Luft93 Loc: Finger Lakes, NY

That’s,a Pacemaker, either Speed or Crown. Shot for student pubs all four years of college. carried 4x5 custom Speed Grsphic all the time, 152 mm Ektar,Graphlex back with 12 septum Graphlex magazine.
Leather bag at side for film change.

Class of 1950 Rensselaer Poly.

GoofyNewfie Loc: Kansas City

No worries.
As happens here so often, multiple threads on the same subject come up.
David Burnett has been identified in those already.

Interesting choice of camera though for these days.
Check out the link i provided to see his motivation fir it.
Ive used several iterations of the Graphic, including the Super Speed.
Never tried to shoot one in these circumstances.

PAR4DCR Loc: A Sunny Place

Saw that also E. L.
Amazing

Don

E.L.. Shapiro Loc: Ottawa, Ontario Canada

Good "detective" work and thanks for for the link! It's probably a Speed Graphic with the back shutter in use. He's got a vintage portrait lens in a brass barrel- perhaps an old Helliar. Thereis no optical viewfinder in the shoe and the wire-finder is not extended. Seems he is using the ground glass to focus and compose.

His work is very different from the usual political press coverage. Interesting stuff- neat compositions and some intentional motion blur.

GoofyNewfie Loc: Kansas City

You’re…..uhh, welcome.

E.L.. Shapiro Loc: Ottawa, Ontario Canada

I remember the Graflex Magazines well. One of my first duties at my first studio job was to maintain dozens of those magazines. Those magazines pre-dated the Graphics. The septums were rather thin and had to be carefully re-flatted if they became bent. In some of the magazines, the bags b became worn. The repair shop that services our camera's custom-made replacement bags out of a synthetic material that was light-thight.The newer camera had the Grafloc back and all the magazines were eventually replaced by the Grphmatics.

GoofyNewfie Loc: Kansas City

This is really interesting.
Wasn't aware there was a magazine before the Graphmatic.
Will look more. Fascinating mechanism.

Different subject- i thought the shutter cocking of the SuperSpeed Graphic was kind of cool. Grab the “lens hood” and rotate to cock.

E.L.. Shapiro Loc: Ottawa, Ontario Canada

That first job on mine was in a studio that specialized in very elaborate and long-running ethnic weddigs. The standard gear was a Speed Graphic, a heavy Ascorligh flash unit and a case full of Alkon film holders- they were made of metal- not plastic or wood. We needed at least 60 holders(2-up) to cover a job. That case had to weigh 50 lbs. Also, flipping holders to capture fast-moving events was quite the juggling act. So, we used magazines. Then came Graphmatics Anotere company came out with a similar design called the Kinematic which held 12 septums, however, the were many design flaws. They jammed and worse, the entire drawer would dislodge sending the septums and film to the floor- not good! The boss had purchased a few dozen of these holders and after a few disastrous incidents, they all went to the junk heap. Of course, any remaining Kinematics were not to be used. I decided to pull one from the garbage can, fixed it and secretly got it to work. I used it for years and kept it as a souvenir. Whenever some of my young trainees complain about their big, bulkey and heavy DSLRs and crave a lighter mirrorless model, I ask the if they could imagine carrying around dozens of these holders and a camera and powe-pack strobe weighing in at 15 lbs!

I was a skinny kid but had developed forearms like Popeye the Sailor, just from hauling around that rig!

As for the cooking mechanism on the Super Speed Graphic- also bad news. The old Rapex shutter that was popular on the early Crown Graphics was a disaster. It was known to actually fall apart at the 1/500 sec. settings- kinda shatter. Oldtime weddingg shooters were really paranoid about newfangled untested equipment, Many were very rough on their gear. A few brave souls went for the 1/1000 sec. leaf shutter on the Super Speed model. They used the maximum speed to enable a wide aperture for "bokeh" although we did use that term back in the day. Besides, the large lens shade/coking lever provided lots of torque and many of us had "wrench hands"! Yup! It was the return of the curse o the Rapex shutter and we certainly kept the repair guy busy. The Super Speed became "Vorbotten"!

GoofyNewfie Loc: Kansas City

I only used the super speed while at the USAF photo school in Colorado back in 1974. Fancier isn't always better, i suppose. The official medium format camera of that time was a Koni-Omega Rapid. An odd design which i disliked.

E.L.. Shapiro Loc: Ottawa, Ontario Canada

Graflex followed me into the army as well. At the U.S. Army Pictorial Center where I took someof my aerial photography training, there were tons of old Speed Graphics- probably in storage since WW II. They were painted OD Greenish and had mil. speck numbers on the serial number plate. This was in the 1960s Vietnam Era and most of the cameras were no longer in use. The Combat Graphics was retired as well.

The Koni-Omega was just being introduced and was being considered the official MF camera. That camera was an updated version of the Simmons Omega 120 that was built like a brick outhouse. It was a big ugly thing that was built in the enlarger factory and for some reason, only yielded 9 6x7cm. exposures on a 120 roll. For some reason, they finally decided on the Graflex XL system, at least for some light aerial work, but the Koni turned out to be more durable in rough usage. The Koni had a flatter film plane pressure plate that would retract while the film was transported and pop back into to register once the film was in place. I loved the plunger transport!

Our Aireal cameras were custom-made no-name remote-controlled units, possibly made by the Fairchild Corporation. They were installed in the wings and bottom of the fuselage on some fixed-wing aircraft and other were the old K- series man-operated 10x10 cameras. We use the XL in helicopters for low-altitude reconnaissance with specially spooled 70mm Inferred Ektachrome.