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1897 Ak-sar-ben Camera - Schneider G-Claron 240mm - f/45 - Fuji UM/MA X-Ray - 8x10 Film (6x8 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.
1897 Ak-sar-ben Camera - Eskofot Ultragon 305mm - f/45 - Rollei Retro 100 - 8x10 Film - HC110 1+100 - Unaltered Negative Scan
Kodak's finest 8x10 camera, introduced in 1937 and a favorite of Ansel Adams. Adam's previous 8x10 camera was the Century Universal, also pictured in my folio. It is reproduced here in its minimal usable form sans sliding tripod block or extension rail.
Thirty inch bellows but collapses to 6.5 inches thick with a monster 6x6 inch lens board that would mount almost any lens, even old huge Petzvals. Total weight: 13 3/4 pounds thanks to a radical magnesium alloy body; as the name states, its ALL metal.
Cost in 1937 was $175; the old work horse Kodak 8x10 wooden camera, the Eastman View, sold for $80, and the previously top quality 8x10, Century Universal, sold for $98.00.
Seen here with a Pinkham Bi-Quality lens mounted.
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
1897 Ak-sar-ben Camera - Schneider G-Claron 240mm - f/45 - Fuji UM/MA X-Ray - 8x10 Film (6x8 Mask) - HC110 1+100 - Negative Scan
While not used that often, these glass rods can have coloured lights projected on it to light up the space during the night.
Pacemaker Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Agfa APX 100 @ ASA-100
Kodak D-76 (Stock) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC (2018)
Graflex Graphic 45 View Camera - Zeiss Tessar 13.5 cm in Compur Shutter. Polaroid 545I film back.
Polaroid Positive/Negative Type 55 Instant film
Taken 1987, give or take.
The appliance and video store was an area institution that moved out about 15 years ago for a mall in the surrounding suburban area.
The area has gone through several attempts over the years at re-gentrification. Some more successful than others. However the neighborhood still has a split personality.
cross reference: www.flickr.com/photos/zdebb/54619412706/in/album-72177720...
This is from my east coast trip in June of 2012, when we flew out to PA and NY to visit family, and didn’t get out much to take pictures. On an few occasions, I did make forrays into the hinterlands with my Speed Graphic, and photographed some old barns—a favorite subject of mine. I usually try to steer clear of having power lines in my pictures, but this time it was unavoidable, so composed the picture with them coming diagonally from the corner to make them somewhat compositionally pleasing.
Camera: Speed Graphic 4x5
Lens: 90mm Nikkor
Film: Kodak Tri-X 320 developed in Kodak HC-110
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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
Located quite high up in my local forest is a tree that inspires me more than most. It is hard to say exactly why that is the case, but I think it's fair to say that the roots showed me the way.
Film: Ilford FP4+
Camera: Wista field 45 with 65 mm Nikkor-SW f4 lens
Development: Ars-Imago FE with 1/2 stop push
Digitised with a digital camera and contrast adjusted in LR
the first shot, I'm posting, out of the view camera.
I love this camera and the perspective control it grants.
thank you E!
1897 Ak-sar-ben Camera - Schneider G-Claron 240mm - f/45 - UM/MA X-Ray Film - 8x10 Film (6x6 Mask) - Legacy Pro L110 1+100 - Unaltered Negative Scan
Horseman VH camera with Horseman roll film back, 105mm Heliar lens raised about 5mm on the front standard at f/12 (old Voightlander scale) @ 1/30 second, Ilford Ortho film developed in homemade FX-37 1:4 6 minutes in a NIkkor tank.
1897 Ak-sar-ben Camera - Schneider G-Claron 240mm - f/45 - Fuji UM/MA X-Ray - 8x10 Film (6x8 Mask) - Legacy Pro L110 1+100 - Unaltered Negative Scan
Cedar Key, Florida
I took this photo many years ago on a 4x5" view camera with Fuji Velvia film. I reprocessed the shot not long ago, fooled with the color in Photoshop, and came up with this. The image recently won an award in a photo contest.
© 2017 Kevin Barry, All Rights Reserved.
This photo may not be used in any form without written permission from the photographer.
To see more of my work, go to www.kevinbarryphotos.com
©2009 Gary L. Quay
Taken from the Burnside Bridge in Portland, Oregon.
The Deardorff I use was made in 1939. It isn't a museum piece. It's heavy, and bulky. I have to be very careful not to break the ground glass while carting it around. Folks stop and ask, "Do they still make film for that?" while I'm using it. That's the question I was asked while setting up for this shot. What inspires me to continue using bulky, old camera with weighty optics is, quite simply, magic. I am always amazed by what film can capture, especially while using tiny apertures.
Camera: Deardorff 8x10
Lens: 12" Kodak Ektar
Film: Ilford HP5+ Developed in Kodak HC-110.
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Wasco County, Oregon
Mosier, Oregon
Old School Film Photography
and Flickr Today 2
Chamonix 045N-2, Schneider Symmar-S 135/5.6, Portra 160
Kodak Flexicolor C-41
December 2020
c. 1865. Now a private residence.
1891 Rochester Optical Company Universal - G-Claron 210mm - f/45 - Fomapan 100 - 4x5 Film - HC 110 1+100 - Unaltered Negative Scan
This scene made me stop dead in my tracks.
f45 @ 1/4 second
ShenHao HZX45-IIA + Fujinon-W 135mm f5.6 + Arista EDU Ultra 100 @ 50 iso + HC-110 1:200 @ 60 min (Jobo Tank, 1 min initial agitation followed by 3 turns @ every minute for next 5 minutes, slight turn at 30 minutes, stand developed)
These are rails on an old Eastman View Camera No. 2-D
I was also trying out my new camera. I have to say I'm pleased with it's macro capabilities. See the comments for a different view and the camera.
Verlaten (abandoned)
Muse: Hannah
Artist: Paul van Bueren
Sinar P2
Fomapan 400
Copyright by Paul van Bueren
more 5x10: 1897 Ak-sar-ben Camera - Kodak Commercial Ektar 300mm- f/45 - Fomapan 200 - 8x10 Film - HC110 1+100 - Unaltered Negative Scan
Albumen Print
Yosemite National Park, California
May 1978
Ikeda Wood View, Symmar S 210mm
Tri-X in HC 110B
Albumen Print 6/24/2017 from digital nternegative with Epson R2400
Arches Platine paper, 145gsm
Sodium Acetate Gold toner
An albumen print of my most Anselesque photograph from my early days.
©2011 Gary L. Quay
Order from chaos. I think this is just off of Seven Mile Hill Road east of Mosier, Oregon.
Camera: Sinar Alpina 4x5
Lens: 150mm Fujinon
Film: Arista.edu 100 developed in Kodak Xtol
# #pnwexplored #rowenacrest #myoregon #sinar #oregonexplored #pacificnorthwest #columbiagorge #garyquay #cascadiaexplored #4x5film #outside #outdoors #oregon #onlyinoregon #viewfromhere #traveloregon #hoodgorge #viewcamera #filmphotography #largeformat
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Motorhome in Curtin, Oregon.
Photographed with a Graflex Pacemaker Crown Graphic 34 using a Kodak Ektar 127mm f/4.7 lens. The film is Adox CHS 100 II developed in Rodinal 1:50.
4x5 view camera photo.
original photograph by betsycontent.
Copyright © 2009 betsy content bogert moelders
Forgot to flip the dark slide on the film holder again. This was perpetrated along the Oregon Coast back in 2013.
Camera: Speed Graphic 4x5
Lens: 127mm Kodak Ektar
Film: Fujin Pro 400H
# #pnwexplored #oregoncoast #oregonexplored #pacificnorthwest #garyquay #cascadiaexplored #outside #outdoors #oregon #onlyinoregon #viewfromhere #traveloregon #myoregon #speedgraphic #film #filmphotography #largeformat #viewcamera
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4x5 Calumet studio camera with Fuji 203mm on Ilford Delta 100 film. Scanned on camps an 9950f. East Bay view from Elk Rapids Mi.
Graflex Crown Graphic - - Expired Plus-X Aerial BW 100 @ ASA-80
Zone Imaging 510-Pyro (1+100) 8:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
Here we go, back in time again - been scanning and posting some old images lately. Call it 50 year old technology meets the 21st century. Seeing how I am putting up some new images of Lake Tahoe, I thought it might be interesting to compare Large Format 4X5 "old color neg" to a digital 24mp image from the same area, and next to each other in photostream. Same winter setting, just a different time of the day. One other image (4X5 color neg.) "Just enjoying the view" was taken the same day as this one, but at a different area of the lake. It's located 15-images back from this one.
The film was able to hold a rather large EV range, considering that this is a single exposure. Similar EV range for the Yosemite images (posted close to this one) needed 2/3 exposure bracket, then run through Photomatix exposure fusion, to hold the detail. Unlike B&W film development, there's no playing around with it during processing. It's called controlled machine processing, and you better nail the exposure or run a bracket, and pick the best one.
Calumet 4X5 w/Graphex Optar 203mm f/7.5. It's a slow lens (goes down to f/64), but your not in a big hurry when shooting large format anyway. 203mm for 4X5 film is equal to about a 45mm full frame 35mm camera. Same post processing as the other film image. Just enough to bring out the detail that the negative held, plus some extra contrast.
Kodak Ektacolor Pro S w/Kodak processing.
Epson 850 scanner @ 600dpi
I have a feeling that a lot of people, out side of the film group, have no clue that this is not digital, due to the clarity, color fidelity & tonal range. This image was "captured" - digital talk, 52 years ago, and still hanging in there. Click on it for an enlarged view.
Up date: Just discovered an error in the EXIF -Copyright should read 1964, not 1977.
Solitude
Series about being alone and being okay with it.
Photographer: Paul van Bueren
Model: Annelieke Joosten
Cambo SC-1
Fomapan 400
Copyright by Paul van Bueren
1897 Ak-sar-ben Camera - Repromaster 210mm - f/45 - Fomapan 100 Film - 8x10 Film (5x10 Mask) - Legacy Pro L110 1+100 - Unaltered Negative Scan
1891 Rochester Optical Company Universal - Ilex Paragon 260mm - f/45 - Fomapan 100 - 4x5 Film - HC 110 1+100 - Unaltered Negative Scan
©2010 Phillip Nesmith - I have recently returned from a three week trip to the coast of south Louisiana to photograph in the community of Grand Isle with the wet collodion process. For some background on my initial ideas about the project please view the Kickstarter funding site.
This image is a 5x7 black glass wet collodion ambrotype of a commercial fishing vessel based out of Grand Isle. This vessel stands alone at the docks, the others out on the water, their captains having singed on with BP to conduct skimming operations.
We will see you at Flow?
**This image was sold into a private collection during the opening of Flow on September 11, 2010.**
Read the Washington Post review of Flow here.
©2010 Gary L. Quay
Gaia and I took a road trip to central Oregon back in 2010. We were hoping to outrun the cloud cover, and get some pictures. These weren't the fluffy kind of clouds that are good for photography. They were the all-consuming flat cloud cover that wipes out contrast. Well, the clouds won, but we kept going until we found this old homestead.
This pump tower is part of the original homestead from the 1870s, and on the left is a shed from around the same time period. The owner was gracious enough to let us get up close.
Camera: Deardorff 8x10.
Lens: 300mm Nikkor-W with red filter.
FIlm: Ilford HP5+ developed in Kodak HC110 with an N+1 expansion.
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©2023 Gary L. Quay
I finally made it to Deception Pass and Whidbey Island. It's stunningly beautiful. I want to go back.
Camera: Deardorff 8x10
Lens:150mm Nikkor
Film: Ilford HP5+
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and Mosier, Oreogn
The walls of this unnamed slot canyon in Zion National Park form a beautiful hourglass shape when paired with their crystalline reflection in the glassy water that fills the floor of the canyon. The water is what remains of a recent flash flood that filled the canyon with water, like the many that shaped this canyon over years of time. The top of the canyon is illuminated by brilliant reflected light from the sun filtering down into the canyon, and reflecting reddish orange in the water below.
It was 4:30pm on day 5 of my Zion fall color trip. I encountered this unnamed slot canyon while scouting a wash looking for original compositions in a less-traveled section of the park. Approaching from the opposite end of the slot, I found it impassable due to deep water and mud, so I climbed up to the top and hiked along the top right rim for the length of the canyon, before making my way back down into the wash at the exit point, and them climbing through a small sandstone archway, which formed the only exit from the canyon. Trekking up the canyon, I soon reached the beginning of the floodwaters, and was greeted by this beautiful hourglass scene and brilliant reflected light. I set up my Intrepid large format 4x5" view camera and made one exposure on Fuji Velvia 100 for 15s @ Æ’/45 using my Schneider 90mm lens.
Own a signed limited edition print of this image at: lowerylandscapes.com/zion
Accession Number: 1981:4407:0001
Maker: A.J. Davison
Title: Woman with camera
Date: ca. 1880
Medium: albumen print cabinet card
Dimensions: 14.8 x 10.3 cm.
George Eastman House Collection
General information about the George Eastman House Photography Collection is available at http://www.eastmanhouse.org/inc/collections/photography.php.
For information on obtaining reproductions go to: www.eastmanhouse.org/flickr/index.php?pid=1981:4407:0001.