really..............get your 'barrel lenses' out and just remove the old lens cap..........great results........Ilford Pan 50 works really well with thisQuote:
Originally Posted by jcoldslabs
best
andrew
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really..............get your 'barrel lenses' out and just remove the old lens cap..........great results........Ilford Pan 50 works really well with thisQuote:
Originally Posted by jcoldslabs
best
andrew
Thank you.Quote:
Originally Posted by OCM
You would need a 67/69/612 back adapter, remember PanF+ is only available in 120... For now, keep needling Simon at ilford about sheets.Quote:
Originally Posted by Andrew Plume
Thanks. That cloud definitely makes the shot, I agree.Quote:
Originally Posted by OCM
Thanks, Andrew. When you dig through an archive of 20+ years of material there are some hidden gems.Quote:
Originally Posted by Andrew Plume
Jonathan
Love your recent re-scans Jonathan.
I'm interested to see where I'll be in 15-20 years and comb through my folders.
You'll be surprised what slips through the cracks. Often photos that I considered "rejects" at the time seem much more worthy now. The difference, of course, is that I did not have a scanner for the first 20 years of my photographic career and as a result there are lots of neglected negatives and transparencies in my files that were never printed or even contact printed. You probably scan as you go; I wonder how that will affect your future archive in terms of buried treasures. Time will tell.
Jonathan
Here's a map + compass hike through a young forest, enjoying a 20-30 year break from the lumberjacks. (Cascade mountains, Wash. state)
I wonder if the trees have any inkling of their future doom?
The two Western Trilliums down there love moist forests like this in broken sun. Here's a crop with some added contrast. After the shot, I called it a day, cleared that spot in the center of the first image, and pitched my tent. The forest floor is so cushiony and comfortable, it's easy to fall asleep, but difficult to get up in the morning.
Tachi 4x5
Schneider XL 110mm/5.6
T-Max 100 (in T-Max rs)
Epson 4990/Epson Scan
My grandmother always scolded us that if we picked a trillium it wouldn't bloom again for 7 years. Can anyone validate that?
Heroique, I love the depth of your first shot.
Quote:
Originally Posted by Heroique
Interesting, I'd like to know about the 7 years too. I'm sure a botanist around here can say, but grandmothers are usually right. I do remember being taught it's bad luck to pick them – maybe because you have to wait until the lucky-7th year to see them again. Trilliums are also called "Wake-Robins," because they bloom just when the robins re-appear, or "wake up" for a new season. I read that in a book on plants, but I see it happen every spring, too. Another good reason not to pick them!Quote:
Originally Posted by Brian Sims
http://farm6.staticflickr.com/5457/9...6147aeb7_c.jpg
Escarpe de la Puebla de Albortón por Omar Chami Photography, en Flickr
Fomapan 200 Creative developed with Fomadon Excel stock 6'
Schneider Symmar-S 180/5.6
1/15 to F22 +yellow filter
Attachment 111523
One of my first exposures with my Kleffel & Sohn 13x18 Reisekamera from the 1890's. This is exposed using one of the two Kodak glass plates that came with it, expired in the 60's. 20 seconds at f64 in full sunlight. I now have one (1) 13x18 film insert but quite a lot of film. A bit tedious..
A link to a bigger version: http://www.flickr.com/photos/cheffal...7633223028868/
Wait, this is a glass plate? It's amazing!Quote:
Originally Posted by Cheffalo
I wish you had a longer focal length as I'm drawn to that fog and the bridge, is that the fog from age or actual mist? It's really nice.
Thank you! It was a sunny clear day so it's fog from the plate. You see some on the left side too, and some scratches. I like it and it gives a vintage look to the image.
I have a large print on a 40x50cm Ilford matt paper hanging on the wall, extremely detailed! I think the focal length in this Rapid Aplanat is 250mm. It doesn't say.
I wish to find more old Kodak 13x18 (or 5x7) glass plates one day.
I'm amazed that anyone is amazed that this is a glass plate! Glass plates went out of style because they were heavier and more expensive than sheet film. But no problems with film buckling or registry problems. It either went in the film holder correctly, or not at all. And archival? You bet!Quote:
Originally Posted by StoneNYC
this is a part of a series i have been working on for a few years called Rukam. Shot in Hiliwah in Saudi Arabia.
shot using a 4x5 chamonix and schnieder 72mm.
http://farm8.staticflickr.com/7385/1...ffc57ba2_b.jpg
Rukam 4 by Abdullah AlGarzai, on Flickr
I think their going out of style also had something to do with the fact they could break into little pieces and cut your hands...Quote:
Originally Posted by premortho
Oh I like this one a lot.Quote:
Originally Posted by algarzai
Well when I hear glass plate I think of collodion so I was a little confused, I didn't grow up in an era when glass plates even existed, so I was thinking it was some kind of collodion type of emulsion, but you're saying it was sort of more like film so I guess it's not as amazing it still shot in well-developed for such an old emulsionQuote:
Originally Posted by premortho
Well done this photograph. I've enjoyed with your flickr gallery.Quote:
Originally Posted by algarzai
Regards.
Omar.
Very nice, Abdullah. Nice shapes and tonalities in the rocks and dirt/sand.
[QUOTE=Heroique;1115743]
[snip]
After the shot, I called it a day, cleared that spot in the center of the first image, and pitched my tent. The forest floor is so cushiony and comfortable, it's easy to fall asleep, but difficult to get up in the morning.
Mm. Looks comfy.
They're fantastic. I have quite a few 9x12 glass plates from Gevaert, Agfa and Ilford in the fridge. Will try them out this spring.Quote:
Originally Posted by premortho
Interesting view!
StoneNYC
OCM
NancyP
thanks :)
Joshua Tree NP, January 2014. Tachihara 4x5, Schneider 90mm f/8, 320TX in Pyrocat HD/Glycol.
Attachment 111591
Yes, you really don't need a sleeping pad in these rainy forests.Quote:
Originally Posted by Joe O'Hara
You get a soft, springy, moss-and-fern "mattress" every time. ;^)
But for a tent spot, you do have to clear away water-logged logs which tend to disintegrate when you lift and move them. BTW, the slugs you find underneath are enormous in this part of the world. Like aliens from Mars. And by morning, they've already found a new home underneath your tent. Part of the wilderness experience!
Not sure what these are. They don't look like grapes to me, but what do I know?
Pacemaker Speed Graphic, 6.5" B&L Cinephor projection Petzval, Kodak Aerographic Duplicating Film (2421).
http://www.kolstad.us/ebay/4x5-2421-...mant-Vines.jpg
Jonathan
CoolQuote:
Originally Posted by jcoldslabs
Superb, Jonathan.
Excellent light and selected focus.
Hops?
Surely not in Portland! ;)Quote:
Originally Posted by Peter J. De Smidt
Thanks.Quote:
Originally Posted by StoneNYC
Thank you. The light was slightly diffused daylight, but the blue sensitive film, at least this particular emulsion, seems to keep bright sunlight in check. I'm still getting used to previsualizing the end result with this film. I am often surprised, which I like.Quote:
Originally Posted by OCM
J.
I think those are Blue Berry bushes.
What sort of speed do you use for the 2421 film?Quote:
Originally Posted by jcoldslabs
After some testing and additional shooting to verify it, I use EI 6 - EI 12. Given the blue sensitivity, for scenes lit by warm, late afternoon or morning sun I use EI 6, and for mid-day shots or on overcast days I use EI 12. (This is all with HC-110 1:39 in small rotary drums.)Quote:
Originally Posted by jp498
I really like the film, in part because it is not as natively contrasty as other orthochromatic emulsions I've tried. My only complaint is it's on a pretty thin base and can be hard to handle during processing.
Jonathan
Here's another one shot on that same ortho film in late afternoon sun.
Pacemaker Speed Graphic, 18cm f/4.5 Xenar, Kodak Aerographic Duplicating Film (2421).
http://www.kolstad.us/ebay/4x5-2421-EI8-Road.jpg
Jonathan
Nice grey tones and selected focus on the asphalt.
Well done, Jonathan.
Quote:
Originally Posted by jcoldslabs
Real nice lines, layers and depth. This works very well. Nicely done!
I was in Death Valley last weekend and visited Butte Valley. It was a bit of a rough road getting back there and I would not recommend it unless you have a high clearance vehicle and no loose teeth.
This is a view of Striped Butte in morning light.
Chamonix 4x5
Fujinon 240
Delta 100
Rollo Pyro
http://www.harleygoldman.com/images/...ButteWebLg.jpg
Quote:
Originally Posted by jcoldslabs
Interesting, almost dreamy look with clouds and background not sharply focused.
Nicely controlled focus between sharp road and soft background !
Dennis
Beautiful image. I like the way the clouds completely fill the sky in the upper part of the image and the light filters through the lower section of the frame between the ground formations, gently highlighting one side of the triangular butte. Lovely !Quote:
Originally Posted by Harley Goldman
Dennis
Sorry, I lost some of your original info in the quote.
I've always avoided the blue-sensitive stuff, thinking it would just automatically blow-out the sky, but clearly you've disproved that notion.Quote:
Originally Posted by jcoldslabs
Wonderful morning light, Harley! I am not familiar with Butte Valley. Eureka Valley was bad enough...normal clearance okay, but wash-boarded! I need to have my passenger door looked at -- something rattled loose and I can not open the door from the inside!Quote:
Originally Posted by Harley Goldman
Thank you.Quote:
Originally Posted by OCM
Thanks, Harley. The selective focus was more determined by practicality than aesthetics. I only had my Speed Graphic with me and without front and rear tilts there was no way I was going to get the whole scene in focus, so I went with a less literal interpretation.Quote:
Originally Posted by Harley Goldman
Thank you, Dennis.Quote:
Originally Posted by DennisD
The sky does blow out at times depending on conditions and will always be rendered lighter than with panchromatic films, of course. To be honest I thought there would be less tonality in the sky in this image, but slightly pulling the development seems to have helped. (For whatever reason this 2421 film stock responds really well to N minus development. I have rarely ever had blown highlights with it.) If you look at the shot I posted in the 'mistakes' thread from this same outing you'll see what the film did to a yellow road sign, though. Oops.Quote:
Originally Posted by Corran
Jonathan
I'm jealous of the image--what a classic-looking western landscape--and of your time spent in Death Valley. I was only there once on a school field trip in the early 80s and the only camera I had with me was a Kodak 126 Instamatic. I'd love to back with some LF gear someday.Quote:
Originally Posted by Harley Goldman
Jonathan
Amazing shadows, greys tonal and PDC.Quote:
Originally Posted by Harley Goldman
Nicely done!
I like it. nice lines and shapes and mood!Quote:
Originally Posted by Steve M Hostetter
Thanks jp,, I shot that in an old Italian WW11 prisoner of war camp (Atterbury) converted to a nature preserve w/ a 135mm f4.5 Meniscus at around f8 I think on 4x5" TXP 320
One from the first outing with my new 045N-2.. I've not shot film for a couple of years so it was great to be composing on the ground glass again...
My developer and fixer are both a couple of years old and I think the fixer has had it - its left some funny marks on the negs that I can't seem to clean off... Anyways, my first time shooting Fomapan 100, and first time developing it I feel I under developed...
Details:
Fomapan 100 Classic, Rodinal 100:1 for 25 mins @ 20°C with two agitations (one at 7 and one at 14 minutes, 10sec each)
1/15th @ f/22 - 90mm f/8 with a bit of rise, forward tilt and a very moderate swing.
Attachment 112013