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More Fun with Large Format Film Images!

Nokton48

Nokton48

Well-known member
8x10 to 5x7 Norma Special Bellows 1 by Nokton48, on Flickr


Norma Special Bellows arrived from the Custom Bellows goes 8x10 to 5x7, then the regular 5x7 to 4x5. Very Very stable. This combo is in the original Norma catalog. Shown with my 360 Componon enlarging lens. Mounted to the Norma board with a Durst enlarger "mounting cup" on the back. Repair Guru Ken Ruth suggested to me that I get all the Componons, that was a great idea. They were cheap at the time and quite usuable. The tripod is a FOBA C40 which is also in the original Norma catalog for use with the 8x10 Norma. SK Grimes made the tophat section of the lensboard with their CNC, copying original specs and then annodized it. I'll need something similar on front and back of this new deal. I have three C40 FOBA tripods, one has a rising triple center post. I think I will try that on the front of the camera, the center post will help as far as hooking front and back sections together straight and parallel? We will see. Mr. Wolfe set his camera up outside hundreds of times under windy conditions so I'm using the old photos as a guide. Also he used binoculars to establish camera positions.

So basically this will be the -back end- of the camera. Front end is ^^^
 
P. Chong

P. Chong

Well-known member
As alluded to in the Fun with Medium Format thread, here is my scan of the Dataran Merdeka in Kuala Lumpur, Malaysia. Fujichrome Provia RDP III. Sinar X, Nikkor W 5.6/180mm. Film was developed by local E6 lab. Scanned with Fujifilm GFX 50S II with Hasselblad HC 4/120.

DATARAN-MERDEKA.jpg
 
A

abruzzi

Member
Toyo 810M with some Catlabs 80. I've never done long exposures on film, and I wasn't expecting to this time either, but I saw this waterfall, and thought I'd try. This was metered at ƒ128 and 1 second exposure. Since I didn't know the reciprocity for Catlabs film I guessed at 4 seconds counted in my head (1 mississippi, 2 mississippi, etc..) It came out pretty well. 480mm Apo Ronar.

IMGP0609 copy.jpg
 
Nokton48

Nokton48

Well-known member
Adox Ortho PL25 5x7 Norma MicX 360 Apo Ronar by Nokton48, on Flickr

5x7 Sinar Norma #2 360mm F9 Rodenstock Apo Ronar barrel at F11 Adox 5x7 Ortho PL25 Yellow filter Broncolor C200 1500WS Monolight popped eight times into Broncolor Octobox 150 with supplemental diffusion. 4x6 foot foamcore fill right just out of the frame. Legacy Mic-X straight replenished mixed in 1999. 5x7 Contact Print on Arista RC #2 Dektol 1:2 . I shot one frame at four pops, and one at eight pops. The denser neg looks better to me. Canvas background is "Tim Kelly Gold Plaster" painted for me by Artist David Maheu. This is exactly why I need large strobes; shooting at EI 12.
 
Nokton48

Nokton48

Well-known member
5x7 PlusX 2402 Aero D23 5x7 Norma 500mm Tele Xenar by Nokton48, on Flickr

Kodak Aerographic Five Inch Plus-X cut seven inches, to fit a 5x7 Lisco Holder. 5x7 Sinar Norma with my newly CLA'ed Schneider 500mm Tele Xenar at F22. Hasselblad 40mm Distagon Yellow Filter jammed inside the lenshood, it fits! D23 1:1 8x10 Unidrum on Uniroller. 5x7 Contact Print on Arista #2 RC Dektol 1:2 The Tele-Xenar is quite sharp up front as you can see. I'm liking this film for 5x7, but I can also cut it to 4x5 or even 9x12cm. Like the tonality you get with the Aerial emulsion. Tim Kelly Inspired Broncolor Balloon 90 degrees left, lighting the entire set. Main light Broncolor C171 Monolight Pulsoflex Softbox, one stop brighter than the fill, 45 left to the set. Just out of camera shot 45 right, is a foamcore freestanding panel for passive fill. Finally, the creme on the sundae, is Broncolor C70 Monolight with Snoot and Handmade Grid from an olde Broncolor Honeycomb. Selecting lighting a small portion of the background. Just because
 
Nokton48

Nokton48

Well-known member
Makiflex Standard BandL Super Cinephor Linhof Graflex Back by Nokton48, on Flickr

This is my second Makiflex Standard, bought from a shoppe in Vienna. It has been heavily, professionally modified. Note the custom Side Handle. The Front Standard is HEAVILY MODIFIED, note the precision machine werk. Quite a bit of the camera has been removed! Right under the lens is a LENS SWING MECHANISM, which has a ball detent (NICE) and swings the front standard on the optical axis of the lens. Quite a bit of Swing is possible, seems very sturdy and built to last. The cool thing about the Standard Makiflex, is that the inside throat is more spacious, and has no cables getting ini the way of BEEG lens. This boat anchor of a lens, is a Bausch&Lomb Super Cinephor, 159.1mm F2.0, which is outrageously fast. It looks great I think on this camera, and it will get some use this Spring, I can tell you. It's going to be FUN. This is a olde lens meant for 70mm and 35mm Cinema Projection, like in a commercial theatre. Cool that it fits the Standard, but won't fit my Automatic Makiflex, for the above reasons. So this lens is an Uber Speed Light Sucker, great that I can swing the front, say like, when doing a portrait or still life. On the back is the Makiflex 4x5 Holder that takes Linhof Plate Holders, or Graflex Graphic Holders, with the flip of a couple of switches top and bottom. Linhof Holders are much thicker, and can also take planfilm or glass plates. They are mucho Deluxe :)
 
Nokton48

Nokton48

Well-known member
Petzval type unmarked brass projection lens Makiflex No iris by Nokton48, on Flickr

Unmarked Petzval type beautiful brass Projection Lens vintage late 1800's? Central stop removed, very swirly beautiful bokeh. I'd guess 200mm focal length, I wanted speed and I'd guess about F3.5 wide open. Sharpest in the center, central bouquets were focused on and are sharp! Depth of Field is near nil. Orwo NP22 9x12cm I bought in bulk from Bulgaria. Voigtlander Makiflex Plate Holder pretty good match. RADA made plates for Plaubel and were hooked up with them for quite a good while. These tend to light leak and I'd retrapped a lot of plate holders, could maybe be improved? I also have some French and Russian Plate holders that seem to work as well. Yes it is sharp in the center only, that was my intention. Removing the central interior stop increased the swirly bokeh, and increased speed to about F3.5 or so. The central stop was blackened by a candle, the black soot got all over my fingers. NP22 developed in straight Legacy Mic-X Replenished. A Deep Tank Developer that lasts for many many years
 
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Nokton48

Nokton48

Well-known member
18x24 Mammo Sinar Norma 300 Xenar Arista No 2 RC by Nokton48, on Flickr

Second test of 18x24cm Kodak Min-R XRay film developed 18 minutes at 60F Straight replenished Legacy Mic-X in Cesco trays. 300mm Schneider Xenar barrel lens f22 Yellow Filter. Four pops Broncolor C171 Beauty Light Contact Print 8x10 Arista #2 RC Multigrade dev. Again interesting how the red flowers go deep black.

18x24 Sinar Norma 300 Xenar F4.5 Rembrandt Lighting by Nokton48, on Flickr

The cool thing about having multiple Normas, is that you can leave them set up for a while. Getting ready to shoot this one. Classic Rembrandt Lighting, Broncolor Beauty Light pointed straight down from up high as possible. Silver reflector on the floor tilted towards the subject. Lens is 300mm chrome Schneider Xenar, on custom made Norma board. Xenars are lovely to shoot through at near full aperture. The focus blows out behind the front row of petals which I find attractive. Strobe meter says F22 at EI 50 so just one pop will do. Canvas Background is by David Maheu "Kelly Grey" Like it Stormy Grey middle key with no corner vignettes. I can vignette with light if required. I'll be shooting 18x24 Kodak Mammo film and I'm thinking of going back to using straight Microdol-X for a shorter time, like five minutes. Think "Pull Processing" XRAY film gets too hot easily and needs some chemical restraint. Nothing like big negs for contact printing direct. BTW you can see the Norma 18x24cm framelines on the glass so the film image will be cropped as such. About 25 cents a sheet versus eight bucks for B&W Kodak 8x10 film.
 
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