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GSX4
3-Feb-2011, 11:56
Here's a shot I did in the last day or so... It was calling me to do a wet plate image before it was opened!! At any rate, It's a whole plate sized image shot with a Kodak 2D, and Wollensak Series A portrait lens. 5 Seconds @ F5

Randy
4-Feb-2011, 16:01
Well, scanned in February but shot 10 years ago. The first picture I shot with my 8X10.

I bought these boots back in late 1977 just before I joined the USAF. I still have them. Many miles.

http://rsphoto.fileave.com/bootsa.jpg

Ken Lee
4-Feb-2011, 17:17
http://www.kennethleegallery.com/images/forum/2011-01-031.jpg
Sinar P, 210mm Macro Sironar
4x5 HP5+, D-23

kev curry
4-Feb-2011, 17:32
Beautiful!

cjbroadbent
5-Feb-2011, 13:58
150m Sironar on Technika and Ektachrome. The Hasselblad bubble filter fits exactly.
https://lh4.googleusercontent.com/_OR3U2BmIDuk/TUlzTHvaDQI/AAAAAAAAGhs/pDuvdrAI6A8/s800/goldCup.jpg

Leigh
5-Feb-2011, 14:17
Ken,

The cup and flower image is absolutely wonderful.

Thank you.

- Leigh

goamules
6-Feb-2011, 07:54
Quarterplate collodion, gem petzval, 85 seconds.

http://farm6.static.flickr.com/5259/5420077344_d515b23f7a.jpg

northcarolinajack
6-Feb-2011, 12:13
I made this yesterday, a good rain day. If you do not know what it is, you are young. It's an old butter press. Back when butter was made at home. When butter was removed from press, you had the design on top of the butter. Much better than the plastic of non-butter on the table now.
The press is 100 years plus.
Made with Super Graflex and 127mm lens, with Ilford Delta 100 film.

Jack
www.facebook.com/pages/Jack-Harris-Photography/109348465760954
www.jackharrisphotography.com

bob carnie
6-Feb-2011, 12:37
Great Image Andrew



Here's a shot I did in the last day or so... It was calling me to do a wet plate image before it was opened!! At any rate, It's a whole plate sized image shot with a Kodak 2D, and Wollensak Series A portrait lens. 5 Seconds @ F5

Harold_4074
7-Feb-2011, 15:42
If you do not know what it is, you are young.

Not only do I know what it is, I used one as a kid on my uncle's farm in Georgia. Butter is the stuff that you get out of the churn when you have pumped the dasher long enough..... :)

John Berry
7-Feb-2011, 22:46
The press was to separate the last bit of liquid after removing from the churn.

cjbroadbent
8-Feb-2011, 02:50
A reminiscence of the late sixties.
Everything was shot on 8x10 but pretended to be wide-angle 6x6. White limbo with overhead window-light. Sinar with Super-Angulon 8/121mm tilted way forward. Urgh!
The empty space is for a headline.
Ektachrome shipped to Italy in those days should have been binned in the factory. It was way over tolerance and sometimes required 30CC to 50CC correction.
https://lh3.googleusercontent.com/_OR3U2BmIDuk/TVEQIrxXv1I/AAAAAAAAGqE/9yqKoqsepqo/s800/pheasant.jpg

William Whitaker
8-Feb-2011, 08:54
OK, I give up. What's a "white limbo"?

cjbroadbent
8-Feb-2011, 09:10
OK, I give up. What's a "white limbo"?
That horrible seamless white background. Extinct towards the end of the last century.

ajmiller
8-Feb-2011, 10:21
Taken using circa.1910 Demaria-Lapierre & Mollier 13x18cm camera with Hermagis Apl. No.5 f=310mm Serie II lens. Ilford Delta 100, Hc110 dil. B: Contact Printed.

Ken Lee
8-Feb-2011, 11:06
That horrible seamless white background. Extinct towards the end of the last century.

What is used today ?

cjbroadbent
8-Feb-2011, 12:07
What is used today ?
A plane with a horizon (For horizon, read far-edge-of-table, skirting-board). Whatever brings you down to earth and provides a visual clue for orientation.
Once apon a time the photolith people had a hard time 'knocking out' the subject an putting it on the white page. Even drop shadows, a step in the right direction for orientation, were frowned on.
Nowadays, for products on a white page, we shoot on a white table against a white background with the horizon almost blending but not quite. The plane is shiny or glass-covered so that there is a hint of a reflection at the base of the subject to give it weight. Like this. (https://picasaweb.google.com/lh/photo/XsEfaUn6JkCQkgX06_--6w?feat=directlink)

Leigh
8-Feb-2011, 12:10
What is used today ?
A sweep.

Large piece of white plastic, horizontal at the front and following a smooth curve up in the back, so the rear edge is out of the frame.

- Leigh

Robert Hughes
8-Feb-2011, 12:49
Don't they still use cycloramas?

Scott --
8-Feb-2011, 14:20
Playing with a Petzval today:

http://farm6.static.flickr.com/5012/5428663299_dfd15f447f_z.jpg (http://www.flickr.com/photos/scott--/5428663299/)
Artichoke-y... (http://www.flickr.com/photos/scott--/5428663299/) by Scott -- (http://www.flickr.com/people/scott--/), on Flickr

Un-named 5-1/2" f/3.4-ish Petzval, 4x5 Efke PL25M

DanK
9-Feb-2011, 23:09
I was playing with a few prints today, and found I had better luck shooting a digital image of them rather than scanning...

They are 'technically' new being reborn in digital this month, but are older prints....

This is a batch of beer bottles (another hobby - brewing beer) that sat in a tub a bit too long...

4x5 FP4+/D76 - 150 Geronar - enlarged to 8x10 - printed on Oriental VC FB/Dektol

DanK
9-Feb-2011, 23:21
Another of a print....little older print, but fresh this month...

These were farm fresh eggs....straight from our hens...we were down to one white leghorn at the time...

4x5 FP4+/D76 - I believe the lens was an early B&L 6" RR, but I don't recall - enlarged to 8x10, cropped/trimmed 6.5 x 9.5 - Oriental FB VC Warm/Dektol

DanK
9-Feb-2011, 23:33
Yet another....Bear with me, I'm glad to be sharing images, as I've had terrible experiences scanning...

Two images here...both older, but new to the digital world this month...

Replica calendar and old door, and an old telephone generator - couple of my favorites

Both 4x5 FP4+/D76 - enlarged to 8x10 - Oriental VC FB/Dektol - digital photo of matted prints

sly
10-Feb-2011, 10:56
Dan, I particularly like the scungy bottles and the door

DanK
10-Feb-2011, 14:42
Sly,

Thank you

Dan

Donald Miller
10-Feb-2011, 21:51
5X7 -305 G Claron

Efke Pl 100 - Pyrocat HD
JandC Nuance - MAS Amidol

Donald Miller
10-Feb-2011, 21:52
Yet another....Bear with me, I'm glad to be sharing images, as I've had terrible experiences scanning...

Two images here...both older, but new to the digital world this month...

Replica calendar and old door, and an old telephone generator - couple of my favorites

Both 4x5 FP4+/D76 - enlarged to 8x10 - Oriental VC FB/Dektol - digital photo of matted prints

I really like both of these recent images. Very nice.

DanK
10-Feb-2011, 22:17
Donald,

Thank you.

Dan

goamules
11-Feb-2011, 07:35
Donald,
Uncommonly good!

Donald Miller
11-Feb-2011, 13:45
Thank you Garrett

Gary L. Quay
11-Feb-2011, 19:33
Biker Valentine
http://farm5.static.flickr.com/4073/5435186132_44f32c55e0_z.jpg

Camera: Ansco Studio camera with 5x7 back.
Lens: 11" Voigtlander Euryscop Series II.
Film: Ilford HP5+ developed in Xtol.

zcary
13-Feb-2011, 15:02
http://www.henellfoto.se/bokhylla1.jpg
Wista 45Dx, Schneider-Kreuznach 135/5.6, TMX100, 1 photo lamp with diffuser.

Just beginning still life and this is one of my first shots.
I will be very happy for any feedback given, good or bad.

Thanks

sly
14-Feb-2011, 15:42
"Cork Boot"
Taken at McLean Mill, Port Alberni, a logging and steam museum.
Crown Graphic Rollei R3@25
Printed on MGWT, bleached and redeveloped in Moersch SE5 lith.

zcary
14-Feb-2011, 16:15
http://www.henellfoto.se/garlic1.jpg
Sorry for spamming, i shot a new version that im much happier with.

Heespharm
14-Feb-2011, 21:32
Sorry for spamming, i shot a new version that im much happier with.

Me too I like this better... How'd you get the garlic to magically stand up

zcary
15-Feb-2011, 00:39
Me too I like this better... How'd you get the garlic to magically stand up
I taped a pencil to the desk and carefully lean the garlic on it.

dupont07
15-Feb-2011, 08:06
http://farm5.static.flickr.com/4074/5448156134_b139788c67_z.jpg

Scott --
15-Feb-2011, 10:00
http://farm6.static.flickr.com/5173/5447975935_465c60333f_z.jpg (http://www.flickr.com/photos/scott--/5447975935/)
Catcher's mitt... (http://www.flickr.com/photos/scott--/5447975935/) by Scott -- (http://www.flickr.com/people/scott--/), on Flickr

Un-named 5-1/2" Petzval, Efke PL25M in HC-110 dil H

cjbroadbent
15-Feb-2011, 13:28
Great stitches Scott! Really solid.

Below, 4x5 Ektachrome. Somebody tell me how to get this with chemistry on TMax.
I am a frustrated mid-tone-contrast freak.
https://lh6.googleusercontent.com/_OR3U2BmIDuk/TVkghqMunDI/AAAAAAAAG5I/wzP3Nh6kKYk/s800/bedcoverBN.jpg

Ken Lee
15-Feb-2011, 14:43
"Somebody tell me how to get this with chemistry on TMax"

When forced to shoot subjects that are already limited to certain colors - dark shades especially - then shooting in color and using the Photoshop B&W conversion tool sounds like the way to go.

An easier option is to work with subjects that are already monochromatic: winter landscapes, white tulips, white porcelain, white linen, etc. :)


http://www.kennethleegallery.com/images/forum/2011-02-003a.jpg

Ramiro Elena
15-Feb-2011, 15:10
Ken, I've noticed you master the mid-tones beautifully, really nice detail overall but you never show a true highlight or white in your compositions. Is it a mater of choice?

Ken Lee
15-Feb-2011, 16:00
"...you never show a true highlight or white in your compositions. Is it a mater of choice?"

I presume you are referring to the photos I recently posted on this thread. Like many of us, I don't have any strict rule about such things: feeling takes priority over the numbers.

And you're right: None of the subjects in those photos have pure white areas. Even the porcelain cup has some texture. I didn't do that consciously: they just felt right that way.

In the photo below, there are some spots of pure white: the specular highlights. Interestingly, everything in this photo is white: white porcelain, white linen, white walls, white stone base. It's just that some are whiter than others :)

Like colors, we experience tones relative to their neighboring tones. A Zone VI object looks very light when it's next to Zone 0. A Zone IV object looks dark when next to Zone VIII.


http://www.kennethleegallery.com/images/forum/s10.jpg

Ken Lee
15-Feb-2011, 16:22
In earlier posts about Still Life photography, Christopher has shared some of his wisdom: when arranging a still life, he makes sure that the edges of every object are clearly delineated.

This means is that every object is in a harmonious relationship with the objects around it. The adjacent tones all work together.

This principle works with all beautiful photographs - not just still life. You can see it at work in this old photograph of Georgia O'Keefe by Alfred Stieglitz. On a superficial level, it's not a flattering angle or an interesting pose. As a piece of visual music, it's something else entirely.


http://www.kennethleegallery.com/images/forum/okeefe.jpg

Christopher is consciously aware of many aesthetic principles that operate, whether we are conscious of them or not.

dupont07
15-Feb-2011, 20:20
I am really interested in the light in your photos. I wonder how you can create the effect of lighting like that. Could you please tell me how you shoot your photos. Thanks!

Great stitches Scott! Really solid.

Below, 4x5 Ektachrome. Somebody tell me how to get this with chemistry on TMax.
I am a frustrated mid-tone-contrast freak.

cjbroadbent
16-Feb-2011, 03:19
... Could you please tell me how you shoot your photos. Thanks!

Disclaimer, to avoid irritating my elders and betters again: This is not gospel. It's just my way.

Most of the time a single umbrella, feathered off somehow to shade the near side of the background and to reduce the light hitting the near side of the set. Sometimes the umbrella has a hotspot (freezer alu) to highlight a part in the composition.
Now and then, a large softbox or window-light - but only if it can be feathered or gridded somehow to keep it from spilling all over the place.

The main idea is that the light is set once-and-for-all and then the subject is organised within the limitations of the light.

I've wasted a good many years searching for the right 'invisible' fill - a way to open up shadows imperceptibly on the camera axis. Three different techniques:
1. With flash or natural window light, a very weak (4 stops under) ring-light on the lens.
Just enough to model rounded surfaces. The receding curves go dark, the protruding curves shine.
2. With incandescent light (or flash), A very large white surface above and behind the camera with bounce (3 stops under) to simulate the sky.
Both fills have blue gels to cool the penumbra because sky is about 1500 kelvin beyond diffused sunlight.
3. No fill at all, just make sure nothing important drops out. No fill is better than bad fill.
Visual perception is tuned to one main (God given) source. So no side-light, no hair-light, no back-light, ever. Just separate the edges.

As to separating the edges: I had better show someone else's picture to illustrate the way it works.
This one of Chardin's (c.1740) most popular still-lifes knocked down to essentials (https://picasaweb.google.com/lh/photo/ulOjK9MFQUNviKE1J4m7-Ln8ityk-xuiMm3xCmjWJEA?feat=directlink). Each darker edge fits a lighter edge and vice-versa. This is the real picture (https://picasaweb.google.com/lh/photo/8ZnqD3GRRft2t2c8YnVDZLn8ityk-xuiMm3xCmjWJEA?feat=directlink).
Note the major tones in the subject and the subdued tones in the table and background.
Beside the point in this post, but notice the main anchor (mother) figure holding center stage, the secondary figures fading off into the wings, the organic but formless choir, the grapes, propping up the first lady and invading viewer space for 3D. This picture is popular because the structure satisfies.
Sorry again.

Robert Brazile
16-Feb-2011, 06:35
Christopher,

Thank you so much for posting that: it explained so much and is simply fascinating. I didn't expect to understand your answer, but there was a bit of an epiphany for me regarding "lighting the edges" that the example images demonstrated beautifully. One for the diary: I learned something today!

Robert

ajmiller
16-Feb-2011, 08:16
Thanks for this.



Disclaimer, to avoid irritating my elders and betters again: This is not gospel. It's just my way.

Most of the time a single umbrella, feathered off somehow to shade the near side of the background and to reduce the light hitting the near side of the set. Sometimes the umbrella has a hotspot (freezer alu) to highlight a part in the composition.
Now and then, a large softbox or window-light - but only if it can be feathered or gridded somehow to keep it from spilling all over the place.

The main idea is that the light is set once-and-for-all and then the subject is organised within the limitations of the light.

I've wasted a good many years searching for the right 'invisible' fill - a way to open up shadows imperceptibly on the camera axis. Three different techniques:
1. With flash or natural window light, a very weak (4 stops under) ring-light on the lens.
Just enough to model rounded surfaces. The receding curves go dark, the protruding curves shine.
2. With incandescent light (or flash), A very large white surface above and behind the camera with bounce (3 stops under) to simulate the sky.
Both fills have blue gels to cool the penumbra because sky is about 1500 kelvin beyond diffused sunlight.
3. No fill at all, just make sure nothing important drops out. No fill is better than bad fill.
Visual perception is tuned to one main (God given) source. So no side-light, no hair-light, no back-light, ever. Just separate the edges.

As to separating the edges: I had better show someone else's picture to illustrate the way it works.
This one of Chardin's (c.1740) most popular still-lifes knocked down to essentials (https://picasaweb.google.com/lh/photo/ulOjK9MFQUNviKE1J4m7-Ln8ityk-xuiMm3xCmjWJEA?feat=directlink). Each darker edge fits a lighter edge and vice-versa. This is the real picture (https://picasaweb.google.com/lh/photo/8ZnqD3GRRft2t2c8YnVDZLn8ityk-xuiMm3xCmjWJEA?feat=directlink).
Note the major tones in the subject and the subdued tones in the table and background.
Beside the point in this post, but notice the main anchor (mother) figure holding center stage, the secondary figures fading off into the wings, the organic but formless choir, the grapes, propping up the first lady and invading viewer space for 3D. This picture is popular because the structure satisfies.
Sorry again.

dupont07
16-Feb-2011, 18:41
Thank you for the detail sharing of your technic.

Disclaimer, to avoid irritating my elders and betters again: This is not gospel. It's just my way.

austin granger
17-Feb-2011, 14:58
Finnbot

ImSoNegative
17-Feb-2011, 16:14
here is one i shot with a 4 inch f2 petzval, does not even come close to covering 4x5 at infinity but does pretty well with close ups. synthetic flowers from a grave.

David Aimone
17-Feb-2011, 17:49
Roses in Vase. Chamonix 045n-2, Rodenstock Sironar-N 150mm, Efke 25 in Pyrocat-MC

http://www.davidaimone.com/img/s1/v19/p442205151-4.jpg

eddie
18-Feb-2011, 04:01
nice one dave.

Louie Powell
18-Feb-2011, 04:23
Dave -

Yeah - I like that!

David Aimone
18-Feb-2011, 05:56
Thanks Louie, Eddie! While still working on the technical "craft" of film and LF, it's nice to have a few photos that are aesthetically nice as well...

goamules
18-Feb-2011, 16:40
Playing with an 1850s reversing prism (note text is correct) on a Euryscop VII wide angle. Halfplate collodion, 4 minutes.

http://farm6.static.flickr.com/5173/5456612533_bdb300f9fc_z.jpg

S.Charles
22-Feb-2011, 19:04
http://farm6.static.flickr.com/5137/5469426043_6f12fcc265_b.jpg

Film: FP4+ 4x5

Shot a series of these still lifes. Started out with a simple composition such as this one and then added some more complex arrangements as I shot more frames. Shot some in color as well. Won't have those up until I get them back from the lab.

David Aimone
22-Feb-2011, 19:08
Lovely. Looking forward to more



Film: FP4+ 4x5

Shot a series of these still lifes. Started out with a simple composition such as this one and then added some more complex arrangements as I shot more frames. Shot some in color as well. Won't have those up until I get them back from the lab.

argos33
22-Feb-2011, 21:55
Latest from a little (pun intented) macro series I am working on:

http://farm6.static.flickr.com/5215/5469799237_7d3a98cc70_b.jpg

Evan

Steve M Hostetter
23-Feb-2011, 08:49
Latest from a little (pun intented) macro series I am working on:
Evan

really cool shot Evan!

Richard M. Coda
23-Feb-2011, 20:39
I started collecting crushed beer cans a few months ago. The colors and reflections caught my eye.

These are the first I have photographed (this past Sunday). I also did them in color but they are not developed yet. Simply set them up on the street out in front of the house. Arca 4x5, Fuji 210W, TMax 100 (and Velvia 100). I think I'd like to make these really large, especially the color images.

http://www.rcodaphotography.com/test/beercan001.jpg

http://www.rcodaphotography.com/test/beercan002.jpg

DanK
23-Feb-2011, 20:44
I started collecting crushed beer cans a few months ago. The colors and reflections caught my eye.

These are Great....

Thanks,
Dan

austin granger
23-Feb-2011, 20:50
Those are great, Richard! Having been around a lot of crushed beer cans, I can't believe I've never thought of that. :)
Seriously though, I love when a photo makes me see an 'ordinary' thing (as if there really were such a thing!) in a new way. Thanks.

Austin

Richard M. Coda
23-Feb-2011, 20:53
Thank you, both, Dan and Austin! Makes me want to take more now that I know I'm not wasting my time. You should have seen the neighbor as he drove by while I was photographing these! ;)

mdm
24-Feb-2011, 00:17
Better beer cans than cigarette butts.

Richard M. Coda
24-Feb-2011, 06:01
Better beer cans than cigarette butts.

Cr@p! I did see a wonderful composition the other day at one of the outdoor malls. These butts were in a large ashtray atop a garbage can... white ciggies on black sand/gravel... looked like a little ciggie forest. I will go back for that one.

ajmiller
24-Feb-2011, 06:11
You will get some looks photographing that one! :)


Cr@p! I did see a wonderful composition the other day at one of the outdoor malls. These butts were in a large ashtray atop a garbage can... white ciggies on black sand/gravel... looked like a little ciggie forest. I will go back for that one.

Ramiro Elena
24-Feb-2011, 06:20
Irving Penn had a series of cigarette packs and butts that was very cool, didn't he?

Scott Walker
24-Feb-2011, 07:16
I started collecting crushed beer cans a few months ago. The colors and reflections caught my eye.

One of my neighbours is into polo and spends half the year in California. For some reason the area he is in has a problem with empty beer & pop cans and he has to break open hay bales and sort through them to remove crushed cans before feeding his horses. Needless to say, I couldn't help myself and had to try it when I did my hay crop. Beer cans crushed into a hay bale are very cool, unless of course they cost you a $50,000 horse.

kev curry
24-Feb-2011, 08:13
Latest from a little (pun intented) macro series I am working on:
Evan

Is that Patrick McGoohan?

toolbox
24-Feb-2011, 08:24
Rose my wife gave me for our 6th anniversary...
Shot on my Calumet C1 8x10 on really old (1995) T-Max 100 with a 6 1/4" Velostigmat.

http://i114.photobucket.com/albums/n259/toolbox007/8x10%20Ultra%20Large%20Format/1st%20shoot%20Anniversary%20Rose/anniversary_rose.jpg

jp
24-Feb-2011, 09:56
One of those crushed beer cans in color printed 5-6 feet tall would be quite memorable and catchy. A colorful antonym to the shiny glistening colorful can as displayed in commercial advertising. Even non-beer drinkers would like it as either a environmental statement about littering, or an anti-commercialism/consumerism statement, or an exploration in changing three dimensions into two.

Kerik Kouklis
24-Feb-2011, 10:20
Sturgeon skeleton. 8x10 collodion on aluminum.

http://www.collodion.com/uploads/47/sturgeon_3.jpg

And another take on the photogenic vodka bottle. 8x10 collodion on aluminum.

http://www.collodion.com/uploads/47/glass_skull.jpg

Richard M. Coda
24-Feb-2011, 10:22
Thanks JP. I thought they would be impressive at that size, however, I do NOT try to make political statements with my photography. If anyone wants to read that into it, fine (just don't talk to me about it) :) - but the intent was not there. Exactly the opposite of most work by young people today. I have been to two "My 10 Favorite Photographers of the past year" talks, both given by some very respected experts, and will not go to any more of them. I saw nothing that I would hang on my wall, but plenty I might see when I get my hair cut.

jp
24-Feb-2011, 10:57
Richard I hear you loud and clear, It's not my goal. In moderation, it's interesting to hear what other gleen from your own photos without being spoonfed an agenda. Photographers often don't realize how multipurpose an image is.

If a photographer has to use their podium to drone on about importance and meaning and politics, it's a turnoff as if their photography needed that self-important verbage to be cool. I think it's important to be subtle and gentle in those ways if that is a goal so as to let the photos succeed or fail on their own merit.

Mark Sawyer
24-Feb-2011, 11:02
Wonderful images, Kerik! I always enjoy seeing your work; it weaves the process and the image into one.

Richard M. Coda
24-Feb-2011, 11:18
Richard I hear you loud and clear, It's not my goal. In moderation, it's interesting to hear what other gleen from your own photos without being spoonfed an agenda. Photographers often don't realize how multipurpose an image is.

If a photographer has to use their podium to drone on about importance and meaning and politics, it's a turnoff as if their photography needed that self-important verbage to be cool. I think it's important to be subtle and gentle in those ways if that is a goal so as to let the photos succeed or fail on their own merit.

Agree 100%. I would LOVE to do a series of these (40x50)... get a gallery show and have a pretentious opening reception with lots of "intellectuals" and engage them in conversation just to the point where they think I'm going to agree with them... then shoot them down and ask them if they still like the work now that I have debunked them. :)

Kerik Kouklis
24-Feb-2011, 12:31
Wonderful images, Kerik! I always enjoy seeing your work; it weaves the process and the image into one.

Thanks, Mark!

al olson
24-Feb-2011, 12:47
Better beer cans than cigarette butts.

And better yet than road kill. Who wants to see a photo of a crushed squirrel or a flat cat. Yet it has been done.

BillyBB
24-Feb-2011, 12:51
Crushed squirrels are easier to shoot than live one's:p

PolarBear1973
24-Feb-2011, 19:25
http://i289.photobucket.com/albums/ll201/PolarBear1973/Flash5SB900within3feet.jpg

Crown Graphic. Schneider 210mm. Slight front tilt. SB900.

Andrew ren
25-Feb-2011, 04:05
....

And another take on the photogenic vodka bottle. 8x10 collodion on aluminum.

http://www.collodion.com/uploads/47/glass_skull.jpg

love the 2nd one the most!
is it a canadian Vodka?

Andrew

stradibarrius
26-Feb-2011, 08:58
I am trying to learn how to use my new to me CC-400 4x5.
My scanner will only do up to MF but I was able to do a makeshift scan. The negative is considerably sharper than this scan.
Schneider 180mm f/5.6, AristaEDU100 in Rodinal 1+50, 8:30 min.

Richard M. Coda
26-Feb-2011, 10:29
A friend of mine suggested burning down the pavement a little. Any preferences?

http://www.pctype.com/rcphoto/test/beercan001b.jpg

http://www.pctype.com/rcphoto/test/beercan002b.jpg

Steve M Hostetter
26-Feb-2011, 10:47
A friend of mine suggested burning down the pavement a little. Any preferences?

Richard, the tones incredible!

Scott Walker
26-Feb-2011, 10:54
Since the camera is not being moved and the subject matter changes, the background plays a more important part than it would normally IMO. I prefer the first ones.

gbogatko
26-Feb-2011, 13:45
Here's 3 from this month. I love film, and I now love PMK.

Ramiro Elena
26-Feb-2011, 13:49
What lens did you love on those? The rose is spectacular.

gbogatko
26-Feb-2011, 13:57
What lens did you love on those? The rose is spectacular.

I should have mentioned that:

Engine - Ilex Paragon 6 inch
Rose - 300 Heliar
Flowers against dark background, Nikon 360

bob carnie
26-Feb-2011, 14:11
Here is another from my Heavy Metal Series.

Old Grafmatic camera press camera, modified with two lenses, I think they used this in a portrait studio to make passport images.

Silver print Solarized and triple toned final output using enlargers and Mr Jolly's two developer solarization method.

gbogatko
26-Feb-2011, 15:13
That's Super!!!

Ken Lee
26-Feb-2011, 16:31
http://www.kennethleegallery.com/images/forum/2011-02-025 ccc.jpg
Tool Shed, 2011
Sinar P, 210mm Macro Sironar
4x5 TMY, D-23

Richard M. Coda
26-Feb-2011, 16:37
Tool Shed, 2011
Sinar P, 210mm Macro Sironar
4x5 TMY, D-23

I almost feel like I am there and can smell the garage/basement.

Roger Cole
27-Feb-2011, 02:24
I am trying to learn how to use my new to me CC-400 4x5.
My scanner will only do up to MF but I was able to do a makeshift scan. The negative is considerably sharper than this scan.
Schneider 180mm f/5.6, AristaEDU100 in Rodinal 1+50, 8:30 min.

Nice Barry! We need to find you a good deal on a 4x5 enlarger.

Louie Powell
27-Feb-2011, 07:12
Re Tool Shed 2011 -

its cleaner than mine.

Richard M. Coda
27-Feb-2011, 07:45
I almost feel like I am there and can smell the garage/basement.

Sorry, didn't read the title... I can still smell it.

S.Charles
27-Feb-2011, 08:49
http://farm6.static.flickr.com/5054/5481807507_6032b2d021_b.jpg

Ektar 100, 4x5

Color version of a still life series.

S.Charles
27-Feb-2011, 09:17
Here's 3 from this month. I love film, and I now love PMK.

Really Fantastic. I love the rose as well. Hard not to. Tones are beautiful. Plus you capture the fragility of the flower.

Mark Whiting
27-Feb-2011, 15:51
Taken yesterday and processed today. My first still life and also my first experience with film holders. I still have some readyload left but I only use it for hiking applications.

http://www.ianmarkwhiting.com/LF Posts/Cups, Saucers, Teapot small.jpg

Please comment

Toho 4x5 Fujinon 240a Tmax 100

Mark Whiting

peter ramm
28-Feb-2011, 12:07
Is this a still life? Well, I don't think he moved much.

Peter

Sinar P2, 8 x 10, Apo Sironar S 240mm, f45, FP4+, DD-X

cjbroadbent
2-Mar-2011, 16:44
Red carnation on FP5 with a green filter. 4x5 Ebony, 135 Sironar.
https://lh4.googleusercontent.com/_OR3U2BmIDuk/TWy3HH0bkzI/AAAAAAAAHeo/gMKSzj6Osow/s800/bank%26top.jpg

Mark Sawyer
2-Mar-2011, 20:07
That naughty little Tinkerbell...

http://i55.photobucket.com/albums/g139/Owen21k/tink1.jpg
8x10 HP5 in HC110b, 158mm B&L Micro-Tessar @ f/6.3 (wide open)

Zaitz
3-Mar-2011, 03:54
I finally got one that developed decently!
http://img705.imageshack.us/img705/6725/rosecopyo.jpg
Crown Graphic Special
Xenar 135mm
2 Vivitar 285hv strobes
HP5
Developed in Rodinal 1:100 for 1 hour.