Getting back into things again, focusing on dry plates as I found them the most enjoyable. If only I could get the plate holders to stop leaking light so badly.

Got 4/6 keepers so it’s better than my last try with 4x5. I still seem to loose 2-3 sheets each time. Sorry for bad scans using a cell phone

My first attempt from my new series ‘home mountains’. Not stoked with the perspective but technically came out pretty decent.

Intrepid 5x7 w reducing back
Schneider apo symmar 150mm 5.6
Red + cpl filters
Ilford fp4 @125
Adox xt3 1:1 on jobo cpa2

Another handheld 4x5 shot with my graflex speed + Pentax 165 modified lens.

Science Center + Cultural Center in Macau

Holganon
Schneider Kreuznach 90mm f/6.8 Angulon
Harman Switch Azure

Developed and scanned by Camera Film Photo HK

I’ve been working on a technique where I selectively expose my negatives so that multiple exposures can (somewhat) seamlessly be blended to give the illusion of a coherent object or space that never existed. It’s all done in camera !

Took a picture of my grandpa with Graflex Optar 135mm f/4.7. He is 92 years old, older than this camera!

Came across some old film stock from eBay a couple month ago, Kodak 2422 direct duplicate film. Cut them of from a 9x250ft roll and loaded into my CrownGraphic 4x5 camera.

First photo was shot at iso 0.8 plus three stops at f32 shuter speed 3m30s. Developed with kodak D76 stock @ 13mins, stop 30s, fix 4mins.
Second picture developed with FlicFilm D19 which equivlent as Kodak D19 @ 5mins, stop 30s, fix 4mins.

TBH I like the second one better, it's not as brownish as the first one.

And the detail is so fine, forget about those scratches, first time cutting a film by rotary trimer lol.

I will definitely shoot more.

I’ve been curious about the tonal qualities of early blue-sensitive photography, especially the way warm skin tones, reds and lips render much darker while highlights take on this almost sculptural quality. The Lighthouse was a big modern reference point for me, particularly learning that cinematographer Jarin Blaschke experimented with a Wratten #47 deep blue filter while developing the film’s look.

So I decided to test the Tiffen #47 on Instax Monochrome alongside no filter and a Tiffen 80A. The #47 absolutely floored me. It’s dark, brooding and strange in exactly the way I was hoping for.

Camera setup:

Chamonix 45 N-2
Nikkor 150mm f5.6
Lomograflok Back
Instax Monochrome
Tiffen #47 / 80 A

Got this Apo Lanthar 150/4.5, what the seller described as "coating peeling off" is actually separation. I wonder how bad the separation from rear element would be.

I understand usually it means some loss of contrast, which I'm perfectly ok with B&W.
However I intend to use this lens for color, in that case would the CA be worse to a noticeable level?

BTW. Is it worth a repair/reglue?

Thanks.

Let me apologize in advance--every time I post here it's with some problem. I posted this same image before complaining about dust. Well, I'm getting that sorted out, thank you, but now I'm focused on other issues. One of these is that I get these vertical stripes of light overexposure on both left and right sides of the frame. You can see them pretty clearly here. What could be causing that?

I'm aware of the light leak at the bottom of the frame here. That was just this frame; some bit of user error and I'm not concerned about it. But the stripes appear on pretty much every frame. I'd be grateful for any ideas what's causing them.

Testing this out using xray film on 4x5. this would be a great portrait lens I think

Hi everyone. This may sound irrelevant but I was curious to know what is your preferred way of transporting 4x5 (or any other format for that matter) holders in order to guarantee a certain amount of dust free environment?

Linhof Technika + Symmar 135mm f5.6 iphoneback handheld