I like the second one also.It shows a delicate beauty of the Redwoods, different from the more usual rendition of thundering majesty. Very nice !
I like the second one also.
Thanks again...It is a straight platinum/palladium print. I have contacted it onto silver gelatin paper, but I end up having to dodge the two dark redwoods some. The scale is difficult to determine in the photo. The two dark redwoods are probably 15 feet in diameter where they emerge from the foreground.Originally Posted by Ken Lee
I like the second one also.
Love 5x7 format, which is why I love 7x11 (ratio is quite close)...
Hmmm... if we take 1/2 an inch off of each dimension, to accommodate the film film edge, then 7x11 becomes 6.5 x 10.5 - a ratio of 1:0.619 - within a thousandth of the Golden Ratio. That's my kind of... neighborhood !
Do you purchase 11x14 film and cut it in half ? Which cameras take 7x11 film ?
I own an Eastman and a Korona in 7x11. Others here have had new 7x11 cameras built by Chamonix and by Richard Ritter. And if I recall correctly, Butch Welch built a multiformat camera with a 7x11 back among others. I have no idea where it ended up whan he sold it.
Anyone know of cameras from any other manufacturers?
Film comes from the Ilford special order, of course.
Your 2A has a beautiful "used" look to it, a history of human fingers on wood and brass, like an old musical instrument. Wonderful still life to open the thread as well."What should I sell to move to 5x7?"
Don't sell. Just get some cheapo stuff. Finding lenses which cover adequately is not always a problem, since many which cover 4x5, can handle 5x7. And its only an issue if you shoot at infinity. Even "junky" vintage lenses which nominally cover 4x5, will cover all the way to 8x10 at 1:1.... and for 5x7, one-to-one is pretty large ! Those junky vintage lenses perform a lot better when you enlarge them a lot less. And you can use a BetterScanning holder on an Epson scanner - something you can't do with 8x10.
Richard Ritter put a new red bellows on this old 5x7 Kodak 2A, which I found at an auction. The camera was way-cheaper than even a Chinese copy of a copy of a 4x5. It's still working today, shown here at my posh "studio": a chair next to the window, a potted plant, and some black cloth from the fabric store.
I bought some 5x7 holders from Eddie for a great price. The lens which came with the camera was an old 190mm Bausch&Lomb Tessar, which I presumed was junk. I didn't have a clue.
Scanning 2400 spi - even only 8 bit b&w, this 1930's wooden box from Rochester is a 200 Mebagyte monstah !
As Oren mentioned film comes from the Ilford special order, though I have cut 11x14 in half. I have a Ritter 7x11 (with 8x10 back) and a Eastman 7x11 (with 8x10 and 5x7 backs - though the 5x7 is a home made that came with the camera and is not a real good fit, meaning it needs work). The Ritter (as you can read from my Rambles) is a really nice way to spend a day shooting this excellent format. Plus is, it is much like a small version of a 12x20 format.
Cathedral/Sorrano Italy. Wisner 5X7/180 Nikkor W
"Your 2A has a beautiful "used" look to it, a history of human fingers on wood and brass, like an old musical instrument."
Ironically, I have polished the brass - trying all the polishes available in the local hardware store - but to no avail. The parts tarnish as soon as they are exposed to the air.
Perhaps the right thing to do is remove all the parts and have them electroplated properly, and then lacquered ? I don't think they are all brass.
I forgot to mention that Richard also made a lovely Technika adapter for the camera, in wood that perfectly matches the original. He also replaced a few brass parts with new ones that work perfectly.
Ektachrome 13x18 Technika 180 Sironar. Twilight series
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