Have you Ever Used a Large Format View Camera?
Sep 13, 2017 08:26:12 #
Brucej67 wrote:
Sorry, I didn't know 4X5 was a large format. Mine was 6X4.5.
4x5 inches vs 6x4.5 cm.
Wish we would have gone all metric....
Sep 13, 2017 08:27:41 #
Sep 13, 2017 08:31:08 #
Yes, several 4x5. Speed graphics and one cherry rosewood 20x24. That was one very beautiful camera!
Sep 13, 2017 08:35:18 #
Fmaxxxx
Loc: Marietta, GA
I still have a Zone VI 4X5 (from Fred Picker of Newfane, VT) replete with Honduran mahogany and gold-plated fittings. It's in retirement
but would make an attractive display camera -- if it had a lens board and lens!
but would make an attractive display camera -- if it had a lens board and lens!
Sep 13, 2017 08:37:00 #
Sep 13, 2017 08:41:12 #
Hi Chris,
Yes. I've been using a 4x5 field camera for over 12 years now. Just finished my next book THE ARTIST PORTRAIT PROJECT: 50 San Diego Artists...2006-2016. I used by 4x5 film camera for all of the portraits. I've attached the book cover to give you an idea of the project.
Cheers,
Jennifer
Yes. I've been using a 4x5 field camera for over 12 years now. Just finished my next book THE ARTIST PORTRAIT PROJECT: 50 San Diego Artists...2006-2016. I used by 4x5 film camera for all of the portraits. I've attached the book cover to give you an idea of the project.
Cheers,
Jennifer
Sep 13, 2017 08:42:15 #
Yes, I've used an 8x10 Deardorff view camera, a 4x5 Graphic View camera, and 4x5 Speed Graphic and Crown Graphic cameras--even though technically the Speed and Crown Graphics were not view cameras but "Press Cameras." I taught at the Navy's Photo "A" School at NAS Pensacola, FL in 1966, where I taught students how to use the Speed and Crown Graphics and the Graphic View camera.
I found that using the 8x10 Deardorff required a change in my photography. I routinely used 35mm Nikon F cameras (with film of course, in those days), and would generally point, focus, and shoot, squeezing off maybe two or three frames. With the Deardorff, thing were more deliberate. First, selection of a viewpoint. Then set up the wooden tripod. Next, attach the camera to the tripod. Then focus carefully, using the ground glass to bring the upside-down image into proper clarity on the ground glass, under the great black focusing cloth--a shroud that enveloped me and the camera. Then close the shutter, set the f/stop, insert the great double-sided film holder (2 sheets of film each), pull the dark slide, and use the cable release to make the exposure. I found I had to use a deliberate routine in operating the 8x10 equipment; deciding that a scene was worth the effort was only the beginnng.
Then process the sheets of film in the darkroom. I usually developed the large, floppy 8x10 sheets in trays, using a combination of time and temperature and a very short inspection of the developing image using a very dim green light on the developing panchromatic sheet film. We developed 4x5 sheet film using hangers and square, gallon tanks of the required chemicals.
8x10 black and white negatives were generally printed as contact prints, although we had a VERY large enlarger that would handle the 8x10 negatives. We could product black and white prints of up to 20x24 inches on cut sheets of B&W double-weight printing paper. Processing sheets of photo paper that size was an adventure, requiring re-configuration of the print darkroom for half a day.
Today, I simply point my Nikon D-810, my grandchildren smile, and I'm generally please with the results.
I found that using the 8x10 Deardorff required a change in my photography. I routinely used 35mm Nikon F cameras (with film of course, in those days), and would generally point, focus, and shoot, squeezing off maybe two or three frames. With the Deardorff, thing were more deliberate. First, selection of a viewpoint. Then set up the wooden tripod. Next, attach the camera to the tripod. Then focus carefully, using the ground glass to bring the upside-down image into proper clarity on the ground glass, under the great black focusing cloth--a shroud that enveloped me and the camera. Then close the shutter, set the f/stop, insert the great double-sided film holder (2 sheets of film each), pull the dark slide, and use the cable release to make the exposure. I found I had to use a deliberate routine in operating the 8x10 equipment; deciding that a scene was worth the effort was only the beginnng.
Then process the sheets of film in the darkroom. I usually developed the large, floppy 8x10 sheets in trays, using a combination of time and temperature and a very short inspection of the developing image using a very dim green light on the developing panchromatic sheet film. We developed 4x5 sheet film using hangers and square, gallon tanks of the required chemicals.
8x10 black and white negatives were generally printed as contact prints, although we had a VERY large enlarger that would handle the 8x10 negatives. We could product black and white prints of up to 20x24 inches on cut sheets of B&W double-weight printing paper. Processing sheets of photo paper that size was an adventure, requiring re-configuration of the print darkroom for half a day.
Today, I simply point my Nikon D-810, my grandchildren smile, and I'm generally please with the results.
Sep 13, 2017 09:00:40 #
Sep 13, 2017 09:05:51 #
Sep 13, 2017 09:11:42 #
MCHUGH
Loc: Jacksonville, Texas
Yes I have used all three sizes. Love the control you can get with a view camera. Used a view camera regularly when I was in business. With the swings, lifts, and tilts it really saved a lot of time in the darkroom and seeing what was in and out of focus as well as composition and perspective made a world of difference. Post processing was not as easy in those days as today. Much easier to retouch a big negative. The bigger the film the better the final print.
Sep 13, 2017 09:11:51 #
freddusel wrote:
It's not the camera, it's the concept and the execution that produces a compelling print
Very profound statement !
I have shot 8X10 - wood field camera with 190 W.F. Ektar - and lots of 4X5 Crown Graphics. Recently purchased a Super Graphic to re-new my film endeavors - the Super is such a great camera ! Will be using 100 W.F Ektar and 120 Linhof Angulon.
Sep 13, 2017 09:24:40 #
MCHUGH
Loc: Jacksonville, Texas
MCHUGH wrote:
Yes I have used all three sizes. Love the control you can get with a view camera. Used a view camera regularly when I was in business. With the swings, lifts, and tilts it really saved a lot of time in the darkroom and seeing what was in and out of focus as well as composition and perspective made a world of difference. Post processing was not as easy in those days as today. Much easier to retouch a big negative. The bigger the film the better the final print.
The three sizes I owned and used were 4x5, 5x7, and 8x10. The old brain has too many senior moments these days and I fail to tell the sizes. I had a 6x7 film back that I could use on the 4x5 that I often used with all the controls the view camera offered.
Sep 13, 2017 09:27:42 #
When I stared out in professional photography, large format was commonplace in every studio. I lugged a 4x5 Linhoff to weddings and location assignments- built up forearms like Popeye the Sailor-man without even going to the gym.
Up until 9 years ago, I was doing all my major commercial work, architecture and art reproduction work in 4x5 and 8x10 transparencies- lots of swings and tilts! I still do the occasional " Old Hollywood" style portraits on large format film with vintage Imagon lenses and hot lights- I like the look!
I went to medium format, Hasselblad and Mamiya RB systems for a lot of years.
Nowadays it's all done on digital, of course. I kinda miss the "big guns" and the smelly darkroom every now and again- or is that false nostalgia!. Well- I still have most of the gear and digitized some of it.
Check out the pictures- A light box instead of a monitor screen. A "portrait" of my old press camera and "strobe"-weighed in at 13.5 lbs. My old time gear.
Up until 9 years ago, I was doing all my major commercial work, architecture and art reproduction work in 4x5 and 8x10 transparencies- lots of swings and tilts! I still do the occasional " Old Hollywood" style portraits on large format film with vintage Imagon lenses and hot lights- I like the look!
I went to medium format, Hasselblad and Mamiya RB systems for a lot of years.
Nowadays it's all done on digital, of course. I kinda miss the "big guns" and the smelly darkroom every now and again- or is that false nostalgia!. Well- I still have most of the gear and digitized some of it.
Check out the pictures- A light box instead of a monitor screen. A "portrait" of my old press camera and "strobe"-weighed in at 13.5 lbs. My old time gear.
Sep 13, 2017 09:30:51 #
ChrisT wrote:
If so, what size was it? 4x5, 5x7, 8x10, 11x14, 16x20, 20x24, 30x40 ?
Calumet 4x5. It was quite useful for its swings and tilts, to correct perspective, throw parts of a scene out of focus, etc. Other than that, I hated working that way. Too sloow for me. But the big transparencies did make nice poster-size color separations.
Sep 13, 2017 09:31:30 #
GoofyNewfie wrote:
According to his son, Michael, Ansel used a 6x6 Zeiss Ikon Super Ikonta B and Hasselblad as well.
I attended one of Ansel's talks in the '70's and was amazed at how modest he was and willing to share.
I believe one of our members went to one of his hands-on workshops.
I attended one of Ansel's talks in the '70's and was amazed at how modest he was and willing to share.
I believe one of our members went to one of his hands-on workshops.
Yes, in his later life Ansel used Hassy and Polaroid ! ....
If you want to reply, then register here. Registration is free and your account is created instantly, so you can post right away.