Archive for the ‘6×9 and large format’ Category

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The advantage of a mechanical camera

2012/01/30

Today it happened again.

I pulled out my Underwater Kinetics from the cabinet, placed it onto the table and opened the latches. Ahh, the scent of leather and film welcomed me. Made me open the case and revealed the sleeping beauty. My Arca Swiss. The jewel, the precision tool.

I removed it from the case and mounted it onto the tripod. Click – the adapter locked in. Took the cap off the lens, opened the shutter, set the aperture to 5.6 and focused the object. Removed the ground glass, inserted a Polaroid back (ok, an Instand film back, because the only supplier left is Fuji, and they have named their ‘pola’ ‘Instant Film’), closed the shutter, set the aperture to the meter reading, cocked the shutter, pulled the dark slide and triggered the shutter. An almost not noticable, soft ‘click’ signaled the end of the process. No noise when the gears move soft as silk along the rack while focussing. A soft gliding of the standard base for shift, a firm movement for swings and tilts, rise and fall.

120 seconds later I had my ‘pola’ in my hands. Geez, it’s always a great moment and a thrilling experience to have an ‘instant image’ in my hands. Without having to worry about empty batteries, failing electronics, front or back focus, menus, faulty circuits, etc.

The ‘Pola’:

Update 2012-08-16 – The scanned slide:

The ‘Pola’:

Update 2012-08-16 – The scanned slide:

I mean, just imagine that I can store the camera for years in the protective case, pull it out anytime and anywhere, compose a scene and make an image, provided I’ve stored it in a dry place. No, the shutters won’t go mad or become oily after a year if treated with care. The gears for the standards won’t go mad if treated and maintained well with lithium grease. Everything is running smooth as ever and always.

Anybody out there who can duplicate this unique experience with a digital camera?

To be fair, each system does have its advantages and draw backs, but I just love the mechanical precision devices to make (and not take) the images and photographs I envisioned in my mind.

Let’s keep the good times with good tools rollin’.

First image:

My precision imaging toolbox filled with an Arca Swiss monorail camera, 3 different roll film backs, a ‘pola’ back, 2 different light meters, 5 fine Rodenstock and Nikon lenses, mirror viewfinder box, cable releases, clamps and a self made and storm proof lens shade. Behind the foam padding is a Kodak grey card, a rail extension, some spare parts like screws and washers for the gears, screwdrivers, spare batteries for the meters…

Second and fourth image:

Scanned Fuji Instant images

Third and fifth image:

Scanned slides

Sixth image:

The Arca mounted on a tripod with a geared head

all photographs © 1999-2012 by jens g.r. benthien


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20×24 Studio Photography

2012/01/30

Another great studio with a great Polaroid camera is 20×24 studio photography.

Watch the video about the camera and the film:

iaptv091017.mp4?sid=3c8c05921fc1302c509592d0c1f3eee0&l_sid=19968&l_eid=&l_mid=1873564&expiration=1327955430&hwt=8d7a8916b01bca97e5de60d61ca353a9

Unfortunately I can’t embed any videos into my blog at this moment. My apologies.

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The Photo Palace Bus • ॐ • In Support of Analog Photography

2012/01/30

I’ve just received this info about a fantastic project a couple of hours ago:

The Photo Palace Bus • ॐ • In Support of Analog Photography

http://www.kickstarter.com/projects/351976604/the-photo-palace-bus

Please support this project if you are interested in film and analog photography!

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The Photographic Process

2012/01/27

The Photographic Process – as John Chiara from San Francisco makes his vision come true:

http://www.youtube.com/watch?v=9xYWehyfFcM

I really admire the people who build their own cameras and make their dreams come true!

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Simply breathtaking!

2012/01/27

This is the most challenging project in photography. And it’s made with film.

http://www.thefpac.org/

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Large Format Photography – Pros and Cons

2012/01/26

Ebony SV45TE – a dream of a LF camera, made of ebony wood and solid titanium

image curtesy of ebonycameras.com

You consider to discover the world of large format photography, and now you are desperately looking for some help and information. Hm, sounds great, and sounds like the same adventure any LF photographer went through.

I’ll write some stuff about LF photography over the next weeks (or months), and include some links to interesting sites on the net. Don’t expect to see some recommendations about books here, because I really don’t know which one to list here. I guess the list of books about LF photography is pretty long, but not as long as the ‘How to’ books for the digital cameras for nobrainers.

:-)

Let’s start with a PDF:

http://www.viewcamera.com/documents/VC_Getting_Started.pdf

http://www.largeformatphotography.info/why.html

These two articles cover the basics about LF photography. If they should fire up your enthusiasm, I really urge you to read this:

http://www.largeformatphotography.info/mistakes.html

It’ll set you back a bit in case you need a cold shower, just because you thought LF is ‘cool’ and ‘hip’.

More links with more information:

http://lens.blogs.nytimes.com/2009/05/17/essay-slow-photography-in-an-instantaneous-age/

http://www.lonoveracker.com/equip.html

http://benneh.net/blog/2008/06/29/tips-on-large-format-photography-what-they-dont-tell-you/

http://www.iconicphoto.com/pdf/the_resurgence_of_large_format_photography_0906.pdf

Shooting Large Format Analog: Better Than Digital

Landscape Photography Articles

The 5×7 format in practice

Steve Daniels Photography – Large Format Photography

Who’s who of large format cameras

A Beginner’s Guide to Large Format

Introduction To Large Format, Part I

Julian Boulter – Large Format Page

Brett Deacon Photography – Photographic Equipment and Technique – Large Format Film Photography

Landscape Photography

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Large Format Photography

2012/01/01

I’ve set up a separate blog about large format photography. However, it’s in German.

If you should be interested, click here

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Focal length comparison 6×9

2010/11/11

Just a quick comparison of some focal lengths of some of my prime lenses:

Table for object distance and object size in relation to the lens:

Lenses for the Arca Swiss are Rodenstock/Linos lenses, the Plaubel features a Schneider lens, and the Fujis the EBC Fujinon lenses.

I’ve calculated this chart with the help of Michael Hohners info page

It’s amazing that most of my focal lengths are in the range of 20mm to 105mm compared to 35mm film. To be honest, I don’t use the long lenses of the 35mm system too often, even though they deliver a fantastic experience. Well, a dedicated sports photographer would prefer long lenses over wide angles.

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SuperClass & SuperGlass

2010/10/25

Part of my perfect equipment for perfect images:

Arca Swiss Monorail, here with a 5.6/135mm Nikkor-W lens

Fuji GW690 III with EBC Fujinon 3.5/90mm

Fuji GSW690 III with EBC Fujinon SW 5.6/65mm

Plaubel 69W ProShift Superwide with Schneider Super-Angulon 5.6/47mm and center filter

Nikon F4s with Nikkor AIS 2.5/105mm

Nikon FE2 with MD-12 and Nikkor AIS 4.0/300mm

All of them are reliable tools for perfect photographs. All cameras and lenses are CLA’d once per year. [ CLA = Clean Lubricate Adjust ]

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going wide: Plaubel 69W ProShift Superwide

2010/10/08

Sometimes wide is not wide enough.

image © 1999-2011 by jens g.r. benthien

The Plaubel 69W ProShift Superwide with the Schneider Super-Angulon 5.6/47mm and center filter

The tiny bright spot on the lens is a reflection of the 3rd lens element behind the center filter. If you have a calibrated monitor, you can actually see the front lens element behind the filter.

This camera is for sale now

When wide is not wide enough, it isn’t a problem with 35mm systems, but with medium format and particularly the exotic format of 6×9. Being a specialist for architecture, interiors, documentations, land & city scapes, I have always been looking for something unusual. Some day I stumbled across some information about the Plaubel 69W ProShift Superwide with a Schneider Super-Angulon 5.6/47mm. I think it is the most exotic professional camera on this planet. A couple of years ago, just by chance, I met another photographer who wanted to get rid of this beauty because he never used it!

It turned out that the S-shaped back from the Mamiya Press or Universal 23 was a perfect fit for the Plaubel – a wise choice from Plaubel to use this back. It delivers a film flatness second to none – a very important criterion for precision and sharpness.

image © 1999-2011 by jens g.r. benthien
Plaubel 69W ProShift Superwide with center filter and polarizer mounted with a step-up adapter

image © 1999-2011 by jens g.r. benthien
Plaubel 69W ProShift Superwide with center filter and step-up adapter

The Plaubel 69W is a very exotic camera. It’s not a rangefinder, it’s a shift and rise camera with a more or less simple Albada viewfinder: The Van Albada viewfinder uses a semi-reflective coating to display the frame lines that are painted on a tiny piece of plastic. However, the construction of the Plaubel 69W is somewhat different to other cameras, because the viewfinder follows the lens movements. In addition you can push a little lever to adjust the viewfinder for shorter distances. The lever raises the rear end of the viewfinder. I’ve checked it and noticed that it’s a very precise movement (see the tiny image in the second brochure sample).

On top and on the left are very precise bubble levels mounted into the full metal body. On the back you’ll find a release button to wind the film with two strokes per image, and on the left there is a memo dial and the frame counter. The film is transported from right to left, though the design looks different.

[ The S-shaped Mamiya film holder ]

The rise and shift mechanism had been patented. Basically it’s a brass plate moving on roller bearings on the square size camera body. Very simple, yet very effective. I don’t know how they managed to get the construction light tight, but rest assured – it definitely is tight. Turning the lever on the front will release the lock of the front plate so you can move it either up (rise) or left (shift). As soon as the plate moves you’ll see some scales with the degree of your movement. Though somewhat limited to ‘up’ and ‘left’, this function is sufficient for most architectural and interior shots. If I need ‘down’ and ‘right’ I just turn the camera over and mount it with a custom adapter upside down.

[ shift to the left, the finder follows the movement, center filter attached, mounted on a panorama adapter ]

[ Front rise including angle indicators. Again the finder follows the movement of the lens plate ]

You won’t find a built-in light meter – it wouldn’t make sense anyway for a camera that will – in most cases – be mounted on a rock solid tripod. The Schneider Super-Angulon 5.6/47mm comes with a dedicated center filter which ‘eats up’ two f-stops. That means if your light conditions are f=11 and 1 second, you need to increase the exposure to 4 seconds to compensate for the center filter.

The excellent Schneider Super-Angulon 5.6/47mm delivers distortion free and absolutely flare free images with a spectacular color rendition even if shot directly into the sun. It is a fantastic lens for medium format photography.

As Gary Yeowell wrote on May 05, 2005; 02:25 p.m. at photo.net:

I had a Plaubel 69 Proshift about 8 years ago and wish to heck I had kept it, the lens was stunning!

Cerro Gordo, Andalucía, view to Málaga. Image cropped to an aspect ratio of 2:1 · Plaubel 69W ProShift Superwide

ermita · dilar, andalucía · Plaubel 69W ProShift Superwide

la seu · palma [crop 2:1] · Plaubel 69W ProShift Superwide

Distance to the building complex ~ 60 meters, length of building complex incl. the one at the left ~ 220 meters

bridge · costa del sol · Plaubel 69W ProShift Superwide · [crop 3:1] · Fuji Provia 100F scanned with a Nikon Coolscan LS 9000 ED @ 4000 ppi @ 48 bit color depth.

If you print this image at a size of 3,4 meters x 1,17 meters or 11,16 feet x 3,83 feet, you’ll end up with the same resolution as the tiny part of the 100% crop below. You really think a digital cam can do it better? I doubt it.

bridge · costa del sol · Plaubel 69W ProShift Superwide · [crop 100% - building in the center]

Plaubel 69W ProShift Superwide

– all photographs © 1999-2010 by jens g.r. benthien –

See more images of the Plaubel 69W ProShift Superwide here.

The original brochure from 1984

If you want to learn more about other 6×9 cameras, click here