View allAll Photos Tagged viewcamera
I had to do it. As a huge Sugimoto Fan, I had to do a minimalist, black and white, 4x5 sea scape. Check off another box on the stereotypical photo student list. The only interesting part of this photo, is the ship in the background.
O.K in all seriousness, I like this photo, but I would be kinda dumb to not at least recognize the unoriginality of this picture. I have been told that it is a at least decent attempt at the trope.
4x5 T-Max 100 Developed In Sprint Developer. Scanned using an Imacon
©2012 Hunter White
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.
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.
The Great Falls of the West Fork. Taken with an Arca-Swiss 4x5 and an 80+ year old Bausch and Lomb Rapid Rectilinear convertible lens on Velvia 100F
See more on my blog
thelargeformatcamera.blogspot.com/2012/12/west-fork-falls...
Tachihara 8x10 Camera with Fujinon 250mm lens. Classic 200 film in PMK Pyro contact printed on Agfa paper.
Tachihara 8x10 Camera with Fujinon 250mm lens. Classic 200 film in PMK Pyro contact printed on Agfa paper.
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
Portrait Series 5/5
8x10 View Camera
RC Paper Negative
Speedo through softbox camera left
Speedo shooting straight up
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.
Part of a series I did for school called Southern California Uniquely. Good old film here, 4x5 negative (HP5) scanned.
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.
600W photofloods + 80A filter.
Burke & James 5x7 view camera with 4x5 reducing back, 8" f/7.5 Graflex Optar, Polaroid Type 59.
A little experiment tha I was trying but I want to try it again with some better gear. Photo of the Ground Glass as I aimed it at a building in Rosslyn Virginia.
Final B+W version of the Film Called Wanda photo I posted a few weeks ago. This was a better scan (and scanned the right way round) and processed in CS5. Quite happy with this image. 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.
Original version here for comparison:
Tachihara 8x10 Camera with Fujinon 250mm lens. Classic 200 film in PMK Pyro contact printed on Agfa paper.
Burke & James 8x10 with Kodak 7.5" Wide Field Commercial Ektar in #4 Acme shutter.
These old cameras are works of art in their own right.
These are from a second round of testing with the Arista Ortho Litho film. Starting to get it dialed in I believe. These again were shot on my Cambo 4x5. This was a two light setup with the main light being a Paul C Buff White Lighting X1600 with the 86 inch PLM. The rim light was an Alien Bees with 7 inch reflector with a 30 degree grid.
These were shot with my 210mm Schneider-Kreuznach 5.6 lens at 5.6. The main strobe was set at full power and the rim light about a half stop less than full. I dragged the shutter for about 4 seconds to allow the ambient light to burn in on the background.
I shot these to experiment with the development time a little bit. I then scanned them all in at the same settings to see the difference.
This was developed in a 1+150 dilution of Rodinal at 68 degrees for 5 minutes.
At five minutes the contrast is greatly reduced compared to the 7 minute development. These came out a little flat while using the same settings. I may rescan them and see how they look when the setting are optimized.