Still Life Images, 2013

[jcoldslabs]

Happy 2013 everyone!

I've been playing around with some 5x7 film that expired in 1944. It is severely fogged with all sorts of other artifacts (streaks, blotches, specks), and the processed negative looks almost opaque to the naked eye. Scanning it was tricky; I'm not sure it would be printable by conventional means. Still, I'm amazed to see any image at all from 70 year old film. Tray developed in HC-110 dilution H for 9 minutes at 66°F.

Century 10A 8x10 with 5x7 back, Kodak unnamed 259mm process lens, 5x7 Gevaert Ultra Panchro film (expired 1944), rated at ISO 12.


http://www.kolstad.us/ebay/Gevaert-5x7-%28%2744%29-Test-01.jpg




For those who are curious, here is the film box:


http://www.kolstad.us/ebay/5x7-Gevaert-01.jpg

Jonathan

[bitnaut]

Nice work! Where did you find the film?

e

[jcoldslabs]

Thanks. I found the film--where else?--on Eb@y. Often people have high starting bids for film this old thinking, I guess, that it gains in value as it ages, but sometimes some cheap boxes slip through. I was able to get usable images from 120 roll film that expired in the 1960s a couple of years ago, and so I was curious to see what I'd get if I went even older. Now I know.

Jonathan

[hendrik faure]

"will be gladly replaced, if found to be defective in manufacture"...
so you had no risk
:-)
hendrik

[Emil Schildt]

Beautiful image Jonathan..

Are these glass plates?

I have 5 boxes of different ancient glass plates in 18x24cm size...
Have been wondering whether totry it out or to donate them to a museum....

Time will tell

[jcoldslabs]

"will be gladly replaced, if found to be defective in manufacture"... so you had no risk.

None at all! ;)



Are these glass plates?

The Gevaert Ultra Panchro is sheet film, but I also have two unopened boxes of very old glass plates. Unfortunately, I have no plate holders to load them in. Some people seem to think you should keep old film and/or plates in the original packaging as collector's items, but I love shooting very old emulsions. I have yet to find an unopened box of sheet film that is so old as to be unusable.

Jonathan

[h2oman]

Here are my first still lifes, not just of 2013, but ever. I generally fancy myself a landscape photographer, and I definitiely enjoyed shooting at 75 Fahrenheit, no wind, and quite a bit of control over the light and composition!

863988639986400

[amac212]

There is something about the vintage fonts and design of the box that says "shoot me and prepare for greatness". And sure enough... it's giving you stunning results! Lucky, lucky you!

[David Schaller]

"will be gladly replaced, if found to be defective in manufacture"...
so you had no risk
:-)
hendrik
Although I have lived here in Williamstown for nine years, I had no idea that film was made here. I will try to get some information, but my suspicion is that the company existed on what is now a Superfund site on the edge of the Hoosic River.
Dave

PS I found that Gevaert film was manufactured here for short time during and shortly after the war. The factory was in a converted textile mill, which is now referred to as the Photech site, from the last owners, who fled and dumped the property on the town for unpaid taxes. The factory was demolished and the contamination far more extensive than foreseen, so it remains a ten acre brownfield owned by the town.

[Corran]

Fascinating work Jonathan - you are indeed getting a look akin to an alt-process. The cool thing here is you are using your digital tools to make something all together new, and different - truly a merger of technologies if there ever was one, what with the negative likely unusable for silver prints.

[Peter Lewin]

Found some never-refrigerated "expired in 1994" Tri-X in the basement, so (following the lead of all the "expired film shooters" around here) decided to see what it would do. I exposed at 200, 100, 50, and 25 ASA. As I posted in the "digital processing" forum, I'm left a bit adrift with scanning and judging negatives. Due to the wonders of Epson software, all four exposures looked decent! I guess I will have to get down to the basement darkroom and make a "proper proof" to see what is really going on, but I decided to scan the 50 ASA experiment. The only photoshopping was to darken down the brightness control a bit, equivalent of a longer exposure in my enlarger. As far as I can tell from this scan, its a decent negative, but I could probably have chosen any of the four (or at least from 100 ASA and down) and gotten about the same result. Right now I'm grappling with the horrible thought that scanner software has made careful metering and exposure somewhat less relevant? Anyway:

http://farm9.staticflickr.com/8354/8345434907_c7d58b0635_c.jpg (http://www.flickr.com/photos/peterlewin/8345434907/)
img073-scrn (http://www.flickr.com/photos/peterlewin/8345434907/) by Pete Lewin (http://www.flickr.com/people/peterlewin/), on Flickr
Canham 4x5, window light, PMK, Epson 4990

[jcoldslabs]

Lovely quality of light in that, Peter. Viva expired film!

Jonathan

[Pfiltz]

My First long exposure. Metered 1 minute @ f45. Factored in for RF, and exposed for 6 minutes -1.5 stops

Fomapan film, Graphlex Graphic View, Arista Developer 1:9

http://www.keepsakephotography.us/4x5/Balls.jpg

[mgeiss]

Already posted this in the Heliar-thread, shot it on thursday.
30cm Heliar @ f/8, 8x10", two minute exposure with ambient artificial light, Efke 25, developed in Pyrocat HD.

http://www.abload.de/img/tassekanneschaley2odo.jpg

[drew.saunders]

Farmers market apples. I'm thinking of switching to Ilford Delta 100 from TMax 100, so I had to shoot something. It doesn't show at this small size, but the results are very pleasing, with almost no grain, so I'll stick with Delta 100.

http://farm9.staticflickr.com/8084/8359196605_3e93b1cffb_z.jpg (http://www.flickr.com/photos/drew_saunders/8359196605/)


http://farm9.staticflickr.com/8378/8359196671_bfaf1296a1_z.jpg (http://www.flickr.com/photos/drew_saunders/8359196671/)

[jcoldslabs]

Shot this tonight. Grabbed one of my wife's candle sticks from the mantle and played around until I got the lighting (mostly) how I wanted it.

Kodak 2D 8x10 w/5x7 back, 240mm Hugo Meyer Doppel-Anastigmat No. 4, Kodak Low Contrast Aerial Duplicating Film (SO-277).


http://www.kolstad.us/ebay/5x7-SO-277-Candle-2b.jpg

Jonathan

[jcoldslabs]

OCD alert: that should be "mantel," as in the fireplace mantel from whence I grabbed the candle holder, not "mantle," as in the stuff below the earth's crust. D'oh!

J.

[Peter Lewin]

Continuing to experiment with my old Tri-X and HC-110; increased development time about 10%, still using ASA 50. Both set-ups on the same dining room table, same window light, as previous submission.
First, "Friday Night Clean-up:"

http://farm9.staticflickr.com/8054/8362593694_3eefd53a86_z.jpg (http://www.flickr.com/photos/peterlewin/8362593694/)
img076 (http://www.flickr.com/photos/peterlewin/8362593694/) by Pete Lewin (http://www.flickr.com/people/peterlewin/), on Flickr

Second, "The Old Camping Stove (Svea):"

http://farm9.staticflickr.com/8516/8362598630_8d6c3048ea_z.jpg (http://www.flickr.com/photos/peterlewin/8362598630/)
img077 (http://www.flickr.com/photos/peterlewin/8362598630/) by Pete Lewin (http://www.flickr.com/people/peterlewin/), on Flickr

Comments always welcome!

[jcoldslabs]

Same lighting set-up as above, but with different candlesticks and a different lens.

Kodak 2D 8x10 w/5x7 back, 10" A.T. Thompson projection Petzval (~f/6), Kodak Low Contrast Aerial Duplicating Film (SO-277)


http://www.kolstad.us/ebay/5x7-SO-277-Atlas3-01.jpg

Jonathan

[jcoldslabs]

Yet another one. All different equipment this time (except for the lighting), with a bit more exposure for a brighter image. I am amazed at how well some of these old Polaroid materials hold up. Sharp, virtually grainless negative, too.

Toyo 45A, 210mm Sironar-N @ f/11, Polaroid type 55 film (expired 2001).


http://www.kolstad.us/ebay/T55---Candlesticks-r2.jpg

Jonathan

[Corran]

Jonathan, love these, especially the lighting, and especially this last one. What exactly is your lighting, and what kind of table/surface is that? I assume that's a simply cloth background as well?

I hardly do still-life because I hate setting up lights but I need to do more of it.

[jcoldslabs]

Bryan,

Thanks. The lighting is as simple as you can get: just one 250W Smith-Victor photo flood lamp aimed up at the wool blanket I'm using as a backdrop. The candlesticks are sitting on a shiny piece of plastic sheeting I had left over from installing a tub surround in our bathroom a few years ago. If the lighting were more complicated than this I wouldn't do many still lifes, either.

You can see the single light on the floor below the table:


http://www.kolstad.us/ebay/LIghting-Set-Up-01.jpg

Jonathan


P.S. Big thanks to my wife for letting me take over the living room for a few days.

[jon.oman]

8x10 Cambo Legend
300mm Caltar II N - F11
Single Novatron flash head
X-Ray film - 80 ISO
D76 full strength
6 minutes @ 68 degrees F.

http://www.gophotog.org/allphotos/film/medium_photos/TeapotAndCup.jpg

[Corran]

Thanks for the info and picture Jonathan! That is very helpful.

[jcoldslabs]

Same lighting, different arrangement of candlesticks.

Pacemaker Speed Graphic, Zeiss 15cm f/4.5 uncoated Tessar @ f/8, 4x5 T-Max 100 (expired 1999).


http://www.kolstad.us/ebay/T-Max-100-%2899%29-Atlas-02.jpg

Jonathan

[cjbroadbent]

Nice work, Jonathan!

[jcoldslabs]

Nice work, Jonathan!

Thank you kindly!

J.

[Ken Lee]

http://www.kenleegallery.com/images/forum/img100E.jpg
Antique Lamp, 2012
Sinar P, 200mm Nikkor M
4x5 TMY, Diafine

[gbogatko]

Focusing on Soft Focus technique. SF lenses are not easy to use. I"m still getting the hang of it.

Verito 14" on 4x5
87221

Kodak 305 on 8x10 Xray
87222

Verito 14" on 8x10 Xray
87223

George

[gbogatko]

Hurrah for Xray film. A God Send for us po' folks who still want to shoot 8x10. It's all I shoot now in 8x10.


8x10 Cambo Legend
300mm Caltar II N - F11
Single Novatron flash head
X-Ray film - 80 ISO
D76 full strength
6 minutes @ 68 degrees F.

http://www.gophotog.org/allphotos/film/medium_photos/TeapotAndCup.jpg

[jon.oman]

Hurrah for Xray film. A God Send for us po' folks who still want to shoot 8x10. It's all I shoot now in 8x10.

Without it, I would not be shooting 8x10 either! Too bad they don't make 4x5......

[kiteboy]

Starting to try Still Life.

Feedback welcome.

Sinar f, Symmar S 210. F45 90 seconds Delta 100 Rodinal 1:50 14 minutes
Thanks

Andrew

87281

[Corran]

An utterly pointless photo, except to test my new E6 chems! Processed in the Tetenal 3-bath kit. My plan using several tanks to do a dip and dunk style development process worked like a charm. I forgot to attach my 80A filter though so I had a strong color cast from incandescent lighting, but not bad otherwise! Going to shoot some more test shots tomorrow and try developing several at a time. Oh yeah, this is expired Ektachrome Plus 100.

http://www.oceanstarproductions.com/photosharing/Untitled-41ss.jpg

[lkkang]

http://kangliatkeng.files.wordpress.com/2012/12/mac008.jpg




camera : Zone VI,
210mm Caltar II-E, 4x5 Shanghai 100
KODAK D-76, 1:1 @ 20deg C , V700 scanned
exposure 10 mins, F/32

Billy

[jcoldslabs]

Tonight I was leafing through my grandmother's diary (that she kept from age 18 to 23) when it flopped open with one page remaining upright. This was a strange enough occurrence that I went ahead and photographed it that way.

Pacemaker Speed Graphic, 15cm f/4.5 Zeiss Tessar (uncoated), T-Max 100 (expired 1998).


http://www.kolstad.us/ebay/4x5-Jean%27s-Diary-01.jpg




http://www.kolstad.us/ebay/4x5-Jean%27s-Diary-SQa.jpg

Jonathan

[Ramiro Elena]

I don't see (m)any polaroid transfers here. This one is a bit old.

http://ramiroelena.com/wordpress/wp-content/uploads/2011/05/Future-Col.jpg

[Ramiro Elena]

From the same job (a restaurant)

http://ramiroelena.com/wordpress/wp-content/uploads/2011/05/Future-Cubiertos.jpg

[Peter Yeti]

Tonight I was leafing through my grandmother's diary (that she kept from age 18 to 23) when it flopped open with one page remaining upright. This was a strange enough occurrence that I went ahead and photographed it that way.

Pacemaker Speed Graphic, 15cm f/4.5 Zeiss Tessar (uncoated), T-Max 100 (expired 1998).


Jonathan

I'm chiming in late but Happy New Year to all, anyway. There's already a ton of great images in this thread. Jonathan, I really like these two of the diary and once more they come with a great story.

Peter

[Corran]

Yes, really nice stuff Jonathan! I like the second one especially.

[Peter Yeti]

I don't see (m)any polaroid transfers here. This one is a bit old.



Ramiro, you are right and you show two very nice examples. So, here is my contribution:


https://sites.google.com/site/gourmetyeti/_/rsrc/1358191536563/photos/still-2013/transfer_vsm.jpg


I took this a long time ago. For a short period I had to live without a darkroom and played with polaroid quite a bit. It was fun, though a bit expensive. But having no darkroom felt like having only one leg and I couldn't bare it. So, I ended up squeezing a Beseler 45MXT into the bathroom of my tiny apartment and pretty soon stopped making pola transfers. Now that polaroid is gone, I kind of regret that I didn't make more of them.

Peter

[ShawnHoke]

The font on that lamp (Ken's post) is fantastic!

[jcoldslabs]

Peter, Bryan - Thanks. The second image is the better one, I think, but the first one gives it context.

Jonathan

[Ken Lee]

The font on that lamp (Ken's post) is fantastic!

Yes, they don't make them like that any more :)

[gbogatko]

A toy truck. 8x10. Schneider 165/8 (beast of a lens). Xray film. LOTS of swing.
87353

[jcoldslabs]

Still had the spotlight set up in the living room from yesterday, so I left it in place and used a new prop.

Pacemaker Speed Graphic, 15cm f/4.5 Zeiss Tessar, Polaroid type 53 film (expired 1993).


http://www.kolstad.us/ebay/T53-Vase-and-Shadow-NEGb.jpg

Jonathan

[Tim Meisburger]

While I was in Tucson over the holidays I shot this still life, my first. Its not very good but has a lot of personal meaning. My father died a couple of years ago, but all his stuff is still out in the garage, and I gathered all these items, except the memorial card but including the work light I lit it with, within two feet of the workbench where I set it up. My dad was a geologist, amateur archeologist and woodworker, retired from the army, and a veteran of World War II.

http://i1120.photobucket.com/albums/l496/Tim_Meisburger/2012-12ChristmasinUS002.jpg

[Jim Cole]

That's a nice remembrance of your father, Tim.

[Ken Lee]

http://www.kenleegallery.com/images/forum/PocketBalance.jpg
Salter's Pocket Balance, 2013
Sinar P, 210mm Macro Sironar
4x5 TMY, Diafine

[jcoldslabs]

Taken tonight just before I turned my makeshift studio back into the cozy living room that it usually is.

Kodak 2D 8x10, 15" B&L f/4 projection Petzval, Kodak Low Contrast Aerial Duplicating Film (SO-277).


http://www.kolstad.us/ebay/8x10-SO-277-Studio-Lights.jpg

Jonathan

[jcoldslabs]

Kodak 2D w/5x7 back, 240mm Hugo Meyer Doppel Anastigmat, Kodak Low Contrast Aerial Duplicating Film (SO-277) (Exp. 1984).


http://www.kolstad.us/ebay/5x7-SO-277-Vase-01-CROP-7.jpg

Jonathan

[jcoldslabs]

And another pass....

Kodak 2D w/5x7 back, 240mm Hugo Meyer Doppel Anastigmat, Kodak Low Contrast Aerial Duplicating Film (SO-277) (Exp. 1984).


http://www.kolstad.us/ebay/5x7-SO-277-Vase-02.jpg

Jonathan

[Peter Yeti]

And another pass....

Kodak 2D w/5x7 back, 240mm Hugo Meyer Doppel Anastigmat, Kodak Low Contrast Aerial Duplicating Film (SO-277) (Exp. 1984).


Jonathan

Jonathan,

Very nice, indeed. You chose an interesting lighting for this simple setup, I like it. But you also got me hooked on the lens you used, though this is kind of off-topic. Recently I got interested in those Hugo Meyer anastigmats. Can you tell me a bit about the performance and characteristics of this lens? I can't judge this on the web, I'm still thinking in terms of 12x16 prints (at least).

Peter

[jcoldslabs]

Peter,

Thanks. The lens is wonderful. It is a long-term loan from a friend, so I don't technically own it (drats!), but with luck I'll get to keep it for a while longer.

From what he tells me, it is an uncoated Dagor-type design. The maximum aperture is f/4.8, and there is a hint of softness wide open which works really well for portraits. Stopped down just a bit to f/8 and beyond it is quite sharp with very even illumination over the whole 8x10 area. The out of focus rendering is pleasant, too. Like all Dagor types it suffers from "focus shift" as you stop down, but this simply means I compose wide open and re-check focus at f/11. The only significant drawback to this particular lens is that it only stops down to f/32 (not sure if they are all like that). Since I'm not really a landscape guy this isn't an issue for me, but some people would like to have f/64 at their disposal. Judicious use of camera movements can help overcome this limitation, of course. The cells can be used singly, too, but I haven't tried that yet. My lens is in a barrel; there are probably examples in shutters out there, I would guess.

I believe that the Doppel Anastigmat is the precursor to the Meyer "Aristostigmat" branded lenses, but I don't know if both of them have the same optical design or not. (The lens diagrams I have seen for the Aristostigmat suggest not.) As for making 12x16 prints, I would think anything format from 4x5 on up with this lens would yield wonderful prints.

Here is a photo of the lens mounted on my 2D:


http://www.kolstad.us/ebay/Meyer-on-2D.jpg

Jonathan

[MDR]

Peter,

Thanks. The lens is wonderful. It is a long-term loan from a friend, so I don't technically own it (drats!), but with luck I'll get to keep it for a while longer.

From what he tells me, it is an uncoated Dagor-type design. The maximum aperture is f/4.8, and there is a hint of softness wide open which works really well for portraits. Stopped down just a bit to f/8 and beyond it is quite sharp with very even illumination over the whole 8x10 area. The out of focus rendering is pleasant, too. Like all Dagor types it suffers from "focus shift" as you stop down, but this simply means I compose wide open and re-check focus at f/11. The only significant drawback to this particular lens is that it only stops down to f/32 (not sure if they are all like that). Since I'm not really a landscape guy this isn't an issue for me, but some people would like to have f/64 at their disposal. Judicious use of camera movements can help overcome this limitation, of course. The cells can be used singly, too, but I haven't tried that yet. My lens is in a barrel; there are probably examples in shutters out there, I would guess.

I believe that the Doppel Anastigmat is the precursor to the Meyer "Aristostigmat" branded lenses, but I don't know if both of them have the same optical design or not. (The lens diagrams I have seen for the Aristostigmat suggest not.) As for making 12x16 prints, I would think anything format from 4x5 on up with this lens would yield wonderful prints.

Here is a photo of the lens mounted on my 2D:


http://www.kolstad.us/ebay/Meyer-on-2D.jpg

Jonathan

First great picture, second the 4.8 Doppel Anastigmats are not Dagors but a 4 Element Celor/Dialyte Design very sharp but often flatter contrast.
Hugo Meyer was one the premier lens manufacturers before WWII and some of their post-war lenses are no slouch either unfortunately they got a bad name due to their GDR future/past.

Dominik

[jcoldslabs]

The 4.8 Doppel Anastigmats are not Dagors but a 4 Element Celor/Dialyte Design very sharp but often flatter contrast.
Hugo Meyer was one the premier lens manufacturers before WWII and some of their post-war lenses are no slouch either unfortunately they got a bad name due to their GDR future/past.

Dominik

Thanks for the info. All I know about the lens is what I was told to date. The focus shift aspect made me think it was a Dagor design, but like I said, I'm no expert. Considering the subsequent Meyer Aristostigmats are also made up of two uncemented pairs, this would make sense.

Jonathan


EDIT: I just removed the rear element of the 240mm Doppel Anastigmat and did a flashlight test, and I see two strong and two weak reflections. When I performed the same test on the rear element of an Aristostigmat (that I have disassembled and verified has two air spaced elements), I see four strong reflections. Whatever the configuration of the Doppel Anastigmat, it doesn't appear to be air spaced. Whether it is a Dagor design or not, I can't say for sure.

[Jim Cole]

And another pass....

Kodak 2D w/5x7 back, 240mm Hugo Meyer Doppel Anastigmat, Kodak Low Contrast Aerial Duplicating Film (SO-277) (Exp. 1984).


http://www.kolstad.us/ebay/5x7-SO-277-Vase-02.jpg

Jonathan


This one is lovely, Jonathan. Very nicely done.

[jcoldslabs]

Thanks, Jim. I wish I had lit the background just a tad more, because the BG texture complements that of the vase and more light would have emphasized that aspect, but overall I was happy with the shot.

Jonathan

[Peter Yeti]

Jonathan, Dominik,

Thanks a lot for the detailed information. For me it is not that important what kind of design the lens is as long as it has the imaging characteristics I'm looking for. What you write about bokeh and softness wide open sounds very promising. Did I get this right that the lens is soft wide open and becomes sharp when stopped down? The focus shift seems to be a very common issue with the older designs.

Peter

[jcoldslabs]

What you write about bokeh and softness wide open sounds very promising. Did I get this right that the lens is soft wide open and becomes sharp when stopped down? The focus shift seems to be a very common issue with the older designs.

Dagor types are known for not being well corrected for spherical aberration, one of the trade-offs of the design, I guess. Most lenses of this design are f/6.8 or slower and the softness wide open is not so apparent. Due to the Meyer's maximum f/4.8 aperture I think the aberrations are more pronounced wide open. It isn't really soft focus, but definitely not razor sharp. Stopped down it becomes very sharp.

I'll PM you some examples I have to better illustrate the point and not clog up this thread.

Jonathan

[Michael Graves]

Kodak 2D w/5x7 back, 240mm Hugo Meyer Doppel Anastigmat, Kodak Low Contrast Aerial Duplicating Film (SO-277) (Exp. 1984).


http://www.kolstad.us/ebay/5x7-SO-277-Vase-01-CROP-7.jpg

Jonathan

This is gorgeous! My wife has been nagging at me to catalog her extensive collection of teacups. I may have to steal -- err, that is -- emulate your lighting techniques.

[jcoldslabs]

My wife has been nagging at me to catalog her extensive collection of teacups. I may have to steal -- err, that is -- emulate your lighting techniques.

Please do! It was just a cheapie Smith Victor 250W tungsten light in a 10" reflector off camera right with a second light on the background and a small white bounce card to the left.

I get to kill two birds with one stone: my wife likes to see her stuff photographed, and I get to shoot some still lifes. Everybody wins!

Jonathan

[Jim Cole]

Thanks, Jim. I wish I had lit the background just a tad more, because the BG texture complements that of the vase and more light would have emphasized that aspect, but overall I was happy with the shot.

Jonathan

Actually, the background looks great on my profiled monitor. As you say, it mirrors the texture of the vase, but without intruding. The table is also cleanly separated from the background, providing the horizontal reference. The background might take 1/2 stop more light, but I think more than that would detract from the beautiful light within the vase. Just my 2 cents.

[jcoldslabs]

Jim,

That's more than two cents, but I'll take it! Seriously, it's nice to get detailed feedback from someone with a calibrated monitor. Mine is adjusted as best I can with some online tools, but nothing official, so I'm never really sure how my scans look out there in the wild.

J.

[Corran]

Here's my U87i microphone. I enjoy taking simple "product shot" -type photos of gear that I like - see my recent postings in the Small Format thread. This is another simple test as I experiment with some interesting development strategies.

The setup was a 150mm G-Claron racked out to about 250mm, lots of fall to place the emblem correctly and not tilt too much, and one hot-light due left and a fill card right. Aperture was f/64 to get it all in focus, 5 second exposure. I shot this test sheet on T-Max 100 rated at 100 and I metered the body of the mic for middle grey. I then developed this semi-stand in T-Max RS at a very experimental 1:39 dilution. I was not sure if that would provide enough developer, but it worked perfectly. The negative was very flat, with nicely compressed highlights and open shadows. I upped the contrast and edited the background down to black. Overall I'm very happy with the results. Now to try a real-life scenario!

http://www.oceanstarproductions.com/photosharing/Untitled-68ss.jpg

[jkcz]

Adam and Eve (from "Bible stories" cycle)
Fomatone 542 Chamois + Gevaert G 262

[Ken Lee]

http://www.kenleegallery.com/images/forum/books.jpg
Old Books, 2013
Sinar P, 210mm Macro Sironar
4x5 TMY, Divided Pyrocat HDC

[Michael W]

Some great work in this thread. Keep them coming.

[pierre506]

Carl Zeiss device & Chair
Spencer Port-land 11.5in F5.6 Lens
Kodak 2402 Plus-X
8X10
Aperture: F5.6
Exposure time: 0.5s
D76 1:1
Developing time: 9m 50s
87967

[Ken Lee]

http://www.kenleegallery.com/images/forum/binoculars.jpg
Antique Binoculars, 2013
Sinar P, 210mm Macro Sironar
4x5 TMY, Diafine

[jon.oman]

Adam and Eve (from "Bible stories" cycle)
Fomatone 542 Chamois + Gevaert G 262

I keep coming back to this one. Nice image!

[Peter Yeti]

Here's my U87i microphone. I enjoy taking simple "product shot" -type photos of gear that I like - see my recent postings in the Small Format thread. This is another simple test as I experiment with some interesting development strategies.

The setup was a 150mm G-Claron racked out to about 250mm, lots of fall to place the emblem correctly and not tilt too much, and one hot-light due left and a fill card right. Aperture was f/64 to get it all in focus, 5 second exposure. I shot this test sheet on T-Max 100 rated at 100 and I metered the body of the mic for middle grey. I then developed this semi-stand in T-Max RS at a very experimental 1:39 dilution. I was not sure if that would provide enough developer, but it worked perfectly. The negative was very flat, with nicely compressed highlights and open shadows. I upped the contrast and edited the background down to black. Overall I'm very happy with the results. Now to try a real-life scenario!



I like this very clean and technical shot of a technical item. Tonality looks great, indeed. But could you print this negative is silver gelatine?

Peter

[Corran]

That's a great question Peter, and one I can't answer 100%, having not printed it. That being said, the negative is "flat" but not in a way that I think would be bad for silver printing. In fact, I only print b&w in silver so I wouldn't have it any other way.

I'd probably plan on using a #3 or 4 on this one to take care of the blacks.

That being said, I believe when I try this method with a "real world" image, like a high-contrast landscape scene, it should tame the contrast and make a beautiful negative for printing.

[cjbroadbent]

h2oman, I like the shells!

[Miguel Coquis]

...kept this from the family garden prod,
for the cold days soup, hummmmm !
and for the short winter days shooting !!!
8x10" tri-x
Sun shine during the exposure,
dev time at feeling

[Peter Yeti]

Nice composition, and bon appétit.

[Peter Yeti]

Here is an experiment I could call "still on demand". :) I got a list of eight items that I had to compose a still-life of. For most items I was free to chose the specific item, like which particular glass or an antique something. Only the toothpaste had to be my current one and should be showcased. My problem: I hate those modern plastic tubes, at least aethetically speaking. So, here's my first attempt:


https://sites.google.com/site/gourmetyeti/_/rsrc/1359322005179/photos/still-2013/pennspen2_sm.jpg
Sinaron 5.6/150 @f11 on expired TMY.

Peter


P.s.: Sorry, just realized that the scan misses a bit on the right side.:( I need a new scanner.

[jcoldslabs]

Not sure if this is a still life or an abstract...or neither?

Kodak 2D w/5x7 back, 7" f/4.5 single meniscus focused at 14", Kodak Low Contrast Aerial Duplicating Film (SO-277) (expired 1984).


http://www.kolstad.us/ebay/5x7-SO-277-Meniscus-Vase.jpg

Jonathan

[jcoldslabs]

After seeing Bryan's (Corran) T-Max RS dilution experiments, I decided to join the club. I've been working through a box of ReadyLoad TMX that expired in 1998, and I have a bottle of T-Max RS developer that is nearly as old (2000). I had already shot a Polaroid of this that I liked, so if my two bracketed sheets of T-Max failed I was OK with that. The result was a somewhat thin negative with a compressed tonal range. I'm not sure how this would print in a darkroom, but with some slight adjustments in PS it came together pretty well considering the age of the film and developer.

Technical details (for those who are interested):

Pacemaker Speed Graphic, 15cm Zeiss f/4.5 uncoated Tessar, T-Max 100 (expired 1998), EI 50, lit by a single 500W focused spotlight, 1/15 sec. @ f/11, old T-Max RS developer at 1:79, semi-stand development in a JOBO 2521 tank for 90 minutes at 68°F (or so), agitation for the first two minutes and then three inversions at 30 min. and 60 min.


http://www.kolstad.us/ebay/Vase-Shadow-TMX.jpg

Jonathan

[stradibarrius]

Beautiful shot Jonathan. I love the image being completed with the shadow.
After seeing Bryan's (Corran) T-Max RS dilution experiments, I decided to join the club. I've been working through a box of ReadyLoad TMX that expired in 1998, and I have a bottle of T-Max RS developer that is nearly as old (2000). I had already shot a Polaroid of this that I liked, so if my two bracketed sheets of T-Max failed I was OK with that. The result was a somewhat thin negative with a compressed tonal range. I'm not sure how this would print in a darkroom, but with some slight adjustments in PS it came together pretty well considering the age of the film and developer.

Technical details (for those who are interested):

Pacemaker Speed Graphic, 15cm Zeiss f/4.5 uncoated Tessar, T-Max 100 (expired 1998), EI 50, lit by a single 500W focused spotlight, 1/15 sec. @ f/11, old T-Max RS developer at 1:79, semi-stand development in a JOBO 2521 tank for 90 minutes at 68°F (or so), agitation for the first two minutes and then three inversions at 30 min. and 60 min.


http://www.kolstad.us/ebay/Vase-Shadow-TMX.jpg

Jonathan

[jcoldslabs]

I love the image being completed with the shadow.

Thanks. That's what attracted me to the shot in the first place. I framed just about every other "normal" angle I could, but this was the one that seemed to work the best.

Jonathan

[Ken Lee]

http://www.kenleegallery.com/images/forum/img012u.jpg
Antique Rulers
Sinar P, 210mm Macro Sironar
4x5 TMY, Diafine

[Miguel Coquis]

..very fine texture, great job with middle key and light enveloppe !!!
sensato !!!

[Andrew O'Neill]

still life, from a dictionary:


1. a representation chiefly of inanimate objects, as a painting of a bowl of fruit.

2. the category of subject matter in which inanimate objects are represented, as in painting or photography.

Seems to me it could be open to interpretation...

[Light Guru]

still life, from a dictionary:


1. a representation chiefly of inanimate objects, as a painting of a bowl of fruit.

2. the category of subject matter in which inanimate objects are represented, as in painting or photography.

Seems to me it could be open to interpretation...

Well the moderator interpreted the image as not being a still life and deleted it with a message saying repost in the landscape section.

[Andrew O'Neill]

Maybe a boat in water is like a bowl of fruit to Lee... :)

[gbogatko]

88614

Going for a high-key soft look.

[Peter Yeti]

I hope this is inanimate enough.;) It's a bunch of antiques photographed with an antique, namely an unnamed 19th century set lens assembled for 20cm focal length. Aperture for the take was an estimated f32.


https://sites.google.com/site/gourmetyeti/_/rsrc/1360016806508/photos/still-2013/pennspen_setlens_sm.jpg

The film I used is history, too, my last sheet of efke PL 100.


Peter

[Rain Dance]

Since pets are not allowed where I live, the next best thing I can get is a plant that eats bugs, but I have yet to see it in action.

Crown Graphic + 127mm Ektar + Paper Negative

[Jim Cole]

Here's one from last week on 4x5 Acros. I'm going to re-shoot with a different background. Sometimes I like it the way it is and sometimes I don't. There are some bizarre reflections in the foreground jug that I can't figure out where they came from. The room's ceiling fan appears twice and the squeezed camera and tripod along with some framed art on the walls. I was moving around during the long exposure, so I don't show up. The upper-left "D"-shaped reflection and what looks like graphic design rug at the bottom, I have no idea. I love glass!

Comments welcome.

http://farm9.staticflickr.com/8088/8452892633_d6a3dbec20_o.jpg (http://www.flickr.com/photos/jcole2008/8452892633/)

[andreios]

I think maybe a simpler background might indeed be worth trying but even as it is now it is a great still-life.. Well done.

[Peter Yeti]

Glass is great, like a diva: beautiful but a bitch. I love glass myself. Very nice and simple composition but the reflections are slightly disturbing. It helps somewhat to have only one well-defined light source and keep the rest of the room as dim as possible. Black cardboard is handy to reduce odd reflections. Polarizing filters are great to control reflections from non-metallic surfaces. Well, I'm sure you know all this anyway. Looking forward to seeing your next version.

[Jim Cole]

Andreios and Peter,

Thanks for the comments. I'll try to control the reflections better. I have to work in a regular room so it's tough, but not impossible.

[Peter Lewin]

Too cold to wander outside, and feeling philosophical about getting old.

Window light, HP5+, PMK, Canham 4x5, Epson 4990 negative scan cropped to eliminate some more of the black background:
http://farm9.staticflickr.com/8383/8459045510_1ea3cda6c0_z.jpg (http://www.flickr.com/photos/peterlewin/8459045510/)
img090 (http://www.flickr.com/photos/peterlewin/8459045510/) by Pete Lewin (http://www.flickr.com/people/peterlewin/), on Flickr

[Peter Lewin]

88614

Going for a high-key soft look.
George: I like this one a lot, nice arrangement of the flowers and choice of tones. I still remember driving into NYC with you years back to meet some other LFPF members, when you had that big brass lens, and I didn't know what a Petzval was...

[jkcz]

Escape from Sodom (from "Bible stories" cycle)
Fomatone 542 Chamois + Gevaert G 262

[jon.oman]

Escape from Sodom (from "Bible stories" cycle)
Fomatone 542 Chamois + Gevaert G 262

I like it!

[Jim Cole]

Escape from Sodom (from "Bible stories" cycle)
Fomatone 542 Chamois + Gevaert G 262

Nicely done, Jiri.

[gbogatko]

Thanks!!!
Was that the Central Park get-together?

George

[Peter Yeti]

Escape from Sodom (from "Bible stories" cycle)
Fomatone 542 Chamois + Gevaert G 262

Interesting approach, I like it.

Here is one I took today with a nameless 19th century set lens. I think it's interesting how this old glass renders the image.


https://sites.google.com/site/gourmetyeti/_/rsrc/1360549136603/photos/still-2013/old_apple_sm.jpg

[Jim Cole]

Peter.

A nice, natural still life. Since lighting is still one of my weaknesses with still life, I usually won't comment on others, but here I love the light on the background, pitcher and bottle, but the fruit gets a bit too much and loses dimensionality. Hope you do not mind the comment.

[Peter Yeti]

Thanks a lot, Jim, for taking the time to comment. This is very helpful in order to improve. Of course, you are absolutely right, I noticed when I looked at the print in daylight. I may be able to make a better print and burn the fruit a little. I also made a shot with a higher resolution lens which might have better separation of the tonal values.

I have to think about how to improve the lighting. I used a 25x25'' softbox and a reflector on the other side. Perhaps this is too small and I have to move it too close to the setup. I will think about how I can build a larger light source in the very limited space I have available. I'm sure 6x6' in 6' distance would work a lot better.

By the way, I like what you're doing and I think your lighting is very natural and nice.

[JBelthoff]

30 Lbs.... :cool:

Sinar P 4x5. Rodenstock 150mm Sironar. Delta 100 developed in Pyrocat-HD 1:1:100.

http://farm9.staticflickr.com/8220/8313442718_8c81de294c_c.jpg (http://www.flickr.com/photos/jbelthoff/8313442718/)
30 lbs (http://www.flickr.com/photos/jbelthoff/8313442718/) by JBelthoff (http://www.flickr.com/people/jbelthoff/), on Flickr

[jkcz]

Here's one from last week on 4x5 Acros. I'm going to re-shoot with a different background. Sometimes I like it the way it is and sometimes I don't. There are some bizarre reflections in the foreground jug that I can't figure out where they came from. The room's ceiling fan appears twice and the squeezed camera and tripod along with some framed art on the walls. I was moving around during the long exposure, so I don't show up. The upper-left "D"-shaped reflection and what looks like graphic design rug at the bottom, I have no idea. I love glass!

Comments welcome.

http://farm9.staticflickr.com/8088/8452892633_d6a3dbec20_o.jpg (http://www.flickr.com/photos/jcole2008/8452892633/)
Well done Jim. Background might be probably less noticeable. Very nice reflection on glass.

[Jim Cole]

Thank you, Jiri. I agree. I've re-shot twice, but have to develop. I'll post the best of the two when I get a chance. Working in a small 11x11' room is hard. Every light source goes all over the place, is difficult to control and everything in the room shows up in the reflections. It's a challenge. I've got about 5 hours in the second two shots, and I'll have to see if the film will show only what I hoped.

[Ramiro Elena]

I really like it as it is. The greys are fantastic, super nice tonal range. The reflections might bother a little to the more technical oriented photographer/viewer (I would have planned this to avoid them) but once passed that you kind of get lost inside the glass. Mesmerizing...

[Jim Cole]

Thanks for the comments, Ramiro. Hopefully, one of the other shots will work. If not, back to the studio.

[Peter Yeti]

Good luck, Jim. I keep my fingers crossed that it will work out.

Here is a new version of the rotten apple. This one I took with a different lens, a G. Rodenstock Hemi-Anastigmat f=7.2 No. 2 (210mm), which is a lot sharper than the older set lens. The rest is kept as much the same as possible. From the negative density it looks like the set lens was a bit wider open, like 1/3 stop but there's no way to know exactly. This time I took more care to make a reasonable print.

https://sites.google.com/site/gourmetyeti/_/rsrc/1360686765259/photos/still-2013/old_apple_hemianastigmat2_sm.jpg

I like the print a lot better but I'm not sure how this shows on a different screen. I'm not very good at scanning, unfortunately. Could it be a touch too dark now on the lower left? The tonal separation of the rotten apple from the background is still not that great. Perhaps it wasn't the best idea to place the light yellow apple on an off-white towel. The other thing I'm not so convinced about is the background, which shows up a lot more defined in this take. Obviously, the set lens washed this away with its poor resolution.

I'd love to hear any thoughts on this. Could be it's just another one for the recycling bin.

[Jim Cole]

Peter,

Everything looks great on my monitor. Much more contrast on the fruit and more detail on the towel. Overall, a much more pleasing image. Nicely done. The detailed background does not bother me as it doesn't compete with any of the forms presented against it. It actually adds to the interest of the photograph. One thing (among many) that I learned from Christopher Broadbent on this forum was the importance of a horizontal line to which the viewer could orient. Only a small amount of table edge appears to the right of the pitcher, which seems to be almost enough here because of the horizontal grain of the table top in the foreground. I wonder if allowing the composition to breathe a little bit more by pulling the camera back and showing a bit of table edge on the left would make the image stronger? Also, you could show a little of the facing table edge that would create a foreground horizon all the way across the image. Just thinking out loud...

[jkcz]

Thank you, Jiri. I agree. I've re-shot twice, but have to develop. I'll post the best of the two when I get a chance. Working in a small 11x11' room is hard. Every light source goes all over the place, is difficult to control and everything in the room shows up in the reflections. It's a challenge. I've got about 5 hours in the second two shots, and I'll have to see if the film will show only what I hoped.
Hi Jim,
i know, glass is big challenge :). Everything in the room is mirrored, including camera and myself. This picture was taken in 3x3m room, single light source reflected from white wall.
13x18cm Fomapan 100+PyrocatHD, printed on Fomalux SP.

[Peter Yeti]

Lovely image, Jiri. Bravo!

[Peter Yeti]

Peter,

Everything looks great on my monitor. Much more contrast on the fruit and more detail on the towel. Overall, a much more pleasing image. Nicely done. The detailed background does not bother me as it doesn't compete with any of the forms presented against it. It actually adds to the interest of the photograph. One thing (among many) that I learned from Christopher Broadbent on this forum was the importance of a horizontal line to which the viewer could orient. Only a small amount of table edge appears to the right of the pitcher, which seems to be almost enough here because of the horizontal grain of the table top in the foreground. I wonder if allowing the composition to breathe a little bit more by pulling the camera back and showing a bit of table edge on the left would make the image stronger? Also, you could show a little of the facing table edge that would create a foreground horizon all the way across the image. Just thinking out loud...

Jim,

Thanks a lot for your inspiring thoughts. Yes, the work of Christopher Broadbent is absolutely captivating. If I had learned more from him I'd be a much better photographer. But I keep trying to learn from any source available.

It sounds like a very good idea to leave a bit more space around and include a more visible horizon line. I'll see what I can do in this direction. My space to place the camera is so limited that I may have to switch to a slightly shorter lens.

[largeformatguy]

Here are some Elephant Garlic stalks that were hanging around.

89357

These were fun. Made with a Schneider ReproClaron. 8x10 contact print on Lodima paper. Nelson Gold toner.

[Jim Cole]

Hi Jim,
i know, glass is big challenge :). Everything in the room is mirrored, including camera and myself. This picture was taken in 3x3m room, single light source reflected from white wall.
13x18cm Fomapan 100+PyrocatHD, printed on Fomalux SP.

Really nice, Jiri! Not an unwanted reflection anywhere. How do you mirror yourself and the camera?

[Zaitz]

http://farm9.staticflickr.com/8097/8477872055_8f2f40e748_b.jpg (http://www.flickr.com/photos/zboumeester/8477872055/in/photostream)

Chamonix 45n-2
4x5 Tmax 100
Zeiss Tessar 180mm @f36
2 min exposure - metered at 60 seconds
Rodinal 1:100 stand

Finally a new photo for me! And first with the new Chamonix 45n-2 - an awesome camera. Also technically out of focus :D. A 180mm lens at 19 or so inches gives zero dof. I just decided to try and focus between the two flowers and stop the lens down all the way which on the Zeiss is a weird f36.

[Peter Yeti]

It's beautiful and I cannot tell that it's out of focus on my screen. I also like the colour hue, almost looks like toned in selenium.

This Tessar is amazingly sharp for its age. f36 is quite logical for a 1:4.5 lens before light meters were common but inconvenient nowadays. What's odd is that they used one scale with 4.5*2^n and another scale with 2^(n/3), which is our modern standard.

[Jim Cole]

Zaitz,

I like this one, too. The toning is pleasant and it works nicely in the square format.

[Zaitz]

It's beautiful and I cannot tell that it's out of focus on my screen. I also like the colour hue, almost looks like toned in selenium.

This Tessar is amazingly sharp for its age. f36 is quite logical for a 1:4.5 lens before light meters were common but inconvenient nowadays. What's odd is that they used one scale with 4.5*2^n and another scale with 2^(n/3), which is our modern standard.
Thank you! I knew it'd end up on the softer end but hoped it'd be passable and I think it is. But on the raw scan you can see that it isn't technically 'sharp'. But I am not one of these folks that is after absolute sharpness 100% of the time.

The Tessar is nice and I think I over paid at like $65 from eastern Europe. They don't seem to get a lot of credit.


Zaitz,

I like this one, too. The toning is pleasant and it works nicely in the square format.
Thanks! I'm a big fan of toning, though never got a chance to try it in the darkroom.

[jcoldslabs]

I have two 1920s Zeiss Tessars, both 15cm f/4.5, and one 18cm f/4.5 Xenar from the same period, and the sharpness varies among all of them. One of the Tessars is noticeably sharper than the other both on the ground glass and in the negatives. Maybe I'm imagining it, but I swear I can tell the difference.

Jonathan

[Peter Yeti]

After some trial and error, I came up with a version of my rotten apple that may make it into the "keep" box. Thank you Jim, your comments were very helpful and much appreciated. Since my beloved sitter is croaking, this is likely to be the final version.

https://sites.google.com/site/gourmetyeti/_/rsrc/1361148803367/photos/still-2013/old_apple_tessar_sm.jpg

Just by coincidence, this was shot with a 4.5/18cm Zeiss Tessar like the one by Zaitz. Mine is extremely sharp, I was flabbergasted when I first got it.

[Jim Cole]

Peter,

Definitely a keeper. Well done! You're welcome. I'm just spreading around some help I received on this forum.

[cjbroadbent]

https://lh6.googleusercontent.com/-5SRCD7P4Ep0/USItFhFN0MI/AAAAAAAAMlc/i_TPZd4a7Fg/s800/8x10eggs%2526forkA.jpg
8x10 Retro Tonal 100 in Rodinal. A hard job trying to match up to the Monochrom tonal range but it's nice to be back.
Peter, I would have another go, just to see what happens when you keep the strongest tone (white) within the frame without it breaking the edge. I stick by what's probably a silly rule: the strongest tones belong inside the subject and the weaker tones belong to the surroundings.

[Jim Cole]

Christopher,

Nice to see you back! That towel gets a lot of mileage! It's got great texture and flows well and apparently loves to be photographed.

I have to say that this image is not one of my favorites of yours (and there are many favorites indeed), but technically, it is a lesson for us beginners that displays your complete mastery of edges, lighting forms and tones.

[hendrik faure]

http://i1322.photobucket.com/albums/u568/hfa8/theravenstale_zps7ce73c27.jpg
raven´s tale

copperplate photogravure from a 4x5neg, so-called petzval lens (I doubt), digital 8x10 interpositiv and random screen
printed on sumerset antique paper, gamblin portland black ink

another picture of this set I showed in architecture thread.
To be honest, the raven was a blackbird

[Peter Yeti]

Peter, I would have another go, just to see what happens when you keep the strongest tone (white) within the frame without it breaking the edge. I stick by what's probably a silly rule: the strongest tones belong inside the subject and the weaker tones belong to the surroundings.

Christopher,

First of all, it's great to see something new from you. I really love what you're doing.

Thank you so much for taking the time to comment. I don't think it's a silly rule, more likely to be the experience of a wise man. Maybe it's also a part of your very distinctive style, which inspired me a lot lately. I certainly will try this because I seem to have a tendency to have subjects extending beyond the frame. I will have to see if I can redo this one because the apple is rotting fast, though its funeral hasn't been yet. But I tried it tonight with a different setup and think that it worked out fine.

[chassis]

Great one Christopher, and welcome back!

[jkcz]

After some trial and error, I came up with a version of my rotten apple that may make it into the "keep" box. Thank you Jim, your comments were very helpful and much appreciated. Since my beloved sitter is croaking, this is likely to be the final version.

https://sites.google.com/site/gourmetyeti/_/rsrc/1361148803367/photos/still-2013/old_apple_tessar_sm.jpg

Just by coincidence, this was shot with a 4.5/18cm Zeiss Tessar like the one by Zaitz. Mine is extremely sharp, I was flabbergasted when I first got it.
Well done, Peter. Keeper for me.

[Leigh]

After some trial and error, I came up with a version of my rotten apple that may make it into the "keep" box.Just by coincidence, this was shot with a 4.5/18cm Zeiss Tessar...
Very good, Peter. Much better separation and definition than previous.

- Leigh

[lineus]

Not small, but still life..))

http://www.photolineus.com/Still-Life/Objects/i-rwm3cdW/0/XL/scan0013-XL.jpg

4x5 neg, Nikkor SW 90/4.5, Ilford FP4+

[cjbroadbent]

Jim, so I spread the contrast this time with a 39 minute stand, and filled the frame. There always something to learn.
89761

[Jim Cole]

Christopher,

Definitely more impact, and I like this one much better. Much higher contrast on the subject matter and a stronger gradient on the background.

I just laughed out loud to myself. I'm the last person that should be critiquing still life photos, especially from you, Christopher.

I just wish I understood how you visualize this wonderful stuff. Hmmm, I'll start with a pitcher, then a couple of plates, one lighter one here, the other darker one on that side, my favorite dish towel, oh yeah, I'll put a couple of eggs on top, but I need something to put them in, and then something not so curvy to keep the egg holder from falling into the pitcher, and "dang, the label on the towel is showing", Ooh, but I'll pull it down like this and look at that, it adds a nice little vertical element to break the plane of the table...

I love this stuff!

[wentbackward]

http://farm9.staticflickr.com/8228/8492269654_db570b7109_b.jpg (http://www.flickr.com/photos/gresh/8492269654/)

This was shot on a Linhof Techno view camera, Schneider Kreusnach 120mm APO ASPH. One light setup. I would greatly appreciate critiques from the knowledgeable participants here.

Paul

[skywatcherjan]

89871

This was shot with my DIY Saftec scanner camera.
Lens: Wollensack Velostigmat 180 mm , F18

Thanks for looking

Jan

[timing]

One from the weekend - will need reshooting as the negative picked up a couple of tramline scrapes from somewhere - such is life!


http://farm9.staticflickr.com/8371/8492265009_35999da823_z.jpg (http://www.flickr.com/photos/ingmire/8492265009/)
Glass Wood003 (http://www.flickr.com/photos/ingmire/8492265009/) by Tim Ingmire (http://www.flickr.com/people/ingmire/), on Flickr

Tim

[Jody_S]

89871
... DIY Saftec scanner camera.
Lens: Wollensack Velostigmat 180 mm , F18


Jan


???

Please explain?

[Ken Lee]

http://www.kenleegallery.com/images/forum/lb34.jpg
Light Bulb, 2012
Sinar P, 210mm Macro Sironar
4x5 TMY, Diafine

[skywatcherjan]

???

Please explain?

The picture is made with a home built view camera, usual concept about 7x8 "
The lens was as said a second hand Wollensack Velostigmat 180 mm focal distance
BUT
Instead of a film holder, the back of the camera has a modified flatbed scanner mechanic with a physical resolution of 600 x 1200 DPI that scans the area of 7 x 8 ", in grayscale every dot has a 12 bit depth after AD conversion.
The image was slightly processed in the Gimp, mostly to remove the heaviest horizontal scanner streaks.

Saftec is the "brandname" of the camera, a bit of a practical joke ...

I don't know if the picture has any value or meaning in your community of real chemical photographers with lots of darkroom experience...

Jan

[Maris Rusis]

http://farm9.staticflickr.com/8228/8492269654_db570b7109_b.jpg (http://www.flickr.com/photos/gresh/8492269654/)

This was shot on a Linhof Techno view camera, Schneider Kreusnach 120mm APO ASPH. One light setup. I would greatly appreciate critiques from the knowledgeable participants here.

Paul

The knotted towel and the gnarly gloves deliver attractive textures that counterpoint the hard surfaces elsewhere. I worry about the near merger of the edge of the bottle at the right and the background. And the splinter on the corner of the board commands more attention than it deserves...maybe. On The Broadbent Scale of sublime still life it's got to rate an 8 at least.

[Jim Cole]

OK, here's another attempt at the three pieces of glass. I switched to an old no name brass petzval for this one and shot it on Edu Ultra film at f/11.

Things I like: Better background with more defined table surface with overall better control of the lighting and reflections. There are no defined shapes.

What I don't like: The big huge white blob of a reflection on the jug. I'll have to see if I can figure this out.

http://farm9.staticflickr.com/8376/8493731934_212e5a3996_o.jpg (http://www.flickr.com/photos/jcole2008/8493731934/)

[cjbroadbent]

Paul, I can't help but like it!
Here goes with an 8x10 this morning.
https://lh3.googleusercontent.com/-mKxmkMbtCGM/USZNdX5nK2I/AAAAAAAAMn0/q4NYz0GIDhg/s800/whisk%2526potsC.jpg

[Jim Cole]

Christopher,

I really like this one, except my eye keeps getting pulled toward the highlight on the towel.

[Peter Yeti]

Great pictures on this page, indeed. Christopher, I think it's lovely and I really like the play of light, especially on the spout of the pitcher and the towel. I would be wondering more about the tag of the towel. But who am I anyway to comment on this beautiful work, I'm just a bloody beginner.

The same is true for your glass piece, Jim. I couldn't do it any better, the only thing I could offer is the spontaneous impressions of an amateur. These impressions were that the reflections are much more pleasant now but that I liked the higher definition of your first rendition better. When I first looked at it, I was thrown off somewhat by the handle of the jug, which I couldn't figure out at first. For me, it's like the Petzval is melting everything together in a two-dimensional plane. But I'm sure you had good reasons to switch to that lens. Certainly it renders your background beautifully, which I like a lot better this way.

[Jim Cole]

The same is true for your glass piece, Jim. I couldn't do it any better, the only thing I could offer is the spontaneous impressions of an amateur. These impressions were that the reflections are much more pleasant now but that I liked the higher definition of your first rendition better. When I first looked at it, I was thrown off somewhat by the handle of the jug, which I couldn't figure out at first. For me, it's like the Petzval is melting everything together in a two-dimensional plane. But I'm sure you had good reasons to switch to that lens. Certainly it renders your background beautifully, which I like a lot better this way.

I agree about the lens change. The glass lost a lot of its "glassiness". I changed just for grins, but will return to the Schneider 210 I shot the first rendition with for future attempts. The background was rendered differently because I changed it out, not because of the petzval, although it did really smooth out the new background as well. Thanks for the comments!

Another thing I don't like about the 2nd version was the loss of the nice mid-tones on the right-hand vase. Two steps forward, one step back.

[manet]

A try with a 13 x 18 B&W sheet film outdated since 1972. 200 ASA but exposed as 20 ISO !

http://img.photobucket.com/albums/v77/manet/scan0022_A_web_zps4e5ada79.jpg

http://img.photobucket.com/albums/v77/manet/Agfapan_zpsc6696473.jpg

[Jim Cole]

Amazing, Jonathan! The film lost a little over 3 stops of speed in 40 years and it still has a full range of tones.

[Ken Lee]

http://www.kenleegallery.com/images/forum/phone21.jpg
Vintage Telephone, 2013
Sinar P, 135mm Tessar
4x5 TMY, Divided Pyrocat HDC

[timing]

No tramlines this time - which is progress. There is something I like about this photo and something that frustrates me - but I can neither pinpoint nor articulate what it is. Anyway I shall try again.

http://farm9.staticflickr.com/8228/8508342904_b1b7f67c4e_z.jpg (http://www.flickr.com/photos/ingmire/8508342904/)
Broken Wing (http://www.flickr.com/photos/ingmire/8508342904/) by Tim Ingmire (http://www.flickr.com/people/ingmire/), on Flickr

[Jim Cole]

Another try of the Three Pieces of Glass on 4x5 Arista Edu Ultra at f/11. I reverted back to the Schneider 210 lens used on the first attempt. The set was moved to the left to increase the angle of the window light coming from behind and to the camera's right. A small narrow-beam LED flashlight just above the table and off to the right added detail to the neck and loop of the jug and the table underneath. I think this one generated the best reflections and "glassiness" yet. Still not done... I need a better light gradient across the background, which I'm finding very difficult to do, and a re-position of the cloth to eliminate the vertical wrinkle on the left side and some other minor adjustments.

Comments welcome.

http://farm9.staticflickr.com/8237/8508755096_d8be7b9669_o.jpg (http://www.flickr.com/photos/jcole2008/8508755096/)

[Peter Yeti]

Jim,

That's great, definitely the best so far, at least in my opinion. The glass is back, the depth is back and the disturbing reflections are gone. I think it's a keeper already. But if you keep working on it, you could try what happens when you move the two cylindrical ones slightly to the left (or at least off the centre). Maybe this could add a bit more dynamics to it and distinguish the handle of the jug better. I hope you will keep the wormholes in the table, though, they are a wonderful detail.

I wish I would make progress like you. I'm struggling with one since two weeks, wasted more than a dozen sheets, and I'm still not satisfied to call it a first version.:(

[Jim Cole]

Peter,

Thanks for the comments. The handle on the jug has been an issue since the beginning, but I'm determined to find a way to make it work a bit better. I have changed things up a bit for the next shot. Maybe tomorrow.

You're making progress, you just shoot more sheets than I do. I have spent 2-3 hours before each shot working on details only to find that I should have spent another hour or perhaps shot a sheet earlier to find the problems that I don't see in the GG.

[manet]

Jim,
Thanks for reply.
I like your glasses.

jp

[Raffay]

http://www.kenleegallery.com/images/forum/phone21.jpg
Vintage Telephone, 2013
Sinar P, 135mm Tessar
4x5 TMY, Divided Pyrocat HDC

What a wonderful picture, wonder how you turn ordinary things into master pieces :) because of pictures like these, we beginners get inspiration...

[Colin D]

90332

Magnolia Flower
Linhof Technika III 4X5
Voigtlander Dynar 180mm (no shutter)
Tetanol Ultrafin

[Peter Yeti]

OK, here we go. This is the "first" and last version because one of the sitters let me down by now.

https://sites.google.com/site/gourmetyeti/_/rsrc/1362071450549/photos/still-2013/m_and_m_sm.jpg



You're making progress, you just shoot more sheets than I do. I have spent 2-3 hours before each shot working on details only to find that I should have spent another hour or perhaps shot a sheet earlier to find the problems that I don't see in the GG.

Jim, I wish you were right. But most sheets were wasted due to stupid technical issues rather than improvements of the composition - annoying and embarrassing. And then I ran out of time to work on the setup. Sounds familiar that some problems are difficult to see in the GG. Sometimes I make test shots with my digital and sometimes it helps to single out some issues.

[Jim Cole]

Peter,

This one is pretty darn good, ... but

you have great separation of tones everywhere except between the front two fruits. The dark right side of the mango (?) blends into its own shadow on the cloth as does the left edge of the "dried and wrinkled" piece. Also, the dark bottom of the D&W piece melts into the table. The only other thing I would change is the too even distribution of the cloth around the mango. These are minor details, but the fruit would pop better if you could fix them. One more little nit, the brandy bottle looks a bit tilted, but it could just be me. It's OK to have things tilted, but they should look like it was intentional.

Grab another piece of fruit and have at it again if you're so inclined.

[hendrik faure]

http://i1322.photobucket.com/albums/u568/hfa8/buumlro_zpse01eb95b.jpg
time of ebitda

4x5 15 ASA low budget "petzval" lens
inscription: buro do not knock at door

[Peter Yeti]

Peter,

This one is pretty darn good, ... but

you have great separation of tones everywhere except between the front two fruits. The dark right side of the mango (?) blends into its own shadow on the cloth as does the left edge of the "dried and wrinkled" piece. Also, the dark bottom of the D&W piece melts into the table. The only other thing I would change is the too even distribution of the cloth around the mango. These are minor details, but the fruit would pop better if you could fix them. One more little nit, the brandy bottle looks a bit tilted, but it could just be me. It's OK to have things tilted, but they should look like it was intentional.

Grab another piece of fruit and have at it again if you're so inclined.

Jim,

Thanks a lot for your kind and very helpful comments. I didn't quite realize the separation problem with the fruits when looking at the print. The scan exacerbated this issue to some extent and I see it on the screen. On the other hand, I wasn't really concerned about the mango merging somewhat with its shadow on the right, I kind of liked it. But I see your point now and it's certainly worth trying your interpretation. The passion fruit, that's what the wrinkled one is, only shows by its texture because it is basically of the same colour as the desk top. This is an inherent problem of course. I tried to get sufficient separation by the lighting but apparently this wasn't good enough. I'll have to think about this. Re-arranging the towel would be an obvious remedy. Now, the weirdest issue is that the bottle looks tilted, which I noticed but couldn't sort it out. Be assured that the bottle was perfectly vertical and the camera absolutely level and parallel. This seems to be one of those odd optical illusions. It may be due to the proximity to the curved glass or the fact that the label is not parallel to the edge of the desk. I ran out of time to resolve this because the mango deserted.

Your comments make me consider to get a new mango and set this up again. One interesting thing is that one of my biggest concerns didn't bother you. I was thinking of flipping the whole thing so that the strongest diagonal would run from upper left to lower right corner. Also, one corner of the spanned triangle is kind of unfilled, which could be improved. These are the compositional details which occupy my mind and make me overlook other points. Well, it's a constant process of learning and of trial and error.

[ImSoNegative]

one i shot today with the 5x7, 15cm heliar, had the bellows racked out pretty good, cost me about 2 1/2 stops fp4 film

http://farm9.staticflickr.com/8100/8516959167_efc9c91be0_b.jpg (http://www.flickr.com/photos/28713901@N04/8516959167/)
close up flower (http://www.flickr.com/photos/28713901@N04/8516959167/) by J. Golden (http://www.flickr.com/people/28713901@N04/), on Flickr

[Ivan]

Happy 2013 everyone!

I've been playing around with some 5x7 film that expired in 1944. It is severely fogged with all sorts of other artifacts (streaks, blotches, specks), and the processed negative looks almost opaque to the naked eye. Scanning it was tricky; I'm not sure it would be printable by conventional means. Still, I'm amazed to see any image at all from 70 year old film. Tray developed in HC-110 dilution H for 9 minutes at 66°F.

Century 10A 8x10 with 5x7 back, Kodak unnamed 259mm process lens, 5x7 Gevaert Ultra Panchro film (expired 1944), rated at ISO 12.


http://www.kolstad.us/ebay/Gevaert-5x7-%28%2744%29-Test-01.jpg




For those who are curious, here is the film box:


http://www.kolstad.us/ebay/5x7-Gevaert-01.jpg

Jonathan

Beautiful! And here I am thinking of discarding a 10 year old box of Kodak 5x7! Now I'm curious to see how it comes out. I have old paper too!

[jcoldslabs]

Beautiful! And here I am thinking of discarding a 10 year old box of Kodak 5x7! Now I'm curious to see how it comes out. I have old paper too!

Ivan,

Welcome to the forum! I have had great success lately with numerous films that expired in the 1940s, 50s and 60s. Paper also. I've yet to try film that didn't give me an image of some kind. Sometimes the fog is very bad, but it's always worth trying. Good luck and be sure to post your results!

Jonathan

[jcoldslabs]

http://farm9.staticflickr.com/8100/8516959167_efc9c91be0_b.jpg

I love the play of light in the bottom third of the image. The flowers in the background are practically glowing.

Jonathan

[Kevin J. Kolosky]

There are some very fine images in this thread. But one thing I have noticed, and that is (in my own opinion of course) that some of them are, for lack of better words, too perfect.

I am certainly no expert and can't show any good still lifes, but I know what I think looks good, and to me a still life is a found object, left by someone, and you are now making an image of it. But some of these images are so dolled up that they don't look natural.

I think of some of Bert Stern's still lifes. He made sure to scatter crumbs around the loaf of bread. Looked like somebody had been there rather than him just setting it up.

[wentbackward]

Paul, I can't help but like it!
Here goes with an 8x10 this morning.
https://lh3.googleusercontent.com/-mKxmkMbtCGM/USZNdX5nK2I/AAAAAAAAMn0/q4NYz0GIDhg/s800/whisk%2526potsC.jpg

Christopher, thanks!! I know I still have a long way to go, your image above is wonderful tonally. I feel I've made more progress in the past few months than in the past few years. I love exploring your work.


The knotted towel and the gnarly gloves deliver attractive textures that counterpoint the hard surfaces elsewhere. I worry about the near merger of the edge of the bottle at the right and the background. And the splinter on the corner of the board commands more attention than it deserves...maybe. On The Broadbent Scale of sublime still life it's got to rate an 8 at least.

Maris, you hit two points that bothered me, the splinter and the lack of tonal separation around that cap. I think an 8 is very generous (unless the scale is 1 to 10 with 1 being best!).

I've redone the image. Here's the smaller Techno, I'll upload the 8x10 tomorrow as I stupidly forgot to copy the scan to my laptop earlier, even though my nephew and I brought the negative back home so he could show his Grandad (my Dad)! They've all flown off home to the UK today. It was great fun having an keen 15 year old around to help me out.

http://farm9.staticflickr.com/8526/8519024020_4f2f5a9c54_b.jpg (http://www.flickr.com/photos/gresh/8519024020/)
Recreated Still Life in B&W (http://www.flickr.com/photos/gresh/8519024020/)

This time we switched the light to the camera left and I felt we gained better control of the light overall and more awareness of the scene. The splinter is gone, although that was largely an accident. I really appreciate the feedback.
- Paul

[hendrik faure]

There are some very fine images in this thread. But one thing I have noticed, and that is (in my own opinion of course) that some of them are, for lack of better words, too perfect.

I am certainly no expert and can't show any good still lifes, but I know what I think looks good, and to me a still life is a found object, left by someone, and you are now making an image of it. But some of these images are so dolled up that they don't look natural.

I think of some of Bert Stern's still lifes. He made sure to scatter crumbs around the loaf of bread. Looked like somebody had been there rather than him just setting it up.

Kevin, http://en.wikipedia.org/wiki/Still_life shows an overview to still life in painting and much of it will be convenient for modern photography too.
I agree that some contributors and pictures in this thread seem intersted mostly in tonal values and technical issues, so that they might impose boring to someone who has other intentions in photography. But, on the other hand, technical scills are most valuable for expressing contents whatever and I appreciate "too perfect" pictures for learning very much. (for my photos: critical comments always welcome)

http://i1322.photobucket.com/albums/u568/hfa8/Hendrik_Faure_32_zps7919fd4c.jpg
(copperplate photogravure from 8x10 NP22 staining develloped neg)

[John Brady]

Having been inspired by Christopher Broadbent I have been working on some still life. Here is a first attempt.

I made this with my Ebony and 5x8 back, Ektar film and Imagon 300 lens shot wide open without the strainer. I am using a 500 and 1000 watt led panel.

I still have a long ways to go with learning lighting and composition.

jbrady@timeandlight.com



http://farm9.staticflickr.com/8505/8522066094_77aeedb842_b.jpg (http://www.flickr.com/photos/timeandlight/8522066094/)
tulips and porcelain #2 color (http://www.flickr.com/photos/timeandlight/8522066094/) by John Brady Photography (http://www.flickr.com/people/timeandlight/), on Flickr

[Peter Mounier]

I still have a long ways to go with learning lighting and composition.

Maybe not a long way. This looks awesome!

[ghostcount]

Having been inspired by Christopher Broadbent I have been working on some still life. Here is a first attempt.

I made this with my Ebony and 5x8 back, Ektar film and Imagon 300 lens shot wide open without the strainer. I am using a 500 and 1000 watt led panel.

I still have a long ways to go with learning lighting and composition.

jbrady@timeandlight.com



http://farm9.staticflickr.com/8505/8522066094_77aeedb842_b.jpg (http://www.flickr.com/photos/timeandlight/8522066094/)
tulips and porcelain #2 color (http://www.flickr.com/photos/timeandlight/8522066094/) by John Brady Photography (http://www.flickr.com/people/timeandlight/), on Flickr

Wonderful!

[John Brady]

Thanks Peter and Ghostcount!

[Daniel Pinkham]

Nothing critical to offer Hendrik. Just wanted to pass along an appreciation for that very interesting photograph. That's fine work.

[Jim Cole]

Having been inspired by Christopher Broadbent I have been working on some still life. Here is a first attempt.

I made this with my Ebony and 5x8 back, Ektar film and Imagon 300 lens shot wide open without the strainer. I am using a 500 and 1000 watt led panel.

I still have a long ways to go with learning lighting and composition.

jbrady@timeandlight.com

That's a very good first try. The lens effects are a little strong for me, but other than that, it's simple and effective.

[Jim Cole]

My last attempt (I think) of the Three Pieces of Glass. This time I used TMY-2 film with the same Schneider 120 lens. I got smoother tone separation as compared to the cheaper Arista film. Repositioning of the jug balanced out the weight of the composition and put the hug handle completely against the darker glass vase (thanks, for the suggestion, Peter). Spinning the dark vase around 180° provided better edges and more lower midtones. I put a highball glass behind the main body of the jug to eliminate the rather large space of table top showing through which was rather boring. It added a lot of un-definable interest to the jug and worked out quite well, I think. Lighting was the same window but this time added back a diffused studio light aimed at the corner of the room where the window is located providing more light as the day was overcast and gray outside.

I missed the dang lower edge of the dark vase popping out from under the neck of the jug.

http://farm9.staticflickr.com/8530/8521824271_8c5c7805dc_o.jpg (http://www.flickr.com/photos/jcole2008/8521824271/)

[hendrik faure]

Nothing critical to offer Hendrik. Just wanted to pass along an appreciation for that very interesting photograph. That's fine work.

Thank you, Daniel!
Difficult to show prints on computer screen and this one in fact is fainter than I intended. When etching the copper, my darkroom had 8 degree celsius and acid worked slow.
The projector btw was in use till early sixties for showing films in our village pub. Television has killed that. The cat was found nereby

[jb7]

Thank you, Daniel!
Difficult to show prints on computer screen and this one in fact is fainter than I intended. When etching the copper, my darkroom had 8 degree celsius and acid worked slow.
The projector btw was in use till early sixties for showing films in our village pub. Television has killed that. The cat was found nereby

Interesting pictures Hendrik-

I suppose the idea of 'Still Life' is not too far removed from Memento Mori-

[Ken Lee]

http://www.kenleegallery.com/images/forum/books03.jpg
Books, 2013
Sinar P, 210m Macro Sironar
4x5 TMY, Divided Pyrocat HDC

[BarryS]

http://img23.imageshack.us/img23/5973/promisegardenweb.jpg
Promise Garden
8x10 tintype

[Pfiltz]

4x5 Graphic View.
Foampan film
Arista Developer
8th @ f16

http://www.keepsakephotography.us/4x5/Scale.jpg

[mikebarger]

http://www.kenleegallery.com/images/forum/books03.jpg
Books, 2013
Sinar P, 210m Macro Sironar
4x5 TMY, Divided Pyrocat HDC


Simply, WOW!!

[ImSoNegative]

what mikebarger said

[Peter Lewin]

Barry, Pfiltz: Really nice, both of you!

[Pfiltz]

Thank you Peter

Be well.

[bvaughn4]

Wow Barry, love that!

[BarryS]

Thanks Peter and bvaughn.

[Ken Lee]

what mikebarger said

Thank you. This sort of subject is a real pleasure with a view camera: we can focus along an oblique angle, both forward and to the side at the same time.

[Miguel Coquis]

...put into the frame all what can fit in giving a "viewing" pleasant taste !
that is perhaps in the way on getting a sens of creativity,
8x10"
Y11 filter
scan neg
:)

[hendrik faure]

Interesting pictures Hendrik-

I suppose the idea of 'Still Life' is not too far removed from Memento Mori-

Thanks, Joseph - memento mori in barock painting symbolised by scull in photography well suited for the tonal masters. Other symbols seem less transferable. Still life in french is "nature morte" (dead nature). Still lifes may tell stories

http://i1322.photobucket.com/albums/u568/hfa8/Hendrik_Faure_13_zps4418db28.jpg
copperplate photogravure from 4x5 NP22 neg

[Ken Lee]

...put into the frame all what can fit in giving a "viewing" pleasant taste !
that is perhaps in the way on getting a sens of creativity,
8x10"
Y11 filter
scan neg
:)

Tres elegante !

[hendrik faure]

Tres elegante !

c´est bien vrai!

[Philippe Grunchec]

Tu l'as dit !

[manet]

I don't know if a chair is cose naturali but the result is nice !

jp

[cjbroadbent]

Pfiltz, I love that scale shot|

4x5 this week, Retro-Tonal stand in Rodinal for the whites. I forgot how large dust specks are on 4x5.
It used to be a good reason to prefer 8x10.
https://lh5.googleusercontent.com/-TXiO2STOMXs/UTdgwFL54MI/AAAAAAAAMyE/8mVLJNtdrv8/s800/4x5.jpg

[Jim Cole]

This one is excellent, Christopher.

[Ramiro Elena]

The whites!!

[cjbroadbent]

So I had to try on 8x10 too. Not quite up to the 4x5. The whole test is here (https://picasaweb.google.com/105135631383831084913/FormatTests?authuser=0&authkey=Gv1sRgCJX12tnSnaCOfg&feat=directlink) (warning - some small formats).
https://lh5.googleusercontent.com/-MSrcFmDY9Ko/UTdwpyAaT1I/AAAAAAAAMzY/utG3Iuft95Y/s800/8x10J.jpg

[SLVRGLTN]

Everyone's got some great images and ideas! (For Everyone)--> Where do you get your objects from? Are they sitting around the house or do you purchase them from various places? I personally been picking up interesting objects for the last few years but yet to come up with an interesting setup! Any thoughts or other info is always greatly appreciated!

Keep them coming I am still getting inspired by them all!

Thanks Brian

[chassis]

Christopher, the 4x5 has more presence for me. The towel is doing something nice in the 4x5 shot. The contrast in 4x5 also looks punchier to my eye. Good series on the picasa site.

[taulen]

http://taulen.org/diverse/bilder/forum_bilder/espresso.jpg http://taulen.org/diverse/bilder/forum_bilder/espresso_2.jpg
A little bored tonight and tried some stuff, should have had some more light/better reflector on the right side, way to "shadowy". But learned some from it, so wasn't a total bust ! =)
Both are taken with 4x5 fomapan 100 with the Reinhold wollaston meniscus lens, 190mm @f5.6

[Colin D]

...put into the frame all what can fit in giving a "viewing" pleasant taste !
that is perhaps in the way on getting a sens of creativity,
8x10"
Y11 filter
scan neg
:)


Simple, thoroughly engaging.

[Pfiltz]

Pfiltz, I love that scale shot|

Thanks CJ....

I can't seem to get those tones you get. Maybe it's the developer I use...

:)

[imagedowser]

Pfiltz, I think the beautiful tones have to do with the geomagnetics of the Northern Lights... or the geothermal heating of the water he mixed the developer in... Ah, Norway. My dream country, now if I could only speak the language. Taulen, your one lucky "DYUD"

[mdm]

http://3.bp.blogspot.com/-Gb9-n2ruG2o/UTvEvM73eDI/AAAAAAAAB0Q/yteI1iCtr7s/s1600/melon-Edit.jpg
450mm Nikkor M, 5x7 Wephota 15 in R09. Some development problems but I was in a rush and it was very late at night, so in a tray it was. Pity, its a super nice film.

[hendrik faure]

450mm Nikkor M, 5x7 Wephota 15 in R09. Some development problems but I was in a rush and it was very late at night, so in a tray it was. Pity, its a super nice film.
the late night result is fine and the pity is, that the film is no longer produced

[Steve M Hostetter]

Mother Mary,91014 58mm 4x5 Chamonix 320 txp

[Miguel Coquis]

http://3.bp.blogspot.com/-Gb9-n2ruG2o/UTvEvM73eDI/AAAAAAAAB0Q/yteI1iCtr7s/s1600/melon-Edit.jpg
450mm Nikkor M, 5x7 Wephota 15 in R09. Some development problems but I was in a rush and it was very late at night, so in a tray it was. Pity, its a super nice film.

...like this, looks "spontaneous" !
mine show here was a very long "spontaneous long exposure", 10 min
Xenar 240, cropped

[Tim Meisburger]

Here is my first serious attempt at still life. It is a fascinating process, with small details having a big impact. For this image I realize the brush stokes are too prominent in the background (this is a problem with the backdrop, and I need to re-paint), but the big problem is the plant. On the ground glass (i.e. in color) the stem and leaves on the right provided much more balance (and some framing) for the mass on the left. Unfortunately, I only shot it in black and white (FP4), although I have some Astia that might have been perfect for this. Anyway, any criticism is welcome, as I see this as a learning process, as well as fun.

http://i1120.photobucket.com/albums/l496/Tim_Meisburger/2013-1002a_zps04412b1e.jpg

[Tim Meisburger]

Here is another from the same day. Not so nice, but different in that as I was trying to introduce a simple narrative, like they might do in an advertising shot. If it includes story is it still "still life"? Critique welcome.

http://i1120.photobucket.com/albums/l496/Tim_Meisburger/2013-1003a_zps13e2c38d.jpg

[Peter Yeti]

Tim,

That's a great first attempt, I like the first one in particular. I totally agree that making still lifes is a fascinating endeavour. It's like an etude in music, in this case a great exercise for viewing, composing, lighting, and all the technical stuff. And like the etudes by Chopin, the outcome sometimes is very beautiful.

By the way, your issue with the background perhaps could be solved by just placing it farther away from the set and controlling DOF accordingly. A b&w contrast filter might help to achieve the tonal value of the plant that you want, depending on the colours of the other objects.

[mdm]

...like this, looks "spontaneous" !
mine show here was a very long "spontaneous long exposure", 10 min
Xenar 240, cropped

Thanks, it was. I ate it and then thought the light looked good enough for a sheet of film. I wish I had stopped down more, but love the the tones on the spoon.

[Ivan]

Tim,
Maybe its just me but there's something with the balance of the compositions that feels uneasy to my eyes.
I like the hard contrast of the first one with the metal sugar container. And on the second one please send me that vintage poison flacon, I love it.

[Tim Meisburger]

Thanks Peter. Its a small backdrop so I have to keep it pretty close. I'll paint it again (part of my etude is learning to make backdrops), but also it does suggest I need to start trying to see changes in depth of field on the ground glass. A filter might have worked as well. My big problem was composing in color and shooting in black and white. It might be helpful to shoot a polaroid (or digital). Then I would notice the similarity in tone and could either shoot color film or use a filter to darken the green.

Ivan, it feels very uneasy to me as well, and I almost didn't post it because I was so disappointed. In color the leaves felt like they had more weight, and provided more balance. It is interesting anyway, and hopefully taught me something. I'm traveling now but will be home on the weekend, so perhaps I'll have another go then.

The "Poison" bottle is perfume. My wife has that, recently bought a set of big kitchen knives, has started studying Muai Thai, and keeps asking me to make a will. I'm getting nervous...

[jcoldslabs]

A little texture study I rigged up last night with a rock and some odd baking form I picked up at the thrift store.

Pacemaker Speed Graphic, 210mm f/5.5 Hugo Meyer Doppel-Anastigmat, T-Max 100 (expired 1999).


http://www.kolstad.us/ebay/4x5-TMX100%2899%29-Bombe-01b.jpg

Jonathan

[Corran]

Whoa, that's trippy. It almost looks like a fisheye shot or something. Very 3-D. I like it!

[SLVRGLTN]

A little texture study I rigged up last night with a rock and some odd baking form I picked up at the thrift store.

Pacemaker Speed Graphic, 210mm f/5.5 Hugo Meyer Doppel-Anastigmat, T-Max 100 (expired 1999).


Johnathan,

I like it as well I think cropping out the corners might make it look more interesting can you crop it out and show us what it will look like? Thanks Brian


http://www.kolstad.us/ebay/4x5-TMX100%2899%29-Bombe-01b.jpg

Jonathan

[jcoldslabs]

I like it as well I think cropping out the corners might make it look more interesting can you crop it out and show us what it will look like? Thanks

I'm not sure which corners you want me to crop out. Just the top corners, like this?


http://www.kolstad.us/ebay/4x5-TMX100%2899%29-Bombe-01c.jpg



Or both corners, like this:

http://www.kolstad.us/ebay/4x5-TMX100%2899%29-Bombe-01d.jpg

Jonathan

[jcoldslabs]

Lastly, I want to say that I have no problem with people grabbing one of my photos, re-cropping it and posting the result. I find cropping to be a very difficult part of the image making process, so other people's takes on my photos in this way is always welcome. To that end, here is the full frame version that I started with. (This version doesn't have as many contrast tweaks applied as the versions above, either.)


http://www.kolstad.us/ebay/4x5-TMX100%2899%29-Bombe-01e.jpg

Jonathan


P.S. Sorry to clog the thread with so many versions of this shot. I'll stop now.

[Corran]

I like your first version, but the full shot is very nice too.

[SLVRGLTN]

Jonathan,

I think you have another image you can make with just the original objects and maybe a few other objects to add to it but yes the full crop is what I was talking about and I like it as you first done just trying to see if there was maybe another image in itself!

[jcoldslabs]

I like your first version, but the full shot is very nice too.

Thanks, Bryan. I'm still not sure. The square crop emphasizes the textures more, I think, whereas the full frame version emphasizes shape.



I think you have another image you can make with just the original objects and maybe a few other objects to add to it but yes the full crop is what I was talking about and I like it as you first done just trying to see if there was maybe another image in itself!

Thanks. I am going to play around with these things a bit more. There are some more photos to be made of the metal mold (http://www.etsy.com/listing/68664935/vintage-primitive-melon-bread-pudding), which apparently is for shaping ice cream or bread pudding.

Jonathan

[Peter Yeti]

Jonathan,

IMHO your first rendition was yet the best and I liked it the most. It has just the right tension, balanced but not boring. A lot of this is lost if you crop closer. The full frame is nice, too. It has its own merits being very neutral or even documentary. But I like your first crop more because it seems more intensive or concentrated to me.

[jcoldslabs]

IMHO your first rendition was yet the best and I liked it the most. It has just the right tension, balanced but not boring. A lot of this is lost if you crop closer. The full frame is nice, too. It has its own merits being very neutral or even documentary. But I like your first crop more because it seems more intensive or concentrated to me.

Thanks, Peter. It is always interesting to know other people's perceptions of my work. Sometimes, as in this case, my own preference is parallel to that of others, but at other times my favorite crop or approach is opposite of what other people think and prefer.

Jonathan

[Colin D]

Here is another from the same day. Not so nice, but different in that as I was trying to introduce a simple narrative, like they might do in an advertising shot. If it includes story is it still "still life"? Critique welcome.

http://i1120.photobucket.com/albums/l496/Tim_Meisburger/2013-1003a_zps13e2c38d.jpg

Tim, I like your second shot a lot, greater harmony between the elements for my way of thinking. In the first one there is a disconnect with the dark bottle on the right and the pot on the left, sort of dissects the scene for me making it less appealing.

[Miguel Coquis]

14x17" neg.
CZJ 300 mm f:32 t:35 min
available light, noon
14x17" neg.
diluted dev
t: at feeling....

[jcoldslabs]

Another pass, softer this time.

Pacemaker Speed Graphic, unmarked loupe for a lens, T-Max 100 (expired 1999).


http://www.kolstad.us/ebay/4x5-TMX100%2899%29-Tangerines2.jpg

Jonathan

[jcoldslabs]

Since I was shooting the three tangerines (above) under 3200°K lights, I was curious how expired tungsten film would look and so I opened my precious last box of Polaroid Type 64. The colors turned out a lot less 'balanced' than expected.


http://www.kolstad.us/ebay/T64---Tangerines-r2a.jpg

Jonathan

[sly]

Johnathan, the B&W one is beautiful.Works much better than the one with the rock, which I liked best uncropped.

[jcoldslabs]

Johnathan, the B&W one is beautiful.Works much better than the one with the rock, which I liked best uncropped.

Thanks. I am much happier with this attempt, too. I also shot a "sharp" version of this one, and it is really unsatisfying. On the ground glass the sharper one seemed more appealing, but not so in reality.

Jonathan

[jkcz]

14x17" neg.
CZJ 300 mm f:32 t:35 min
available light, noon
14x17" neg.
diluted dev
t: at feeling....

Nice shot, Miguel.

[Larry H-L]

http://www.eyelement.com/photos/five_apples.jpg

Five apples: Ikeda 4 x 5, 210mm Symmar-S, Ilford Commercial Ortho, HC-110

[Larry H-L]

http://www.eyelement.com/photos/pans_fork.jpg

Pans and fork: Ikeda 4x5, 210 Symmar-S, Ilford Commercial Ortho, HC-110

[jon.oman]

Larry H-L, nice images!

[mäkelä]

91393

Cambo 4x5, Symmar 5,6 180mm. Fomapan 200.

[Jim Cole]

91393

Cambo 4x5, Symmar 5,6 180mm. Fomapan 200.

Nicely done!

[Miguel Coquis]

Nice shot, Miguel.

Thanks Jiri !
Very nice pics at your site !!!

This one was build in memory of few friends that pass recently....
full 14x17" scan neg
Dellor 360 mm f:4,5
Exposure/dev at feeling

[jcoldslabs]

Found this arrangement of objects on my back porch as I was tidying up today. I don't recall ever owning a smiley button, but there it was.

Pacemaker Speed Graphic, 18cm f/4.5 Xenar, TMY (expired 1998).


http://www.kolstad.us/ebay/4x5-TMY%2898%29-Smiley2.jpg

Jonathan

[Steve M Hostetter]

Dog, 11x14 paper neg scanned inverted, 2 min. Dectol, 405mm Kodak Portrait lens at F4.5

[jcoldslabs]

Found this dollar sign placard while walking the dogs years ago. When I cam home I propped it up on a window ledge in the kitchen and it's been there ever since. This is just another in a long line of photos designed to document the everyday aspects of my life, the things I no longer notice until I start pointing a camera at them.

Pacemaker Speed Graphic, 15cm f/4.5 Zeiss Tessar, 4x5 Plus-X (expired 1975).


http://www.kolstad.us/ebay/4x5-Plus-X%2875%29-Dollar-Sign2.jpg

Jonathan

[JoeV]

Nice image, Jonathan. I find it worthwhile to document one's private life in photographs.

~Joe

[Colin Robertson]

Miguel, exquisite.

[jcoldslabs]

Nice image, Jonathan. I find it worthwhile to document one's private life in photographs.

Thanks, and I agree. The documentary approach doesn't always make for the most dramatic images, but they end up having a lot of meaning to me personally, which is what matters the most to me.

Jonathan

[taulen]

http://taulen.org/diverse/bilder/forum_bilder/8x10_test.jpg
8x10 Century Studio, Fomapan100, Kodak Portrait 305mm

[jcoldslabs]

Two identical shots taken in sequence with two very different films. The first was shot on T-Max 400 (EI 250) that expired in 1998 @ f/22, and the second was with Kodak Contrast Process Ortho (EI 25) that expired in 1955 @ f/8.

Pacemaker Speed Graphic, 15cm f/4.5 Zeiss Tessar


http://www.kolstad.us/ebay/4x5-TMY%2898%29-Fluffy-Seeds.jpg


http://www.kolstad.us/ebay/4x5-Process-Ortho-Fluffy-Se.jpg

Jonathan

[Ivan]

Jonathan,
You are amazing, everytime I like a photo on this site, it comes with your name right next to it.
Thank you for making such wonderful and un-pretencious pictures.

[jcoldslabs]

Everytime I like a photo on this site, it comes with your name right next to it. Thank you for making such wonderful and un-pretencious pictures.

No need to thank me; I do it because I love it. But many thanks to you for the kind words!

Jonathan

[jcoldslabs]

Still raiding my wife's collection for still life subjects. In this case a vintage sterling coffee pot, tarnished all to hell because no one has felt like polishing the silver lately. That works out because, for photos at least, I like silver better when it's tarnished.

Pacemaker Speed Graphic, 15cm f/4.5 Zeiss Tessar, TMY (expired 1998).


http://www.kolstad.us/ebay/4x5-TMY%2898%29-Teapot-Shadow.jpg

Jonathan

[Corran]

Love the shadow and tones on the silver!

[jcoldslabs]

Thanks, Bryan. I had to REALLY pull this one since the highlight areas on the right side of the coffee pot ended up on Zone IX. I wasn't sure developing for 4 1/2 minutes at 60°F would work, but it did without any uneven development to boot. This is the first time I experienced significant shadow area contraction, though, as you pointed out to me happens with T-Max. It all worked out, but next time I would give it half a stop more exposure.

Jonathan

[Corran]

Cool, wow, 4.5 minutes that's short!

[Peter Mounier]

That's beautiful Jonathan!

[Ken Lee]

Still raiding my wife's collection for still life subjects. In this case a vintage sterling coffee pot, tarnished all to hell because no one has felt like polishing the silver lately. That works out because, for photos at least, I like silver better when it's tarnished.

Pacemaker Speed Graphic, 15cm f/4.5 Zeiss Tessar, TMY (expired 1998).


http://www.kolstad.us/ebay/4x5-TMY%2898%29-Teapot-Shadow.jpg

Jonathan

Bravo !

[jcoldslabs]

Peter, Ken--thanks.

J.

[Peter Yeti]

Jonathan, this has a nice Zen feeling. I like it and I liked the furry flowers as well.

[Professional]

I am not sure what is wrong, but that great shot Jonathan, the wrong thing is that i saw it on my Mac computer with sepia tone, and here on my PC laptop it is B&W, so i have to check again my Mac computer and see what's wrong or if you replaced it just a while.