An exciting find at a local general auction as added a new dimension to the images I can make with my 1900s New Countess 10×8 field camera.
The lens seems to be an ex-aerial photography lens made by Dallmeyer – F2.9 to 11 8″ focus length.
I love the 3-d like depth this lens creates in images. My only challenge with it is that since it lets in so much light I will need a shutter with it as exposure times are less than a second in daylight even with photo paper negatives at ISO 6!
New lens producing good results- I bought the lens for its combination of short focus length and small apperture, allowing me to make close-up images with good depth of field.
Auction listing said “Wray 4in F8 (to F64) Platystigmat Lens.
Vintage Brass Lens, Serial 10079
This is in good cosmetic condition
Some light fungus / haze internally
some separation below front element
Apertures work correctly”
This apple image is a 5×7 paper negative on ilford multi grade RC paper processed in 1:3 Bromophen developer. Paper mounted in my 1900s 10×8 field camera at 2/3 full extension. 2x 500 Watt fluorescent studio lights, 3 minute exposure at F64 . – negative photographed with a 24 megapixel digital camera and developed in Photoshop at 300dpi – images I produce soon to published in a Blurb book, hence the digitisation.
#largeformatphotography #papernegative #antiquelens #studiothreegallery
Paintings, sketches, ceramics and photography will be on display at an arts fair in Wrington later this month.
— Read on www.thewestonmercury.co.uk/what-s-on/arts/wrington-arts-fair-1-6375088
The latest images made with my Antique Camera will be on display and for sale – next Saturday & Sunday at this event.
Very pleased with exposure of paper negatives today.
(Images here have been inverted in photoshop from a scan of the paper negatives)
Using ISO 6 and metering off an 18% grey card on a bright sunny afternoon, I achieved perfect exposure for my driftwood photos. F64 at 4seconds.
I forgot to turn the plate holder around when photographing the lighthouse in close-up so had a double exposure – I’ll have to go back and try again.
The first image of the afternoon I took was metered on the assumption the paper was
ISO 25 so was under exposed. But now I do feel I understand what I am doing.
It helped that I was able to set up a mini darkroom in my VW T5 Camper – with the curtains drawn and working in the cupboard with a safelight powered off an inverter connected to the leisure battery – I was able to develop a few paper negatives to check I was getting the exposure correct and then go back and take these images with a bit more confidence in the metering.
Metering was done on my iphone using the app “Lux”.
Having another go with my Clevedon Pier photograph. This time I used a thinner application of oil for the sky and less etching time. The sky has come out much better, but the shorter etch time wasn’t long enough to allow me to make a decent print. So, I’ll have another go, this time with a longer etch and a similar treatment for the sky.
First prints from the aluminium etchings.
Very pleased with these first lifts – on 200gsm, glossy card. [Update! – when dry the ink rubbed off the glossy card – so I needed to spray with fixative]
Some more careful work to follow in the coming days to get the best prints out of the etchings.
Hartland rocks ans sea
Greylake – Willows
I’ve cracked it! Using acetone to transfer laserprint onto aluminium plate ready for #etching. Plates on the left in this photo the peeled-off prints on the right. What made the difference to getting success every time?
1. Preparing the plates with 1200 wet and dry emery paper then a bit of a polish with chrome cleaner – wash off the remains of the chrome cleaner with white Spirit and wipe clean.
2. Pouring the acetone based nail-polish remover (Must contain Isopropyl Alcohol) on the back of the paper rather than onto the plate and pressing the paper onto that.
3. Smoothing and pressing with a bamboo baren and then removing the paper before it has dried and stuck to the plate.