RB67 50mm f/4.5 lens and Mamiya RB67 120 format 6x4.5 roll film back; orange filter, 4 degree downward tilt, about f/22 and 1/22 of second (guillotine shutter) on Kodak Tri-X developed in Black, White, and Green developer
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 - Repromaster 210mm - f/45 - Fuji UM/MA - 8x10 X-Ray Film (5x10 Mask) - HC110 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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Spring 2011
Eastabrook Park
Milwaukee, WI
4x5 View Camera
Ilford FP4 125 B&W Negative Film
Kodak D76 Developer
Note: click to see the higher resolution image - showcasing all detail ;)
1891 Rochester Optical Company Universal - G-Claron (Dagor Type) 210mm - f/45 - Fomapan 100 - 4x5 Film - HC 110 1+100 - Unaltered Negative Scan
1905 Korona View - Schneider G-Claron 240mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
This winter I was honored to be selected as a Winter Resident for the Penland School of Crafts in Photography. I had a superb stay and made Kallitypes and did a bit of work with the 5x7
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
Shen Hao 617 TFC617-B | Schneider Kreuznach Apo Symmar 180mm f5.6 MC | Kodak Ektar | Drum Scan Howtek D4000
1891 Rochester Optical Company Universal - G-Claron 210mm - f/45 - Fomapan 100 - 4x5 Film - HC 110 1+100 - Unaltered Negative Scan
Toyo View Deluxe / Industar 51 210mm f4.5 / Agfa MCP paper negative
This picture was taken more than five years ago, improperly labeled, and forgotten on a film holder until yesterday. It narrowly escaped being double exposed by a hunch of mine that made me throw it into the developer tray just in case something was there. And, oh boy, I really thank my luck for that hunch.
I remember that afternoon very well, as I managed to have for lunch at my house in northern Tokyo both of what I'm sure are the best models I've had the pleasure to shoot. It's a sin that this negative spent that many years stored away, as I think that this is the best large format portrait I've ever shot in the open.
Artist: Paul van Bueren
Wista 45RF
Fomapan 400
New Camera after 4 years of not shooting 4x5"! First photograph is this Street- / Documenatiry Portrait. I am very pleased with the new Camera, no more excuses to not photograph.
Copyright by Paul van Bueren
1897 Ak-sar-ben Camera - Repromaster 210mm - f/45 - Fuji UM/MA X-Ray - 8x10 Film (6x6 Mask) - HC110 1+100 - Unaltered Negative Scan
Taken with a Lizars "Challenge" camera in week 471 of my 52 film cameras in 52 weeks project:
www.flickr.com/photos/tony_kemplen/collections/72157623113584240
For the first full week in 2019 of my 52 cameras in 52 weeks project, I decided to use my dad's Lizars Challenge folding plate camera.
The film is Rollei PAN 25, an ISO 25 black and white negative film, devloped in Rodinal 1:50 for 11 minutes at 20 degrees.
Exposure approx 40 seconds at f22.