Still-Life Images, 2014

[gbogatko]

Very cool idea. Second gets my vote. Cheers,
:):):)

[jcoldslabs]

It's worn, the paint has rubbed off in spots, it has electrical tape holding part of the prism finder together, and I wouldn't trade it for anything.

Century 10A w/5x7 back, 8x10 B&L Zeiss Anastigmat Series II, Efke PL100 (expired 2006).


http://www.kolstad.us/ebay/5x7-EfkePL100-Rolleiflex.jpg

Jonathan

[gbogatko]

Playing round with a big Schneider 165/8.
Tons of tilt and so forth, but still missed the screws in the box on the left.

Ah well..

112676

[StoneNYC]

Playing round with a big Schneider 165/8.
Tons of tilt and so forth, but still missed the screws in the box on the left.

Ah well..

112676

And possibly the wire and behind it where it crosses the smaller circular doorknob tooth thing (forget the name). But can't quite tell on my digital viewing device...

But it has great tones and no one would notice if you didn't say anything

[ndg]

Nice composition. BTW, you are one prolific photog. Keep it up.



It's worn, the paint has rubbed off in spots, it has electrical tape holding part of the prism finder together, and I wouldn't trade it for anything.

Century 10A w/5x7 back, 8x10 B&L Zeiss Anastigmat Series II, Efke PL100 (expired 2006).


http://www.kolstad.us/ebay/5x7-EfkePL100-Rolleiflex.jpg

Jonathan

[jcoldslabs]

Nice composition. BTW, you are one prolific photog. Keep it up.

Thanks for that. Prolific? Maybe it seems that way, but I always feel like I should be shooting more. :)

Jonathan

[gbogatko]

And possibly the wire and behind it where it crosses the smaller circular doorknob tooth thing (forget the name). But can't quite tell on my digital viewing device...

But it has great tones and no one would notice if you didn't say anything

Thanks. And this is Arista:edu (Foma), which has -- well -- difficult reciprocity.

For those home-brew developer cranks (I am one), This was dev'd in home-brew D23 2-bath. 6gm/liter metol for bath one, 100gm/liter 20-mule-team-borax for bath two. 3 min in bath one, 5 min in bath 2.
With that combination, I can tame the Foma tendency to go for uber-contrast. The shot was at f/45, and at 84 seconds (And I still missed focus on some things -- damn!!!!).

I am LOVING D23 2-bath.

(Oh, and it's a "cookie cutter" drill bit. I use it to drill out lens mounting holes).

[lbenac]

Sinar F2 CZJ 180/4.5 TMY2 DD23

112679

[ndg]

Sinar F2 CZJ 180/4.5 TMY2 DD23

112679

Nice!

[StoneNYC]

Thanks. And this is Arista:edu (Foma), which has -- well -- difficult reciprocity.

For those home-brew developer cranks (I am one), This was dev'd in home-brew D23 2-bath. 6gm/liter metol for bath one, 100gm/liter 20-mule-team-borax for bath two. 3 min in bath one, 5 min in bath 2.
With that combination, I can tame the Foma tendency to go for uber-contrast. The shot was at f/45, and at 84 seconds (And I still missed focus on some things -- damn!!!!).

I am LOVING D23 2-bath.

(Oh, and it's a "cookie cutter" drill bit. I use it to drill out lens mounting holes).

Cool, yea I've used arista100 (foma100) and I know all about the reciprocity...

The only home brew I've made was POTA for developing TechPan, it was fun. But I'm thinking of selling my tech pan... It's not THAT fun... Lol :)

[StoneNYC]

Sinar F2 CZJ 180/4.5 TMY2 DD23

112679

That's NICE

[gbogatko]

Cool, yea I've used arista100 (foma100) and I know all about the reciprocity...

The only home brew I've made was POTA for developing TechPan, it was fun. But I'm thinking of selling my tech pan... It's not THAT fun... Lol :)

Yup. I have 2 boxes of 4x5 in the freezer, plus about 4 boxes of the "special" one-shot developer they made for it. Talk about "holy relics!!" Rollei made a decent tech-pan clone ("ortho 25") but stopped making it recently. When I run out of the Rollei, I may pop open a 25/sheet packet and finally use it. But It has to be for something really special.

[gbogatko]

It's worn, the paint has rubbed off in spots, it has electrical tape holding part of the prism finder together, and I wouldn't trade it for anything.

Century 10A w/5x7 back, 8x10 B&L Zeiss Anastigmat Series II, Efke PL100 (expired 2006).


http://www.kolstad.us/ebay/5x7-EfkePL100-Rolleiflex.jpg

Jonathan

I didn't realize the '8x10 B&L Zeiss Anastigmat Series II' would glow like that!!.
I have a 250 Jena, and it'll glow wide open, but not like that! (B&J repackaging. Coated, but the serial # dates it to the '20s)

George

[lbenac]

Nice!


That's NICE

Thank you.
I have taken to shoot whatever is available in the house on a rainy week-end. Good practice on every count. ANd also learning to develop DD23.

This is what it looks like in real life:
112686

[jcoldslabs]

I didn't realize the '8x10 B&L Zeiss Anastigmat Series II' would glow like that!!

I am using only the rear group. The full lens is a bit soft wide open, but not quite like this. It was not advertised as convertible, but the rear three-element group is nice and soft wide open and reasonably sharp stopped down.

The Series II lenses weren't produced for all that long from what I understand. (Mine dates to the late 1890s.) They were heavy and expensive to make and were subsequently supplanted by the sharper, faster and cheaper to manufacture Tessars.

J.

[StoneNYC]

I'm honestly not all that impressed with it, I mean, I'm impressed but not IMPRESSED, and if I can sell it and get double the amount of film, I might, I think actually the ONLY film I would keep would be 4x5 if I had any, but I only have 4 rolls of 70mm and about 6-8 rolls of it in 35mm, the 35mm is definitely good, haven't tested the 70mm but I'm guessing it's fine based on who I got it from. I also have about 10 packets of the one shot Technidol and I've tested 2 packs and both were good, so I wanted to try the POTA to compare. Well I think the technidol was better, but POTA worked good enough. I kind of liked the high contrast look of it when I used it in DD-X so who knows... lol

Want to trade? :)


Yup. I have 2 boxes of 4x5 in the freezer, plus about 4 boxes of the "special" one-shot developer they made for it. Talk about "holy relics!!" Rollei made a decent tech-pan clone ("ortho 25") but stopped making it recently. When I run out of the Rollei, I may pop open a 25/sheet packet and finally use it. But It has to be for something really special.

[StoneNYC]

Thank you.
I have taken to shoot whatever is available in the house on a rainy week-end. Good practice on every count. ANd also learning to develop DD23.

This is what it looks like in real life:
112686

What is DD23?

[lbenac]

Divided D-23.

[StoneNYC]

Divided D-23.

Oh duh!

I was like (is that a DD-X variant??) hah!

[gbogatko]

Same stuff -- different angle and lens.
Nikkor 240. Arista (Foma) 8x10 100. Caught more detail this time.
D23 2-bath.

112720

[Ken Lee]

http://www.kenleegallery.com/images/forum/2014-03-05b.jpg
Phone, 2014
Sinar P, 150mm APO Nikkor
4x5 TMY, D-23

[Armin Seeholzer]

Hi Ken

It looks like a Iphone from the 50. ;--)) Seems nicely sharp this APO Nikkor!

Cheers Armin

[Ken Lee]

Hi Armin -

Yes, it's a "smart" phone: it is still in working condition after many decades. I wonder if the electronic phones of today will be working after 50 years :)

[StoneNYC]

Hi Armin -

Yes, it's a "smart" phone: it is still in working condition after many decades. I wonder if the electronic phones of today will be working after 50 years :)

The use of that phone won't last long, landline wire support probably won't last much longer, not in it's current form anyway, perhaps by internet but not sure they will support the extra
power needs if the old bell phones.

Either way I need a few of them for a photo project ;)

[Ken Lee]

I need a few of them for a photo project ;)

Try here: http://www.etsy.com/shop/HartongInternational?ref=ss_profile. You may recognize some of my recent subjects. (I shouldn't give away my secrets) :cool:

[StoneNYC]

Yea those prices are a little high for me... I'm more of a $10 kind of antique/props shopper....

[Ken Lee]

Yea those prices are a little high for me... I'm more of a $10 kind of antique/props shopper....

It may be a challenge to find a phone like the one pictured for $10, as they start at $75 in "rough shape" on sites like eBay. That one is from 1936 and works like new. It's fun to use and even more fun when it rings.

Correct me if I'm wrong, but my understanding is that the phone companies in the USA are obliged by law to support old phones. Even so, there are "pulse to tone adapters" which work with VOIP services: with one of those adapters, you can plug a 100-year old phone into your computer.

[Harold_4074]

A friend of mine who is a communications engineer told me that the major players are required to support the smaller companies, a few of which are too small to justify conversion from pulse to tone dialing. Until the last of the old switching hardware is retired, the older 'phones (of which I am fond, also) will still work.

If this picture is correct, it is not the individual users who are being protected, but some of the independent telephone companies. I have to wonder how many of their customers still use the old telephones :)

[ndg]

"Dinner" - a platinum-toned Kallitype on Arches Platine paper
http://nanadadzie.com/darkroom/pix/Dinner.jpg

Camera - Century 8A with 11x14 back
Film - 11x14 Kodak Ortho Green film
Lens - Wollensak Vitax 16" @ f32, overexposed by a stop
Lights - One 30W CFL bulb, 5500K
Dev - Rodinal 1:50, Jobo, 6.5 min, 68 deg

[ndg]

"Music"
http://nanadadzie.com/darkroom/pix/Music.jpg

Camera - Century 8A with 8x10 back and splitter (to give 4x10 image)
Lens - B&L Tessar 400mm f4.5 @ f22
Lights - 2 strobes
Film - Kodak Ortho Green 8x10
Developer - Rodinal 1:50, in Jobo @ 68 deg, 6.5 min

[jcoldslabs]

This is the second time in recent weeks that I have found the light source a more intriguing subject than the still life I had arranged.

Toyo 45A, 210mm Sironar-N, Tri-X (expired 1999).


http://www.kolstad.us/ebay/4x5-TriX%2899%29-Clamp-Light-CFL.jpg

Jonathan

[djdister]

This is the second time in recent weeks that I have found the light source a more intriguing subject than the still life I had arranged.

Toyo 45A, 210mm Sironar-N, Tri-X (expired 1999).

Jonathan

Nothing wrong about that! A bit mesmerizing if you stare at the shot...

[ndg]

Jonathan, that is beautiful.


This is the second time in recent weeks that I have found the light source a more intriguing subject than the still life I had arranged.

Toyo 45A, 210mm Sironar-N, Tri-X (expired 1999).


http://www.kolstad.us/ebay/4x5-TriX%2899%29-Clamp-Light-CFL.jpg

Jonathan

[ndg]

"Tea and the Paper"
http://nanadadzie.com/darkroom/pix/Teatime.jpg
Century 8A with 8x10 back, B&L Tessar 400mm @f22, 2 strobes, 8x10 Ortho Green Xray film in Rodinal 1:50, 6.5 min, 68 deg.

[jcoldslabs]

A bit mesmerizing if you stare at the shot...


Jonathan, that is beautiful.

Thanks. It pays to be flexible in your planning!

J.

[gbogatko]

Still life. "Flow"
Ektascan xray, 14.5in Verito lens.
dev: DD23

This is after reading about the "theory of spots" in an old art-photography book (can't remember the name off the bat).

113254

[Jim Galli]

Still life. "Flow"
Ektascan xray, 14.5in Verito lens.
dev: DD23

This is after reading about the "theory of spots" in an old art-photography book (can't remember the name off the bat).

113254
Simple and gorgeous!

[jp]

Very cool! Sharp hole saws on a fuzzy cloth with a fuzzy glowy lens. It works. And you can use the hole saws to cut lensboard holes when you're done.


Still life. "Flow"
Ektascan xray, 14.5in Verito lens.
dev: DD23

This is after reading about the "theory of spots" in an old art-photography book (can't remember the name off the bat).

113254

[gbogatko]

Very cool! Sharp hole saws on a fuzzy cloth with a fuzzy glowy lens. It works. And you can use the hole saws to cut lensboard holes when you're done.

Thanks guys!! Annnnd, yes!! that's what the cookie-cutters are for. Cutting lens board openings.

[cjbroadbent]

Did this on 8x10 Fomapan - a followup from a tiny format job. Was flowers - now still-life.
https://lh3.googleusercontent.com/-wVgP_Z07FPA/Uz6CSyLFPyI/AAAAAAAAOqw/ZINts-_7i40/s800/8x10DeadFlowersNp.jpg

[Ramiro Elena]

Artichokes (I posted this on the 2012 thread by mistake)
https://farm8.staticflickr.com/7315/13624823924_ec6b839189_c.jpg (https://flic.kr/p/mKYMtj)

350mm ƒ6 Emil Bush Rathenow projection Petzval.
Efke100 developed in Moersch Tanol.

[Mark Sawyer]

Simple and beautiful, Ramiro! I imagine the print is stunning in person.

And gbogatko, my compliments as well! A very different approach to still life arrangement, this "theory of spots", and it worked wonderfully in this image!

[Ramiro Elena]

Thanks Mark. I got "inspired" (aka I want to copy) Allan Jenkins cyanotypes. I haven't done it since my time at Pima College with Sam. I quickly got into Gum Dichromate and left cyanotypes aside. Truth is they can be very beautiful. I am getting the chemistry next week and will post results.

[ndg]

The lighting is so subtle and gradual. Very nice.


Artichokes (I posted this on the 2012 thread by mistake)
https://farm8.staticflickr.com/7315/13624823924_ec6b839189_c.jpg (https://flic.kr/p/mKYMtj)

350mm ƒ6 Emil Bush Rathenow projection Petzval.
Efke100 developed in Moersch Tanol.

[ndg]

Missed your work.
Your arrangements are really cool. Hard to emulate.


Did this on 8x10 Fomapan - a followup from a tiny format job. Was flowers - now still-life.
https://lh3.googleusercontent.com/-wVgP_Z07FPA/Uz6CSyLFPyI/AAAAAAAAOqw/ZINts-_7i40/s800/8x10DeadFlowersNp.jpg

[jcoldslabs]

Behind every chip or crack there is a story...

Pacemaker Speed Graphic, 6.5" B&L Cinephor projection Petzval, Kodak Electron Image Film (SO-163).


http://www.kolstad.us/ebay/3x4-SO163-Sugar-Bowl-8B-RGB.jpg

Jonathan

[gbogatko]

Lovely!!


Behind every chip or crack there is a story...

Pacemaker Speed Graphic, 6.5" B&L Cinephor projection Petzval, Kodak Electron Image Film (SO-163).


http://www.kolstad.us/ebay/3x4-SO163-Sugar-Bowl-8B-RGB.jpg

Jonathan

[jcoldslabs]

Lovely!!

Thanks.

J.

[gbogatko]

Cabbage.

113389

[blueribbontea]

delicate and beautiful tonality. Well done.

Bill

[Richard M. Coda]

http://www.pctype.com/rcphoto/test/Daffodil-Still-Life001.jpg

Daffodils in Vase
TMax 100
Arca-Swiss 45Field
Fujinon 150W

[chassis]

Really nice Richard. Nice exposure, lighting, tonal range, subject, soft effect, and much more.

[Richard M. Coda]

Thank you! First time trying a still life... saw this beautiful light coming in from my daughter's window so I went for it.


Really nice Richard. Nice exposure, lighting, tonal range, subject, soft effect, and much more.

[jcoldslabs]

Beautiful work with the flowers lately, Richard.

Jonathan

[Emil Schildt]

I honestly don't remember whether I have submitted this before...

so bear with me..

A silly still.
Painted with light - liquid emulsion on paper - toned.

http://www.apug.org/gallery1/files/4/8/8/7/4887still-life-dyrekranier.jpg

[Richard M. Coda]

Beautiful work with the flowers lately, Richard.

Jonathan

Thank you Jonathan!

[Steve M Hostetter]

113525 Pine Cones, 4x5" 180mm Petzval f4 wide open window light 8 sec.

[ndg]

"Apples" - a wet plate collodion image
http://nanadadzie.com/darkroom/pix/Apples.jpg
8x10 black aluminum, OWH collodion, thiosufate fix, Voigtlander petzval

[bob carnie]

113574113575113576

Recent Printing Session, All shot with Sinar 4x5 , using a light tent with hot lights, prints are solarized and tri toned

[mob81]

https://farm4.staticflickr.com/3816/13724893563_80305280a7_c.jpg (https://flic.kr/p/mUPEFV)Scan_26DEC'13_1_1_5 (https://flic.kr/p/mUPEFV) by Mohammed Basamh (https://www.flickr.com/people/28551652@N03/), on Flickr

[ndg]

"Colorful"
http://nanadadzie.com/darkroom/pix/Colorful.jpg
Expired 4x5 Kodak 160VC film, developed with rather old Arista C-41 kit I first opened in Oct 2011 at 95 deg F.
Lens - Fuji-W 210mm f5.6 wide open.

[gbogatko]

Boots. Some with shells.

113724 -- 113725 -- 113726

250 Zeiss tessar, 305 Kodak, 165 Schneider
HP5 - DD23

[ndg]

"Pickled"
http://nanadadzie.com/darkroom/pix/Pickled.jpg
Another image using expired 4x5 Kodak 160VC film, developed with rather old Arista C-41 kit I first opened in Oct 2011 at 95 deg F.
Lens - Fuji A 360mm f10 lens @ f16.

[StoneNYC]

"Pickled"
http://nanadadzie.com/darkroom/pix/Pickled.jpg
Another image using expired 4x5 Kodak 160VC film, developed with rather old Arista C-41 kit I first opened in Oct 2011 at 95 deg F.
Lens - Fuji A 360mm f10 lens @ f16.

Well, I'm actually impressed that even came out at all, I didn't realize the Arista stuff could possibly last so long after being opened.

[ndg]

Stone, I was blown away. According to the literature, it's not supposed to work! I however have made it a habit of always trying things out myself so I decided to give it a shot anyway.


Well, I'm actually impressed that even came out at all, I didn't realize the Arista stuff could possibly last so long after being opened.

[StoneNYC]

Stone, I was blown away. According to the literature, it's not supposed to work! I however have made it a habit of always trying things out myself so I decided to give it a shot anyway.

;)

[Peter Lewin]

After a winter of very little image-making, I was packing up some coins to take to the bank, and saw a still life:
https://farm8.staticflickr.com/7299/13903738283_c4c30de9f3_c.jpg (https://www.flickr.com/photos/peterlewin/13903738283/)
img132 (https://www.flickr.com/photos/peterlewin/13903738283/) by Pete Lewin (https://www.flickr.com/people/peterlewin/), on Flickr
Canham DLC, Rodenstock 150mm, Ilford HP5+, PMK
Negative Scan, minor crop and contrast adjustment

[gorsescent]

113842

[gbogatko]

bowl and apple - 2 versions

113946 113947

[goamules]

1933 Coleman. 5x6 Wetplate with Dallmeyer 3D.

https://farm8.staticflickr.com/7244/14046993681_e5b695c7bf_z.jpg

[StoneNYC]

1933 Coleman. 5x6 Wetplate with Dallmeyer 3D.

https://farm8.staticflickr.com/7244/14046993681_e5b695c7bf_z.jpg

Oh this one is fun! Too bad Coleman won't buy this from you for an ad! Lol

[goamules]

Perhaps they will!

Don't forget Saturday is World Wetplate Day! http://www.largeformatphotography.info/forum/showthread.php?113156-WORLD-WETPLATE-DAY-Sat-May-3-2014

[StoneNYC]

Perhaps they will!

Don't forget Saturday is World Wetplate Day! http://www.largeformatphotography.info/forum/showthread.php?113156-WORLD-WETPLATE-DAY-Sat-May-3-2014

I hope so!

And, sadly I am actually not a wet plater just yet, only LF film and ULF x-ray...

Someday...

[dperez]

https://farm8.staticflickr.com/7097/14034330936_ef91502273_b.jpg
[View Large (https://farm8.staticflickr.com/7097/14034330936_31fdf4966b_o.jpg)]

Decaying Joshua Tree Fragment

Joshua Tree National Park, CA
Ebony RW810, 300mm f/5.6 Rodenstock Apo-Sironar-N, Kodak Ektascan B/RA CRT X-Ray film, Processed in a unicolor drum, Pyrocat HD 1:1:100, Bronze toned in CS4

-DP

[Peter Yeti]

Such a lot of great stuff here - and I just wake up from hibernation... Anyway, here we go.

Forks from around the 1930s:


https://sites.google.com/site/gourmetyeti/_/rsrc/1399239232303/photos/still-life-2014/three_forks_200.jpg

Goerz Dagor 6.8/210@f11


Peter

[horacekenneth]

113842

Love this. Was it alive?

[Peter Yeti]

Here is another one taken recently with an Emil Busch Rapid Aplanat 7/20cm@f16:


https://sites.google.com/site/gourmetyeti/_/rsrc/1399239328384/photos/still-life-2014/ravioli_sm.jpeg?width=100%25


Peter

[Digoy]

http://i276.photobucket.com/albums/kk28/menemisdigoy/051614_0003_zpsb8d0357c.jpg (http://s276.photobucket.com/user/menemisdigoy/media/051614_0003_zpsb8d0357c.jpg.html)

5x7 Ansco | 12inches/f8 | Paper negative

[ckagy]

Such a lot of great stuff here - and I just wake up from hibernation... Anyway, here we go.

Forks from around the 1930s:


https://sites.google.com/site/gourmetyeti/_/rsrc/1399239232303/photos/still-life-2014/three_forks_200.jpg

Goerz Dagor 6.8/210@f11


Peter

Peter, may I ask how you lit this without getting too much glare on the table top? You did a fabulous job and this always causes me so much struggle. I'd love to get a peek into your wisdom if you'll permit.

Best,
-Chris

[Peter Yeti]

Chris,

Thanks a lot. It was quite simple and I wouldn't call it "wisdom". In fact, I was toying around with it to learn for myself. I only used a large white 40x55" canvas to reflect the light of one strobe fitted with a 48° reflector. The canvas was placed about 10" behind the subject and tilted forward just enough to yield the kind of reflection I wanted. The light was directed towards the top part of the canvas not hitting the subject directly. The contrast was adjusted by where exactly the light was centred. The dark oak table top, though it is shiny, reflects a lot less of the background than the silver surface. The visible gradient is caused by the light fall-off on the canvas background. I was quite pleased with this simple set up. I hope this gives you an idea.

Peter

[ckagy]

Peter, it sure does. Thanks!

[Ken Lee]

http://www.kenleegallery.com/images/forum/2014-05-08.jpg
Robbins & Myers Fan, May 2014
Sinar P, 210mm Macro Sironar
4x5 TMY, D-23

[Misko]

Stone, the size of the film is 4x3 1/4. It is not panchromatic, blue sensitive I think. The lens is a Petzval design.
I've asked few questions earlier today on Flickr but now I understand that it's not 4x5 format film but 3.25"x4". Does it fit standard 3x4 (3.25x4.25") holder without much problem? It could be solution for using some Graflex SLR Super D 3x4 camera without modifications of the back.

[Misko]

I spent hours setting up this crappy still-life.

http://farm3.staticflickr.com/2890/12257335424_bdf80c751d_c.jpg (http://flic.kr/p/jF93Mo)

Speed Graphic + Isco-Gottingen Kiptar 180mm f3,1

And finally what do you use to light your shots with Electron film? Continuous light or Flash heads?

[Ramiro Elena]

Hi Milos, just got home :)
As you already know this is not 4x5 but the film does fit nicely on a 4x5 holder. I use two pieces of cardboard on each side of the film to prevent it from moving.
The one above is light from a window. The portraits of kids on my flickr (https://www.flickr.com/photos/rabato/12352911205/) are strobes or Quantum flash.

[Misko]

I've realized it's not 4x5 film & came to an idea of maybe using 3x4 Graflex SLR camera with it. I am sure it fits even better into 3.25 x 4.25 holder by simply missing the top part where one could even put small tape piece to secure it in place...
Love the lighting & mood on your shots Ramiro!! Keep up with amazing work that inspire us all! And thanks a million for all the replies :) Sorry for bothering you with so many questions.

[hendrik faure]

http://i1322.photobucket.com/albums/u568/hfa8/kinggravure_zpsc9f1d3eb.jpg
Voigtländer&Söhne Eurygraph300mm, 8x10FP400, CopperplatePhotogravure, AsphaltAquatinta, SomersetAntique, GamblinBlackBone

[andreios]

Fantastic image, hendrik!

[hendrik faure]

thank you Andreios - I like your last Kallietypie in alternative photo thread as well - like Henry Fox Talbot coming back!
'hendrik

[Jmarmck]

My second or third LF image. Lens was a Nikkor 5.6/150 TMX100.
One of my guitars, a D'Angelico Excel EX-DC semi-hollowbody.
I always like the D'Angelico headstock. Gaudy but great craftsmanship.
http://www.largeformatphotography.info/forum/attachment.php?attachmentid=116833&d=1402954830

[Robert Langham]

Very short video of studio work with still life over at RobertLangham.blogspot.

http://robertlangham.blogspot.com/

[Christo.Stankulov]

Sinar P2
Apo-Lanthar 150/4.5@f5,6
EFKE 50@32 asa
Adox APH 09 1+50 rotary
http://cjoint.com/14jn/DFvaEvR8M4p_scan0002ss.jpg

http://cjoint.com/14jn/DFvaFPgmrDi_scan0001mm.jpg

[StoneNYC]

Sinar P2
Apo-Lanthar 150/4.5@f5,6
EFKE 50@32 asa
Adox APH 09 1+50 rotary
http://cjoint.com/14jn/DFvaEvR8M4p_scan0002ss.jpg

http://cjoint.com/14jn/DFvaFPgmrDi_scan0001mm.jpg

Wow, I'm impressed, no shadow at all! Almost looks color on the one with the soles.

[Shen45]

117134

I shot this to see if I wanted to shoot this if that makes any sense.

F200 in PMK 2 secs @ F4

No name Petzval [120 mm F4 ] Shen 4x5

[Mark Sawyer]

"I photograph to see what things look like photographed." Garry Winogrand

Makes sense to me. Lovely light!

[Christo.Stankulov]

Thank you, StoneNY
Here is another one
Sinar P2
Apo-Lanthar 150/4.5@f5,6
EFKE 50@32 asa
Adox APH 09 1+50 rotary
http://cjoint.com/14jn/DFvl37LPC5m_scan0003rr.jpg

[abhishek@1985]

Newbie at 4x5 :-

What Remains :-

Camera :- Tachihara 4x5 with 180 mm Nikkor
Exposure :- 1 secs at f32
Film :- Ilford Delta 100
Developer :- Rodinal 1:100 for 1 hr
Scan :- Epson v750

http://www.apug.org/gallery1/files/6/2/5/2/3/abhishek015.jpg

[kev curry]

Nice light Steve, strong simple composition. Like how everything contrasts against each other and how the background looks.

[Ken Lee]

http://www.kenleegallery.com/images/forum/2014-06-07.jpg
Typewriter, June 2014
Sinar P, 200mm Nikkor M
4x5 TMY, D-23

[Jeff Dexheimer]

Another well made photograph. I enjoy seeing your work.

http://www.kenleegallery.com/images/forum/2014-06-07.jpg
Typewriter, June 2014
Sinar P, 200mm Nikkor M
4x5 TMY, D-23

[Ken Lee]

Thank you very much !

[Christo.Stankulov]

Sinar P2
Heliar 210/4.5@ f 4.5
EFKE 50@25
Adox Atomal 1+50 Rotary
http://cjoint.com/14ju/DGbsn2RkuO6_whale.jpg

[goamules]

My radio wetplate was liked, and I wanted to see it in soft focus. 5x7 with B&L 15" Portrait Plastigmat.

https://farm4.staticflickr.com/3864/14397273749_00b1f1667c_b.jpg

[Ken Lee]

http://www.kenleegallery.com/images/forum/2014-03-05a.jpg
Phone, March 2014
Sinar P, 150mm APO Nikkor
4x5 TMY, D-23

[Jmarmck]

Nicely done Ken. :cool:

[jcoldslabs]

Pacemaker Speed Graphic w/Horseman 6x7 back, B&L Zeiss Anastigmat Series II, T-Max 100 (expired 2005).


http://www.kolstad.us/ebay/120-TMX100-Horseman67Back-Pitcher-r2.jpg

Jonathan

[Ken Lee]

http://www.kolstad.us/ebay/120-TMX100-Horseman67Back-Pitcher-r2.jpg

Bravo !

[D-tach]

Pacemaker Speed Graphic w/Horseman 6x7 back, B&L Zeiss Anastigmat Series II, T-Max 100 (expired 2005).


Jonathan

Aha! Finally... Was missing your still lives :-)
Nice one

[jcoldslabs]

Thanks Ken, Tom. I can use the encouragement. I've been in the midst of a creative drought lately, but I'm doing my best to shake it off.

J.

[Barry Kirsten]

Jonathan, encouragement from me too - I admire your work so much. I've been hoping all was well with you. I'm in a drought too. I have lots of gear but can't get off my butt to whip a darkroom into shape since moving here, and without a darkroom my inspiration goes down the drain. I've been making a few negatives but can't stand the crappy results I get from inkjet printing. The inspiration is returning slowly, thanks to a re-kindling of interest in pinhole and the hope of getting together some gear for alt printing. Glad to see you back.

Barry

[jcoldslabs]

Barry,

I feel your pain. For me it's as though I have forgotten how to 'see' photographically. I still pick up a camera every day and point it at something, but I rarely click the shutter because nothing grabs me. I'm not really a fan of making exposures just for the hell of it; I prefer to have some sense of purpose behind what I'm doing if possible. I've weathered these storms before as I suppose we all have. This too shall pass. Whatever it takes to bring the magic back--pinhole, alt printing, new film, old film, new lens, old lens, etc.--is worth pursuing. In the best of times I see potential and possibility everywhere I look; in the worst of times I see no possibilities at all.

Thanks for the kind words. They mean more than you know.

Jonathan

[Gary Sommer]

Welcome back, Jonathan. I think you have 'seen' very well on this one.

Gary

[jcoldslabs]

Thanks, Gary. I hope I can build on this tiny bit of momentum.

J.

[Peter Yeti]

Jonathan,

Great shot and I'm glad you are back. I've been missing your rather unique images here, so keep going. Strangely enough, I've been suffering lack of inspiration myself lately, at least regarding LF work. Is there a hidden origin of collective LF still life photographer's inspiration block?

Peter

[Peter Yeti]

Since I have nothing new I decided to scan something I did a few months ago:

https://sites.google.com/site/gourmetyeti/_/rsrc/1405039686623/photos/still-life-2014/jug_pot_sieve_mortar_900x720.jpg?width=100%25

If I recall correctly, I took this with an Emil Busch Rapid Aplanat 7/20cm on Fomapan 100@50 with my Sinar P. (Scancould have been aligned a bit better, sorry)

[Peter Yeti]

And one more from a few months ago:

https://sites.google.com/site/gourmetyeti/_/rsrc/1405039641801/photos/still-life-2014/corkscrew.jpg?width=100%25

Again, I'm not sure of the parameters. I think I took this with an old Meyer Goerlitz Helioplan 5.4/165 mm on Fomapan 100@50.

[Peter Yeti]

Finally, something new. Taken yesterday with a Goerz Dagor 8/240mm@f11 from around 1898 on Fomapan 100@50:


https://sites.google.com/site/gourmetyeti/_/rsrc/1405252082266/photos/still-life-2014/melon_sm.jpg?width=100%25

[stradibarrius]

Ken
I like this shot and the exposure is spot on! Do you use Zone method. Do you mind tell how you metered this?

http://www.kenleegallery.com/images/forum/2014-06-07.jpg
Typewriter, June 2014
Sinar P, 200mm Nikkor M
4x5 TMY, D-23

[stradibarrius]

118319I love looking at still life images. They are also convenient when you need to shoot something, but my "still life composition" skills suck!
Here is one I shot two days ago
Super Speed Graphic, Fujinon 150_w, HP5 in Pyrocat HD. I will say that this is one of the few images where I used the "zone system" and previsualized when my exposure came out the way I envisioned it.
This is a 90% crop.

[Ken Lee]

Ken
I like this shot and the exposure is spot on! Do you use Zone method. Do you mind tell how you metered this?

Following the standard approach described in BTZS, I made an incident reading for the open shadows, with the light meter set at an ISO that is one stop too high.

Having used the Zone System for decades I have no quarrel with it - but lately I prefer this method because I find it even more easy and reliable.

[andreios]

Following the standard approach described in BTZS, I made an incident reading for the open shadows, with the light meter set at an ISO that is one stop too high.

By that you mean 800 instead of 400 or the other way - 200. Just to make sure.
I have been lately thinking about incident metering and it indeed seems to me rather a foolproof method - if used with a bit of common sense.
Thank you

[Ken Lee]

By that you mean 800 instead of 400 or the other way - 200. Just to make sure.
I have been lately thinking about incident metering and it indeed seems to me rather a foolproof method - if used with a bit of common sense.
Thank you

Sorry, I rate TMY at 200. To set the incident meter to a speed that is one stop too high, I set it to ISO 400.

[andreios]

Sorry, I rate TMY at 200. To set the incident meter to a speed that is one stop too high, I set it to ISO 400.
Got it. Thanks for explanation.
A.

[Ramiro Elena]

An old project shot in 4x5 transparencies (provably Fuji Provia)

https://farm4.staticflickr.com/3329/3556588910_5a5a87a965_z.jpg (https://flic.kr/p/6qhrYs)Scan-090523-0010 (https://flic.kr/p/6qhrYs) by rabato (https://www.flickr.com/people//), on Flickr

https://farm4.staticflickr.com/3643/3554610884_3a74e2629a_z.jpg (https://flic.kr/p/6q7iYy)Scan-090522-0001 (https://flic.kr/p/6q7iYy) by rabato (https://www.flickr.com/people//), on Flickr

[StoneNYC]

An old project shot in 4x5 transparencies (provably Fuji Provia)

https://farm4.staticflickr.com/3329/3556588910_5a5a87a965_z.jpg (https://flic.kr/p/6qhrYs)Scan-090523-0010 (https://flic.kr/p/6qhrYs) by rabato (https://www.flickr.com/people//), on Flickr

https://farm4.staticflickr.com/3643/3554610884_3a74e2629a_z.jpg (https://flic.kr/p/6q7iYy)Scan-090522-0001 (https://flic.kr/p/6q7iYy) by rabato (https://www.flickr.com/people//), on Flickr

Pretty cool! Not your typical still! Like it!

[Dean]

https://farm4.staticflickr.com/3867/14651596056_a0b750037c_b.jpg (https://www.flickr.com/photos/duola73/14651596056/)
Flickr 上 多啦73 (https://www.flickr.com/people/duola73/) 的 QQ图片20140714155818 (https://www.flickr.com/photos/duola73/14651596056/)

Horseman FA45 WISTA back 6*9. topcon 90mm/f5.6.

[StoneNYC]

https://farm4.staticflickr.com/3867/14651596056_a0b750037c_b.jpg (https://www.flickr.com/photos/duola73/14651596056/)
Flickr 上 多啦73 (https://www.flickr.com/people/duola73/) 的 QQ图片20140714155818 (https://www.flickr.com/photos/duola73/14651596056/)

Horseman FA45 WISTA back 6*9. topcon 90mm/f5.6.

Wow cool and creepy... Seattle?

[Peter Yeti]

https://farm4.staticflickr.com/3867/14651596056_a0b750037c_b.jpg (https://www.flickr.com/photos/duola73/14651596056/)
Flickr 上 多啦73 (https://www.flickr.com/people/duola73/) 的 QQ图片20140714155818 (https://www.flickr.com/photos/duola73/14651596056/)

Horseman FA45 WISTA back 6*9. topcon 90mm/f5.6.

I really like this image, very graphical. Somehow, fish as subject seems not much appreciated here, though I think it's great.

[Dean]

I really like this image, very graphical. Somehow, fish as subject seems not much appreciated here, though I think it's great.

Very happy, you will like my photos.
Thank you!

[Ken Lee]

http://www.kenleegallery.com/images/forum/2014-06-07b.jpg
Typewriter, June 2014
Sinar P, 150mm APO Sironar-S
4x5 TMY, D-23

[djdister]

Just think, if typewriters used fish heads instead of keys, Ken's photos would look very different...

[Jim Cole]

http://www.kenleegallery.com/images/forum/2014-06-07b.jpg
Typewriter, June 2014
Sinar P, 150mm APO Sironar-S
4x5 TMY, D-23



I've enjoyed this series. You nailed this one!

[Scott --]

First decent artichokes all summer.
https://farm4.staticflickr.com/3917/14879177555_51707a2e58_z.jpg (https://flic.kr/p/oEPF74)Petzval Artichokes (https://flic.kr/p/oEPF74) by Scott -- (https://www.flickr.com/people/87126550@N00/), on Flickr

ICA Niklas Petzval, 4x5 Arista in Adanol 1:100

[Jmarmck]

So, what are we shoveling Ken? ;)

I like how the tones blend and the textures contrast.

[Ken Lee]

http://www.kenleegallery.com/images/forum/2014-08-02b.jpg
Farm Tools, August 2014
Tachihara Field Camera, 200mm Nikkor M
4x5 TMY, D-23


Sorry, I removed the photo. Here it is again.

[RPippin]

Thanks to Mark and the Eastman House.119779119780

[Ken Lee]

http://www.kenleegallery.com/images/forum/2014-08-05.jpg
Massachusetts Farm House, August 2014
Tachihara Field Camera, 200mm Nikkor M
4x5 TMY, D-23

[Kirk Gittings]

http://www.kenleegallery.com/images/forum/2014-08-05.jpg
Massachusetts Farm House, August 2014
Tachihara Field Camera, 200mm Nikkor M
4x5 TMY, D-23


nice.

[Jim Cole]

nice.

Yep!

[jcoldslabs]

nice.


Yep!

Indeed!

J.

[austin granger]

I really like all three of those pictures Ken. They remind me of Walker Evans actually, in the way that they appear "straight" (as in unmannered, unforced), and yet at the same time there is a clear awareness and presentation of form. Like Evans, you have a keen awareness of how three dimensional subjects translate into two dimensional photographs. I mean to say, sure they're chairs and shovels and typewriter keys, but they're also a collection of shapes, shapes that relate to each other inside a rectangle. The subjects work both as interesting individuals within the whole, while simultaneously the whole works as a whole, if you know what I'm saying. :-) Great stuff!

[nede]

4x5 ferrotype after the rain.
one of my first still life, I could love this stuff!
119867

[ndg]

4x5 ferrotype after the rain.
one of my first still life, I could love this stuff!
119867

Nede, that is nice. Still lifes are really cool!

[Ken Lee]

I really like all three of those pictures Ken. They remind me of Walker Evans actually, in the way that they appear "straight" (as in unmannered, unforced), and yet at the same time there is a clear awareness and presentation of form. Like Evans, you have a keen awareness of how three dimensional subjects translate into two dimensional photographs. I mean to say, sure they're chairs and shovels and typewriter keys, but they're also a collection of shapes, shapes that relate to each other inside a rectangle. The subjects work both as interesting individuals within the whole, while simultaneously the whole works as a whole, if you know what I'm saying. :-) Great stuff!

Thank you Austin, Kirk, Jim, Jonathan very much, for the positive comments.

[nede]

thank you NDG

[nede]

bump little thread
from this morning
https://dl.dropboxusercontent.com/u/3865384/img520.jpg

[StoneNYC]

bump little thread
from this morning
https://dl.dropboxusercontent.com/u/3865384/img520.jpg

That's gorgeous! :)

[Randy]

Graflex Series D 4X5 / Reinholds 190mm Wollaston Meniscus

https://dl.dropboxusercontent.com/u/52893762/img346a.jpg

[Jmarmck]

Nice mood setting.

[NiNo]

X-Ray 13x18 + Pyrocat HD, contact print on Slavich matt + Ilford MG DEV

120534

120535

[Peter Yeti]

bump little thread
from this morning
https://dl.dropboxusercontent.com/u/3865384/img520.jpg

I really like this one, very nice mood.

[Peter Yeti]

One of my favourite subjects:)


https://sites.google.com/site/gourmetyeti/photos/still-life-2014/wine+grapes_sm.jpg?width=600

Goerz Dagor 6.8/240mm, Adox CHS II 100 in Pyrocat HD (still testing this combination)

[Hugo Zhang]

Here is recent one. FP4 57 film. D76. P&S Visual Quality 16" lens.

[Randy]

Graflex Series D 4X5 / Reinholds 190mm Wollaston Meniscus

https://dl.dropboxusercontent.com/u/52893762/img344a.jpg

[koraks]

I wrote about this test (http://www.largeformatphotography.info/forum/showthread.php?115980-Any-experience-with-Fomapan-100), which wasn't really successful, but for the heck of it I'll post it anyway.

http://www.koraks.nl/galleries/snapshots/2014_july_-_tests_on_4x5_with_the_sinar/ASL_141_01.jpg

Ca. 14 minutes @ f/11 or f/16 on Fomapan 100 in quickly fading light. Symmar-S 210/5.6. Developed for about 7:30m in Rodinal 1:100. The negative is quite thin, although the highlights are overly dense. Maybe I'll retry this one in better light one day.

[Rick A]

I wrote about this test (http://www.largeformatphotography.info/forum/showthread.php?115980-Any-experience-with-Fomapan-100), which wasn't really successful, but for the heck of it I'll post it anyway.

http://www.koraks.nl/galleries/snapshots/2014_july_-_tests_on_4x5_with_the_sinar/ASL_141_01.jpg

Ca. 14 minutes @ f/11 or f/16 on Fomapan 100 in quickly fading light. Symmar-S 210/5.6. Developed for about 7:30m in Rodinal 1:100. The negative is quite thin, although the highlights are overly dense. Maybe I'll retry this one in better light one day.

Don't you dare reshoot this, it's absolutely perfect.

[koraks]

Thanks Rick, that is vastly reassuring! But it only works on this format; any enlargements just wouldn't work, I'm afraid. I'm happy that I got at least sort of a usable web version from it. I'm glad you like it!

[Ken Lee]

http://www.kenleegallery.com/images/forum/2014-08-16b.jpg
Cup and Saucer
Kodak 2D, 180mm Fujinon SFS
5x7 HP5+, D-23

[Dirk Rösler]

Pure elegance

[Mark Sawyer]

Quite lovely, Ken.

[Jmarmck]

Ken, I can spot your work by your style. Nicely done.

[Ken Lee]

Thank you very much !

[askatu82]

Testing Fomapan 200.

Graflex Crown Graphic
Rodenstock Sironar-N 210mm
f/5,6 - 1/8sec
Fomapan 200 Creative
Rodinal 1:50 - 7:30 min 25ºC

http://i.imgur.com/VQVXT5x.jpg

[askatu82]

Testing Fomapan 200.

Graflex Crown Graphic
Rodenstock Sironar-N 210mm
f/45 - 80sec
Fomapan 200 Creative
Rodinal 1:50 - 7:30 min 25ºC

http://i.imgur.com/Vwj5KMY.jpg

[Jim Cole]

Awful lot of dirt on that record. Glad it's not really playing. The Fomapan looks good, though.

[Deval]

A salute to Ed Weston

https://farm6.staticflickr.com/5591/14981694900_fd0558a7d0_b.jpg (https://flic.kr/p/oPT6Wu)Pepper #1 (https://flic.kr/p/oPT6Wu) by DevalJoshi (https://www.flickr.com/people/27757526@N00/), on Flickr

Toyo 45 aII
Rodenstock Sironar-S 150mm 5.6
F32 4:41sec
Filters:None
Kodak T-Max 100
XTOL 1:1 (6:58 at 22.7C)

[askatu82]

Awful lot of dirt on that record. Glad it's not really playing. The Fomapan looks good, though.

Too many years on the shelf... Machine dead in this case ;)

[Courtlux]

Leicaflex Mot Schwarzlack Linhof Master Technika Fomapan 100 RHS-DC V700

https://dl.dropboxusercontent.com/u/11802756/11484418874_6f15b10de7_b.jpg

[David Hedley]

Awful lot of dirt on that record. Glad it's not really playing. The Fomapan looks good, though.

The dirt may be from the smoke on the water ;)

[Ari]

The dirt may be from the smoke on the water ;)

Is that what they say in Montreux? :)

[David Hedley]

Yes, especially if you have a flare gun!

[AlexGard]

I wrote about this test (http://www.largeformatphotography.info/forum/showthread.php?115980-Any-experience-with-Fomapan-100), which wasn't really successful, but for the heck of it I'll post it anyway.

http://www.koraks.nl/galleries/snapshots/2014_july_-_tests_on_4x5_with_the_sinar/ASL_141_01.jpg

Ca. 14 minutes @ f/11 or f/16 on Fomapan 100 in quickly fading light. Symmar-S 210/5.6. Developed for about 7:30m in Rodinal 1:100. The negative is quite thin, although the highlights are overly dense. Maybe I'll retry this one in better light one day.

That's awesome, mate! Fantastic lighting!

[David Hedley]

Two mangosteen studies;

https://farm9.staticflickr.com/8198/8258736869_d8d5cf011a_b.jpg (https://www.flickr.com/photos/32131681@N00/8258736869/)
https://farm9.staticflickr.com/8067/8258741363_bf8f7f3757_b.jpg (https://www.flickr.com/photos/32131681@N00/8258741363/)

Sinar F, Cooke PS945, Ilford Delta 100 / Tanol

[jcoldslabs]

I started with a bunch of glass bottles on the table and futzed with those for half an hour to no avail. Then I grabbed this vase almost at random and was suddenly much happier. Funny how that happens.

Century 10A, 15" B&L projection Petzval, 8x10 Tri-X (expired 1976).


http://www.kolstad.us/ebay/8x10-TriX1976-EI50-C10A-15BLPetzval-Vase-on-Table.jpg

Jonathan

[andreios]

That's fantastic, Jonathan!

[jcoldslabs]

That's fantastic, Jonathan!

Thank you. I am entranced by light passing through glass. Lately I've been studying Sudek's photos of this phenomenon for inspiration.

J.

[wickerman]

https://farm6.staticflickr.com/5577/15185316566_fd5c87664c_z.jpg (https://flic.kr/p/p8SHyS)William Cox (2) (https://flic.kr/p/p8SHyS) by wickerman6 (https://www.flickr.com/people/87008388@N07/), on Flickr

Crown Graphic
T-Max 100
Xtol 1:1

[Ken Lee]

http://www.kolstad.us/ebay/8x10-TriX1976-EI50-C10A-15BLPetzval-Vase-on-Table.jpg

Brilliant !

[jcoldslabs]

Thanks for the vote of confidence, Ken.

J.

[koraks]

I'm a cheapskate. I readily admit to it. In my cheapskate adventures, I came across some really (really!) old Kodak Vericolor II S film that expired back in...1983. So I bought a few boxes to see if I could get any useful result from them. Turns it I could...well, sort of. As to be expected, base+fog is insane, as are color casts. I have no experience with traditional printing, but I imagine these negatives are virtually unprintable. However, digital post processing offers at least some options for selectively correcting some of the worst problems. The end result is still far from ideal, but not quite as bad as I had feared and I had quite some fun in making these. If you think "there's something horribly wrong with the colors and tonality in those images," then I can only agree, obviously. Then again, I'm not a professional and I like to tinker with old stuff to see what I can get from it.

Anyway, I shot a few quick & dirty still life compositions to establish something of a workflow for these sheets. These were all shot with a Symmar-S 210, relatively low-contrast scenes, exposure times of several seconds, apertures ranging from something like f/8 to f/22. I rated the film as ISO 50, but 25 would have been more appropriate. However, reciprocity was a problem at ISO 50 already; even longer exposures would have resulted in even more problems with controlling contrast. The sheets were developed with a Rollei/Fuji Hunt C41 kit (separate bleach and fix) at 25C with no adjustment to the development times as suggested by Rollei.

http://www.koraks.nl/galleries/snapshots/2014_september_-_testing_old_color_film_on_4x5/VTS_141_04.jpg
This composition with brownish tints gives a certain 1950s look that I sort of like. As you can see in the shadows, the color corrections that I applied result in unnatural colors, but this was the price I paid to get the highlights as close to natural as I could muster.

http://www.koraks.nl/galleries/snapshots/2014_september_-_testing_old_color_film_on_4x5/VTS_141_02.jpg
This was to test the color rendition of this film. Indirect available daylight. Again, the shadows are the problematic regions, leading me to believe that ISO 25 would have been more appropriate. Green is also the most problematic color; it proves quite difficult to recover it from drowning in the brown-purple base.

http://www.koraks.nl/galleries/snapshots/2014_september_-_testing_old_color_film_on_4x5/VTS_141_01.jpg
Forgive the sloppy background. Color-wise, I'm quite pleased as to how this came out. With this color composition, the inevitable magenta cast proved the easiest to filter out. In my perception, the colors are as natural as I can get them with this film. Coincidentally, this was also the best exposed image (i.e. the least thin, underexposed), leading me to believe that when used in broad daylight with shorter exposure times (this was 8 seconds if I recall correctly), this film might be usable for my ends, which is web viewing and printing up to 10x18.

1983. I was in diapers back then...

PS: cost-wise, these images came out at roughly the same cost as new B&W film + development. Not completely free, but cheap enough to allow for some more experimentation as I work my way into large format color without worrying about wasting expensive film.

[StoneNYC]

I'm a cheapskate. I readily admit to it. In my cheapskate adventures, I came across some really (really!) old Kodak Vericolor II S film that expired back in...1983. So I bought a few boxes to see if I could get any useful result from them. Turns it I could...well, sort of. As to be expected, base+fog is insane, as are color casts. I have no experience with traditional printing, but I imagine these negatives are virtually unprintable. However, digital post processing offers at least some options for selectively correcting some of the worst problems. The end result is still far from ideal, but not quite as bad as I had feared and I had quite some fun in making these. If you think "there's something horribly wrong with the colors and tonality in those images," then I can only agree, obviously. Then again, I'm not a professional and I like to tinker with old stuff to see what I can get from it.

Anyway, I shot a few quick & dirty still life compositions to establish something of a workflow for these sheets. These were all shot with a Symmar-S 210, relatively low-contrast scenes, exposure times of several seconds, apertures ranging from something like f/8 to f/22. I rated the film as ISO 50, but 25 would have been more appropriate. However, reciprocity was a problem at ISO 50 already; even longer exposures would have resulted in even more problems with controlling contrast. The sheets were developed with a Rollei/Fuji Hunt C41 kit (separate bleach and fix) at 25C with no adjustment to the development times as suggested by Rollei.

http://www.koraks.nl/galleries/snapshots/2014_september_-_testing_old_color_film_on_4x5/VTS_141_04.jpg
This composition with brownish tints gives a certain 1950s look that I sort of like. As you can see in the shadows, the color corrections that I applied result in unnatural colors, but this was the price I paid to get the highlights as close to natural as I could muster.

http://www.koraks.nl/galleries/snapshots/2014_september_-_testing_old_color_film_on_4x5/VTS_141_02.jpg
This was to test the color rendition of this film. Indirect available daylight. Again, the shadows are the problematic regions, leading me to believe that ISO 25 would have been more appropriate. Green is also the most problematic color; it proves quite difficult to recover it from drowning in the brown-purple base.

http://www.koraks.nl/galleries/snapshots/2014_september_-_testing_old_color_film_on_4x5/VTS_141_01.jpg
Forgive the sloppy background. Color-wise, I'm quite pleased as to how this came out. With this color composition, the inevitable magenta cast proved the easiest to filter out. In my perception, the colors are as natural as I can get them with this film. Coincidentally, this was also the best exposed image (i.e. the least thin, underexposed), leading me to believe that when used in broad daylight with shorter exposure times (this was 8 seconds if I recall correctly), this film might be usable for my ends, which is web viewing and printing up to 10x18.

1983. I was in diapers back then...

PS: cost-wise, these images came out at roughly the same cost as new B&W film + development. Not completely free, but cheap enough to allow for some more experimentation as I work my way into large format color without worrying about wasting expensive film.

These are great, I'm sure some kind of hybrid computer scanning adjustments were made in order to get the colors, but heck for cheap film why not!!

What size sheets were they, you didn't mention, but I assume 4 x 5?

[koraks]

Thanks! With the severe limitations involved (not to mention behind the camera...), I'm quite pleased with the results.

Indeed, these were 4x5's, scanned through a 4990 with the bog-standard Epson film holder. The scans were made at 16b/color channel (apart from the middel one; that was an 8b scan) to at least capture as much as I could and then adjustments were made with adjustment layers. I mostly used curves (each channel separately adjusted), hue/saturation (with different settings for each color section) and I think I used a levels layer for the first image. Most adjustments were made across the image, but in particularly the second and the third image, I did some local adjustments using layer masks. The final images required some spotting since my workflow is all but spotless - the fact that I have two fluffy cats doesn't help in this respect either ;)

Btw; I needed about 5 adjustment layers for each image to get the result above. General workflow was to do some crude adjustments to balance the colors with levels or curves, then some localized adjustments with curves and some hue/saturation adjustments to quiet down the areas where saturation got blown off the scale in the process. I also adjusted the levels separately in the Epson scanning utility for each image, using the auto-exposure as a starting point. I find I can't get a perfect output by just adjusting the settings during scanning; I always need to tinker a bit in Photoshop. This is even true for more recent or even new film I scan, but it's more of an issue with negative film than with transparencies, obviously. The latter usually require very little adjustment at all.

If anyone is interested in calling the same ordeal over himself: I have some 13x18cm of the same film (but a decade younger) that I am considering selling. It's either finding a use for it myself, or finding someone who is already active in 5x7 and has film holders (or willing to purchase them) that will hold 13x18. I may put this film up for sale on this forum in the near future.

[Courtlux]

Linhof Technika III mit der Master Technika Classic Fomapan 100 Rodinal 1:50 Epson V700
365x4x5 Project:http://courtlux4x5.tumblr.com

https://dl.dropboxusercontent.com/u/11802756/15249815332_997623b0fc_k.jpg

[koraks]

I was sitting at my desk and this sight struck me. So I moved the plant to the living room and shot this frame.

http://www.koraks.nl/galleries/plants_and_flowers/SLBL141_TMX_2.jpg
Symmar-S 210/5.6, TMX, Rodinal, 4990

[jcoldslabs]

Here's the color version of a shot I posted last week. I think I like the abstract detail better than the full image.

Century 10A 8x10, 15" B&L projection Petzval, Ektachrome 100S.


http://www.kolstad.us/ebay/8x10-C10A-15inBL-E100S-Vase.jpg




http://www.kolstad.us/ebay/8x10-C10A-15inBL-E100S-Vase-DETAIL.jpg

Jonathan

[ScottPhotoCo]

Here's the color version of a shot I posted last week. I think I like the abstract detail better than the full image.

Century 10A 8x10, 15" B&L projection Petzval, Ektachrome 100S.


http://www.kolstad.us/ebay/8x10-C10A-15inBL-E100S-Vase.jpg




http://www.kolstad.us/ebay/8x10-C10A-15inBL-E100S-Vase-DETAIL.jpg

Jonathan

These are beautiful. I agree with you about the more abstract one.

Tim
www.ScottPhoto.co

[jcoldslabs]

Thanks, Tim. The 8x10 transparency allows for some really close cropping without much loss of resolution. I could probably pull three or four more of these little gems from the larger image.

J.

[austin granger]

Damn Jonathan, those are just epic. Now you just need to blow them up Rothko size so people can stand in front of them and be consumed. Seriously, your instincts were dead on in regards to deeming it worth a large transparency. Wow! Jerk. ;-)

[Winger]

Damn Jonathan, those are just epic. Now you just need to blow them up Rothko size so people can stand in front of them and be consumed. Seriously, your instincts were dead on in regards to deeming it worth a large transparency. Wow! Jerk. ;-)

+1! Very much!

[jp]

Here's the color version of a shot I posted last week. I think I like the abstract detail better than the full image.

Century 10A 8x10, 15" B&L projection Petzval, Ektachrome 100S.

http://www.kolstad.us/ebay/8x10-C10A-15inBL-E100S-Vase-DETAIL.jpg

Jonathan

That's print it big giclee and put in an upscale gallery material right there. There's probably more things you could abstract into it with some color/tints as well.

[jcoldslabs]

Now you just need to blow them up Rothko size so people can stand in front of them and be consumed.

Those were my thoughts exactly. And I mean exactly. I mentioned to my wife that I thought this image would look good big and I used the term "Rothko big." It's the first image I've shot in years that seems like it would benefit from being printed at a ridiculous scale where the viewer could press his or her nose up close and get lost in the various layers and nebula-like forms. Now if only that mythical "wealthy patron" would materialize to help me fund some of my more grandiose plans!



+1! Very much!

Thank you.



That's print it big giclee and put in an upscale gallery material right there. There's probably more things you could abstract into it with some color/tints as well.

The original has a strong magenta cast as expired transparency film often does, so color balancing was a bit of a guess anyway. There's no reason not to move the color sliders around some more and see what emerges.

Jonathan

[Jim Cole]

Here's the color version of a shot I posted last week. I think I like the abstract detail better than the full image.

Century 10A 8x10, 15" B&L projection Petzval, Ektachrome 100S.


http://www.kolstad.us/ebay/8x10-C10A-15inBL-E100S-Vase-DETAIL.jpg

Jonathan

Jonathan

I'll join in with the universal praise on this image. I think you've outdone yourself with this one.

This deserves a spot on your wall and a few others. I would be happy to print this one for you at 42x42" or any size smaller that you may prefer, free of charge, if you'll just cover the $25-30 it will take to have FedEx drop it off at your door. I don't expect anything in return, I just think you need to see this in a big print.

[jcoldslabs]

Jim,

Wow! Thanks for the kind offer. I sent you a PM with some technical questions about best practices for re-scanning the transparency with the goal of printing large. I have a feeling my 800 DPI first pass might not be up to snuff.

J.

[austin granger]

I'm no wealthy patron (I've been looking for one of those myself), but I've got a big blank space above my piano and that picture would be perfect there. No pressure, but when you get a clearer picture of what's involved in making a large print, let me know and maybe we can work something out.

[jcoldslabs]

I love it when a photograph ceases to look like a photograph. I had to check my notes to remember what this is.

Pacemaker Speed Graphic w/6x7 back, 18cm Ed. Liesegang 'Aristograph' projection Petzval, Portra 160NC (expired 2005).


http://www.kolstad.us/ebay/120-Horseman67-Portra160NC-Liesegang-Aristograph-02a.jpg

Jonathan

[Corran]

Here's the color version of a shot I posted last week. I think I like the abstract detail better than the full image.

Century 10A 8x10, 15" B&L projection Petzval, Ektachrome 100S.

Jonathan

I missed these till now, and yes I'll chime in and give you another EXCELLENT!! I like the abstract best, because it's abstract and not immediately identifiable.
Fantastic color work. Did you send this off or develop yourself?

I also like this latest one above, especially the S-curve.

[koraks]

http://www.koraks.nl/galleries/4x5_archives/TSCS_TMX141_1.jpg
Symmar-S 210/5.6, T-Max 100, Rodinal, 4990 scan.

I think I like the combination of TMX/Rodinal. It's not in the least grainy and still allows for all sorts of contrast boosts without the grain coming through obtrusively.

[jcoldslabs]

Fantastic color work. Did you send this off or develop yourself?

Thanks, Bryan. I used Citizen's Photo here in Portland for the processing. (Kudos to them; their turn-around time was less than 24 hours.) I shoot so little color that it hasn't made sense for me to home develop C-41 or E-6 yet. Citizen's prices are reasonable, too; the 8x10 sheet was around $7.00. If I suddenly found myself needing to process 10 sheets of 8x10 all at once I might consider buying a home kit.

The film is about ten years old so there was a magenta color cast (as expected), but it was fairly easy to remove in post. The exposure was off by almost a full stop since my Galli shutter skills were not adequate enough to reach one eighth of a second, but I find overexposed transparencies have an open, luminescent look so it worked out.

J.

[Corran]

$7 is definitely not bad. I think the lab I used to use was charging $12.

[hetocy]

My very fisrt try in large format, wanted to shoot a portrait but no-one would pose for me so ...
Shen Hao hzx 45 + schneider symmar 150mm @ f16 + fomapan 100 .
Epson 4990 scan
wainting for advices of course !

http://img11.hostingpics.net/pics/224507img49903991.jpg (http://www.hostingpics.net/viewer.php?id=224507img49903991.jpg)

[Tim Meisburger]

My advice? Keep shooting. It looks good!

[jcoldslabs]

Sunlight hitting the dining room wall this afternoon.

Century 10A w/4x5 back, B&L Zeiss Anastigmat Series II (rear group only), HP5+.


http://www.kolstad.us/ebay/4x5-HP5-C10A-BLZAII-Decanter-and-Shadow-03.jpg

Jonathan

[Peter Lewin]

Oh Jonathan, I know I shouldn't come directly from the "Equivalents" thread to here, but what can I do? The first observation I make, is that following several posts on authorship, you can't tell me that this is "sunlight hitting the dining room wall" since your view of what you made the image of is no more valid than the viewer's take on what it is. The second observation is that this is clearly an image about ideas, not merely a glass vase. The vase represents your house, and you are trapped inside it. The dark shadow represents death, the fear of what awaits you if you leave your house. The photograph itself is an Equivalent.

Now stroking my imaginary psychologist's beard (you actually have the real thing!) and cackling hysterically, I shall retreat to my darkroom. (Or is that the "dark room of my thoughts?") This Equivalents thing has really gotten to me!

[SergeiR]

and to continue this.. sunlight hitting dining table ;)

8x10 , 360mm Imagon

https://farm3.staticflickr.com/2943/15385083172_e015701aae_c.jpg (https://flic.kr/p/prwzdG)Scan-140928-0003www (https://flic.kr/p/prwzdG) by Sergei Rodionov (https://www.flickr.com/people/24930737@N05/), on Flickr

[jcoldslabs]

Oh Jonathan, I know I shouldn't come directly from the "Equivalents" thread to here, but what can I do? The first observation I make, is that following several posts on authorship, you can't tell me that this is "sunlight hitting the dining room wall" since your view of what you made the image of is no more valid than the viewer's take on what it is. The second observation is that this is clearly an image about ideas, not merely a glass vase. The vase represents your house, and you are trapped inside it. The dark shadow represents death, the fear of what awaits you if you leave your house. The photograph itself is an Equivalent.

Now stroking my imaginary psychologist's beard (you actually have the real thing!) and cackling hysterically, I shall retreat to my darkroom. (Or is that the "dark room of my thoughts?") This Equivalents thing has really gotten to me!

Peter, your post made me both laugh and think. Always a good combination.

First, I completely agree that my "read" on the photo is no more valid than anyone else's. My reason for mentioning the sunlight in the dining room was to give the photo some context. Ultimately, I am not in favor of contextualizing my work for the average viewer, and if my photos were in a gallery there would be nary a piece of text in sight, not even titles.

But here on the LFPF I am among friends and fellow practitioners. If I were to show you a print of this photo in person, I most certainly would not just hand it to you and wait for a reaction. I would probably tell you how I was sitting at dinner on Saturday evening and watched as this thin strip of sunlight moved magically behind the side table on the north wall and caught my attention, and how I resolved to be prepared to photograph it the next day, weather permitting. So mentioning the sunlight was a courtesy to those who might have wondered how the photo was lit since I do have a penchant for using spot lights with my still lifes.

Anyway, the Minor White thread is certainly food for thought, and if it is spilling over into other threads, even in jest, all the better. :)

J.

[jcoldslabs]

Another try, same specs as above. Unfortunately the strip of late afternoon sunlight moved upward in between composing on the ground glass and making the exposure. I hadn't wanted the top of the decanter to be parallel with the upper shadow, and it wasn't, not when I was framing it at least. But not being able to see the ground glass at the moment of--or even leading up to--the exposure can sometimes be a problem.


http://www.kolstad.us/ebay/4x5-HP5-C10A-BLZAII-Decanter-and-Shadow-01.jpg

Jonathan

[austin granger]

Another try, same specs as above. Unfortunately the strip of late afternoon sunlight moved upward in between composing on the ground glass and making the exposure. I hadn't wanted the top of the decanter to be parallel with the upper shadow, and it wasn't, not when I was framing it at least. But not being able to see the ground glass at the moment of--or even leading up to--the exposure can sometimes be a problem.
Jonathan

Personally, I like how the light is just above the top of the decanter. It looks, especially with the horizontal line turning to a downward slope, as if the light is flowing from left to right. In any case, it's a beautiful picture. And I like how it's not cluttered up with ideas like so many of my pictures. :) Yes, I kid, but you know, I think there might be something to that. Your photos always do have a refreshing calm and clarity. Maybe they really are just what they are-form and light and here, a decanter-how wonderful!

[jcoldslabs]

Thanks, Austin. When a photo does not match my hopes for it, which can happen for all kinds of reasons, my first reaction is to be disappointed. This is why it's a good idea to live with one's images for a while before passing judgment. And it's also why images we dismiss early on can become favorites later.

All this talk about images and ideas and "Equivalence" has made me feel like my photos are missing something. I don't intend deeper meanings, but maybe I should? Something to think about at least.

J.

[Ken Lee]

http://www.kolstad.us/ebay/4x5-HP5-C10A-BLZAII-Decanter-and-Shadow-01.jpg

Bravissimo !

[D-tach]

Another try, same specs as above. Unfortunately the strip of late afternoon sunlight moved upward in between composing on the ground glass and making the exposure. I hadn't wanted the top of the decanter to be parallel with the upper shadow, and it wasn't, not when I was framing it at least. But not being able to see the ground glass at the moment of--or even leading up to--the exposure can sometimes be a problem.

Jonathan

Perfection!

[jcoldslabs]

Thanks Ken & Tom. You guys are good for the ego!

Jonathan

[mäkelä]

122816

8x10, Symmar 5,6/300mm., Fomapan 100.

[SergeiR]

8x10 , 360mm Symmar-S

https://farm4.staticflickr.com/3940/15288393587_edcc9f6ca6_c.jpg (https://flic.kr/p/phZ1LT)
Notes of past (https://flic.kr/p/phZ1LT)
by Sergei Rodionov (https://www.flickr.com/people/24930737@N05/), on Flickr

[Iga]

123196

Whole Plate, Ilford FP4, G-Claron 240mm

[pasiasty]

http://fc05.deviantart.net/fs70/f/2012/166/8/3/20120610_0007_by_pasiasty-d53lskr.jpg
http://fav.me/d53lskr
Cambo SC-2
Schneider-Kreuznach Symmar 150/5.6 (probably)
paper negative Fomaspeed 311 S

[Maris Rusis]

123196

Whole Plate, Ilford FP4, G-Claron 240mm

Looks quiet but with more connotations the more you look.

[Peter Yeti]

I don't post very often but here I have something that I like enough to show. However, I'd really appreciate your critical input and comments. I shot different versions with different perspectives and lenses and I see pros and cons for either version. I'd love to learn from you guys and hear your opinions about the versions (an picture in general).


Zeiss Tessar 4.5/180mm @f8:

https://sites.google.com/site/gourmetyeti/_/rsrc/1413327583126/photos/still-life-2014/can_tessar_900x1100.jpg?height=700



Meyer Goerlitz Helioplan 5.4/165mm @f8

https://sites.google.com/site/gourmetyeti/_/rsrc/1413354794029/photos/still-life-2014/can_helioplan_900x1100b.jpg?height=700


Thanks for viewing,

Peter

[Ramiro Elena]

Whenever I shoot a still life, I go for the lower (point of view) the better. I think it gives whatever you're photographing a sense of "dignity".
First image is technically better.
As a side note, I personally like to see some kind of relationship between the objects being photographed, even if it is a remote one.

[Iga]

Looks quiet but with more connotations the more you look.

It was inevitable... They managed to repeat it 3 times at the label : for the place, for the date and for the stuff itself...
Best, Igor.

[Peter Yeti]

Whenever I shoot a still life, I go for the lower (point of view) the better. I think it gives whatever you're photographing a sense of "dignity".
First image is technically better.
As a side note, I personally like to see some kind of relationship between the objects being photographed, even if it is a remote one.

Ramiro,

Thanks a lot for your input, much appreciated. You're definitely right that a lower vantage point is more tranquil or even solemn and thus brings out the inherent dignity of a subject. That's a very good point. I think a higher (or much lower) vantage point stresses more the dynamics of a subject.

Your second statement is very interesting but even more interesting would be to know on which aspects you based it. By the way, I easily can agree on it.

Peter

[Ramiro Elena]

Exactly, you put it much better than I did.
Here's an example of what I was trying to say.
https://farm4.staticflickr.com/3731/11783866154_c4d55ea110_z.jpg (https://flic.kr/p/iXioS7)img991 (https://flic.kr/p/iXioS7) by rabato (https://www.flickr.com/people/71073452@N00/), on Flickr

At first glance, the objects don't have anything in common and seem randomly picked (which they actually were.) Now, to my eye, they represent a collection of different textures (glass, organic, plastic and ceramic.) Of course, that's my personal view. Others might think it is bs.
This second example doesn't work in the way I was speaking and results in a weaker composition.

https://farm3.staticflickr.com/2890/12257335424_bdf80c751d_z.jpg (https://flic.kr/p/jF93Mo)calabaza con caballo (https://flic.kr/p/jF93Mo) by rabato (https://www.flickr.com/people/71073452@N00/), on Flickr

But you know, this goes into the very personal opinion territory.

[jcoldslabs]

Whenever I shoot a still life, I go for the lower (point of view) the better.

Peter,

For what it's worth I agree with Ramiro on this. Early on when I was trying out still life I shot things from a higher-than-usual vantage point and they looked "wrong" to me. I think your first image provides a nice balance in that regard: the camera position is high enough to see the dimensions of the piece of wood and the objects sitting on it but does not give you that "peering down from above" feeling that the second photo does. Of course most rules are meant to be broken! Here is an example taken from well above the subject in order to keep all of the aspects high-key:

http://www.kolstad.us/ebay/Spider-Mum-on-White-01.jpg

As for grouping different objects successfully, I have never been good at that. I tend to keep like with like (clear glass candlesticks or flowers, for example) or photograph lone objects. As soon as I start putting things together without any real plan it never looks right to me. As a viewer I assume that the photographer had something in mind by placing certain items together, but if that connection is not apparent I get confused.

Jonathan

[ScottPhotoCo]

Exactly, you put it much better than I did.
Here's an example of what I was trying to say.
https://farm4.staticflickr.com/3731/11783866154_c4d55ea110_z.jpg (https://flic.kr/p/iXioS7)img991 (https://flic.kr/p/iXioS7) by rabato (https://www.flickr.com/people/71073452@N00/), on Flickr

At first glance, the objects don't have anything in common and seem randomly picked (which they actually were.) Now, to my eye, they represent a collection of different textures (glass, organic, plastic and ceramic.) Of course, that's my personal view. Others might think it is bs.
This second example doesn't work in the way I was speaking and results in a weaker composition.

https://farm3.staticflickr.com/2890/12257335424_bdf80c751d_z.jpg (https://flic.kr/p/jF93Mo)calabaza con caballo (https://flic.kr/p/jF93Mo) by rabato (https://www.flickr.com/people/71073452@N00/), on Flickr

But you know, this goes into the very personal opinion territory.

Beautiful.

[Jim Cole]

Ramiro,

Thanks a lot for your input, much appreciated. You're definitely right that a lower vantage point is more tranquil or even solemn and thus brings out the inherent dignity of a subject. That's a very good point. I think a higher (or much lower) vantage point stresses more the dynamics of a subject.

Your second statement is very interesting but even more interesting would be to know on which aspects you based it. By the way, I easily can agree on it.

Peter

Peter,

Based on Ramiro's comments, here's one I'm pretty sure I posted a long time ago on this thread. It violates Ramiro's first statement, but agrees with his second.

https://farm6.staticflickr.com/5009/5361728747_35c7ba4c72_o.jpg

[Peter Yeti]

Exactly, you put it much better than I did.
Here's an example of what I was trying to say.
https://farm4.staticflickr.com/3731/11783866154_c4d55ea110_z.jpg (https://flic.kr/p/iXioS7)img991 (https://flic.kr/p/iXioS7) by rabato (https://www.flickr.com/people/71073452@N00/), on Flickr

At first glance, the objects don't have anything in common and seem randomly picked (which they actually were.) Now, to my eye, they represent a collection of different textures (glass, organic, plastic and ceramic.) Of course, that's my personal view. Others might think it is bs.
This second example doesn't work in the way I was speaking and results in a weaker composition.

https://farm3.staticflickr.com/2890/12257335424_bdf80c751d_z.jpg (https://flic.kr/p/jF93Mo)calabaza con caballo (https://flic.kr/p/jF93Mo) by rabato (https://www.flickr.com/people/71073452@N00/), on Flickr

But you know, this goes into the very personal opinion territory.

Thanks again, Ramiro. Personal opinion is exactly what we're after here. I'm quite confident that we all agree that there is no objective view on these things anyway but that's what makes it so intriguing.

I can see in your two examples what you mean regarding a connection between your objects. However, without you mentioning it, I wouldn't have figured the texture concept of your first example. Nevertheless, I totally agree with you that the first example is a stronger composition for my taste, though it's probably based on a completely different view of things. That's what I'm so curious about regarding our judgements. By the way, in my example the connection between the three objects is clear as daylight to me but obviously not to others. Makes me wonder why it's not obvious...

My other point was your comment on the technical issues. You clearly had good reason for your statement based on a certain set of aspects. I'm very curious about your set of aspects. Why? Because the view camera gives us a lot of control over technical aspects and most of us will use them very consciously (unless we're sloppy or incapable). Same I consider true for lighing.

Peter

[Peter Yeti]

Peter,

For what it's worth I agree with Ramiro on this. Early on when I was trying out still life I shot things from a higher-than-usual vantage point and they looked "wrong" to me. I think your first image provides a nice balance in that regard: the camera position is high enough to see the dimensions of the piece of wood and the objects sitting on it but does not give you that "peering down from above" feeling that the second photo does. Of course most rules are meant to be broken! Here is an example taken from well above the subject in order to keep all of the aspects high-key:

http://www.kolstad.us/ebay/Spider-Mum-on-White-01.jpg

As for grouping different objects successfully, I have never been good at that. I tend to keep like with like (clear glass candlesticks or flowers, for example) or photograph lone objects. As soon as I start putting things together without any real plan it never looks right to me. As a viewer I assume that the photographer had something in mind by placing certain items together, but if that connection is not apparent I get confused.

Jonathan


Jonathan,

Thanks a lot for chiming in. If someone has a very distinctive style frequently breaking "rules" then it's you and I very much like it. You show an excellent example here where a high vantage point works great. You break the usual perspective boldly and that may make all the difference. Could be that when playing with the vantage point I simply didn't go far enough. On the other hand, it might not work at all for that particular set up. But I took one where I think it worked very well and gave the dynamics to the image I was striving for. Here is a colour version of it:

https://sites.google.com/site/gourmetyeti/_/rsrc/1413418674975/photos/still-life-2014/rotbarsch_2400_sm.jpg?width=60%25

I personally even like the technical flaws of this transparency.

Jonathan, I admire your ability to make great images of single isolated objects. That's a very special skill you have and I think it's part of your style. I would struggle to get something out that's not deadly boring. By contrast, for me it's an integral part of the creative process to assemble objects and lighting for a certain setting. I wouldn't claim that I'm good at it but that's how I often work.

Peter

[Peter Yeti]

Peter,

Based on Ramiro's comments, here's one I'm pretty sure I posted a long time ago on this thread. It violates Ramiro's first statement, but agrees with his second.

https://farm6.staticflickr.com/5009/5361728747_35c7ba4c72_o.jpg


Jim,

Thanks for your example. I think it works well. Again, like in Jonathan's image, it's a much higher vantage point, which makes me think that I may just have stopped short of using the unusual perspective boldly enough to make it work.

Peter

[jcoldslabs]

Peter,

I like the shot of the fish and the wine--I find it humorous, especially with the fish's mouth agape--and agree that a lower vantage point would not have worked as well in this case. I guess there are no rules; it simply comes down to "feel."

J.

[Peter Yeti]

Jonathan,

Thanks and I couldn't agree more. I think rules are the guides to safely lead you to a decent result. But everyone can follow rules, so one ends up with an average result. Boldly breaking rules can result either in total disaster or something really grand. Of cause we all hope for the latter. I'll keep trying...

Peter

[Dave Wooten]

Peter,

Based on Ramiro's comments, here's one I'm pretty sure I posted a long time ago on this thread. It violates Ramiro's first statement, but agrees with his second.

https://farm6.staticflickr.com/5009/5361728747_35c7ba4c72_o.jpg

Nice one Jim!

[Jim Cole]

Jim,

Thanks for your example. I think it works well. Again, like in Jonathan's image, it's a much higher vantage point, which makes me think that I may just have stopped short of using the unusual perspective boldly enough to make it work.

Peter

Thanks, and I think the high approach angle works on this one, too. This set up was at the very limits of my tripod and camera movement capabilities.

I like the fish shot as well.

[Jim Cole]

Nice one Jim!

Thank you, Dave.

[Peter Yeti]

Thanks, and I think the high approach angle works on this one, too. This set up was at the very limits of my tripod and camera movement capabilities.

I like the fish shot as well.

Thanks, Jim. I might give it another try and see how it turns out. Movements shouldn't be a problem because I don't intend to do a full correction of converging lines like you did. I will need the movements mainly to put the selective focus to where I want it.

Peter

[t0aster]

I don't post very often but here I have something that I like enough to show. However, I'd really appreciate your critical input and comments. I shot different versions with different perspectives and lenses and I see pros and cons for either version. I'd love to learn from you guys and hear your opinions about the versions (an picture in general).


Zeiss Tessar 4.5/180mm @f8:

https://sites.google.com/site/gourmetyeti/_/rsrc/1413327583126/photos/still-life-2014/can_tessar_900x1100.jpg?height=700



Meyer Goerlitz Helioplan 5.4/165mm @f8

https://sites.google.com/site/gourmetyeti/_/rsrc/1413354794029/photos/still-life-2014/can_helioplan_900x1100b.jpg?height=700


Thanks for viewing,

Peter

I much prefer the second image. They are, however, both very nice images.

[jcoldslabs]

"Flint & Crown Stew"

Century 10A, 15" f/4 B&L projection Petzval, Tri-X (expired 1976).


http://www.kolstad.us/ebay/8x10-TriX1976-Gluten-Free-850.jpg

Jonathan

[jesse]

"Flint & Crown Stew"

Century 10A, 15" f/4 B&L projection Petzval, Tri-X (expired 1976).


http://www.kolstad.us/ebay/8x10-TriX1976-Gluten-Free-850.jpg

Jonathan

Interesting!

[jesse]

Ebony 4X5
Goerz Dagor 180mm f6.8
HP5, D-76 1:1
Epson GTX-970
http://forum.hklfc.com/data/attachment/forum/201410/18/153415rz3z3sqcqclr3q33.jpg

[Corran]

"Flint & Crown Stew"

Century 10A, 15" f/4 B&L projection Petzval, Tri-X (expired 1976).

Jonathan

:D
Very "unlike" your normal stuff, but of course very cute.
I laughed at your "gluten-free" filename!

[Peter Yeti]

"Flint & Crown Stew"

Century 10A, 15" f/4 B&L projection Petzval, Tri-X (expired 1976).


http://www.kolstad.us/ebay/8x10-TriX1976-Gluten-Free-850.jpg

Jonathan

Jonathan,

This one is really cracking me up - excellent! Can I come for dinner?:rolleyes:

Peter

[jcoldslabs]

Interesting!

Thanks.



Very "unlike" your normal stuff, but of course very cute.

Well, I wouldn't want to get stale or bore you guys with the sameness of my work. Don't worry, the regular programming will resume after a short break. :)



This one is really cracking me up - excellent! Can I come for dinner?

Peter, you're welcome anytime. I slow cook my glass in Rodinal (1:150) for 8 hours until tender. Delicious!

Jonathan

[Jmarmck]

"Flint & Crown Stew"

Century 10A, 15" f/4 B&L projection Petzval, Tri-X (expired 1976).


http://www.kolstad.us/ebay/8x10-TriX1976-Gluten-Free-850.jpg

Jonathan

Can I get some Rodinal with that?

[rhineroo]

I set up to try this little Goerz Dagor 180mm f6,8. I got it because I read it might cover 8x10 stopped down. Is it true the Berlin Dagors are not very good? I seem to have read it here but my memory sucks.

The Dagor Doppelanastigmat was designed 1892 by Von Hoegh for Goerz. 180mm is for 13/18 and 240mm for 18/24. Angel is 70°- 90°. It depends on stop down. Dagor has 6 lenses in 2 cemented groups a`3 lenses. That means 4 glas/air plains only or a minimum of inner reflections.
It is possible to use the backgroup alone if you stop it down to get a softer 360mm lens.

In my opinion Dagor is a good lense BUT due to hype much to expensive. If you mean better = sharper look for the much later designed "simple " Schneider Angulon 165mm. If you stopp it down to f22 it is difficult to see the differenze to the heavy and more expensive follower Super-Angulon. With the Angulon you have 3 lenses (front, back or both together).

[Ramiro Elena]

Thanks for the info rhineroo, mine was 20€ shutterless. I still need to try it on 8x10.

[Peter Yeti]

Good catch, Ramiro. I wouldn't think twice for 20€ if it is in reasonable condition. I have a good 6.8/210mm (1913) and a poor, battered up 7.7/240mm (1898) and love them. These are remarkable lenses, capable of stunning image quality and a beautiful oof rendition. But I agree that there is a lot of hype about them, pushing the prices to the unreasonable. It's like with the Heliars (in my opinion).

The 180mm barely can cover 8x10 when stopped down beyond f32 (Goerz scale 96) but it was meant for 5x7. A practical word of warning: Dagors suffer a slight focus shift when stopped down, so be aware.

And here is a very good web site on Dagors (http://www.lungov.com/wagner/c/097c.html) with a lot of interesting infos.

Enjoy your little gem,

Peter

[arca andy]

123555
Originally shot on my Dslr for Alamy, deciding that it need the LF treatment (what doesn't) it is still a bit of a work in progress. Once happy with it I'll post it a bit bigger....in case you're wondering its a handful of kebab skewers shot from above....and its the sort of shot that you can play with for hours and still not be happy with!

[StoneNYC]

123555
Originally shot on my Dslr for Alamy, deciding that it need the LF treatment (what doesn't) it is still a bit of a work in progress. Once happy with it I'll post it a bit bigger....in case you're wondering its a handful of kebab skewers shot from above....and its the sort of shot that you can play with for hours and still not be happy with!

What's an "Alamy"?

[arca andy]

What's an "Alamy"?
Good question! Its an online photo library....maybe its a British company!

[StoneNYC]

Good question! Its an online photo library....maybe its a British company!

Oh stock, got it. So many of you shoot still life's for stock? Although I appreciate still lives I personally wouldn't buy them to hang in my home, so I've kind of always wondered what people do with them or why they shoot them.

[Jim Cole]

Oh stock, got it. So many of you shoot still life's for stock? Although I appreciate still lives I personally wouldn't buy them to hang in my home, so I've kind of always wondered what people do with them or why they shoot them.

They're fun exercises in building a composition instead of using found ones, they teach a lot about lighting and contrast. they can be representative of an idea or an emotion, it gives you something to shoot when the weather's crappy outside and they have a bit of a zen component for me. I shoot still life images for art sales, not so much for stock. Landscapes and florals sell much better, though.

[StoneNYC]

They're fun exercises in building a composition instead of using found ones, they teach a lot about lighting and contrast. they can be representative of an idea or an emotion, it gives you something to shoot when the weather's crappy outside and they have a bit of a zen component for me. I shoot still life images for art sales, not so much for stock. Landscapes and florals sell much better, though.

Hmm thanks, I like this perspective.