Please share your 4x5" photos!

As I promised the stand developed shots:

http://graywolfphoto.com/journal/?p=910

That is a link to one of my blogs where I posted an article about them. I look at the other photos posted here and realize I really have to learn to do better scans. None of mine come out with that eye blinking contrast the other posters are showing. However, I am glad my post seems to have restarted this nifty thread.
 
90/6.8 Angulon - TriX
U3735I1294962774.SEQ.0.jpg


180/5.6 Nikkor - TriX
U3735I1294962779.SEQ.0.jpg


Both Linhof Technika IV 4x5 - stupidly sold!!
 
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hey matt s: fine shot and i noticed your Jen is a knitter, as my bride is.

this thread makes me think 4x5 makes more sense to me than 6x6, 6x7 or 6x9 ...
 
Impressive stuff, hate you guys, always making me move up formats. 35mm feels cheap after MF, hope I don't end up doing 4x5!
 
xwhatsit said:
ZorkiKat: I love all the shots, but the first one especially has me intrigued. Almost looks like a split toning effect! Is that a property of using paper negatives? I wish I could get my Fomaspeed prints to look like that :p
Click to expand...

@xwhatsit: Thanks! Split-toning was indeed what I had in mind. But this set got their tones from photoshop. I hope your impression. I imagined what this photo would be like if its print was split-toned and aged.

What I did was basically think what happens in split toning, and then did a similar virtual procedure in photoshop. In real split toning, certain parts of the silver grey image gets to be converted into various shades of another hue. The same can be done (almost!) in PS by picking certain shades of grey and then giving them different shades of brown. Then opacity of each layer is tweaked.

I can PM you the PS method if you want.

This is more or less mimicking the action of the bleach as it selectively acts on the silver densities of the print in the tone/bleach/tone method.
 
ZorkiKat said:
@xwhatsit: Thanks! Split-toning was indeed what I had in mind. But this set got their tones from photoshop. I hope your impression. I imagined what this photo would be like if its print was split-toned and aged.

What I did was basically think what happens in split toning, and then did a similar virtual procedure in photoshop. In real split toning, certain parts of the silver grey image gets to be converted into various shades of another hue. The same can be done (almost!) in PS by picking certain shades of grey and then giving them different shades of brown. Then opacity of each layer is tweaked.

I can PM you the PS method if you want.

This is more or less mimicking the action of the bleach as it selectively acts on the silver densities of the print in the tone/bleach/tone method.
Click to expand...

Ha! You had me fooled :D It's a very subtle effect you've produced, though, most of the PS split toning I've seen has been pretty garish and over the top.

I'm trying to wet print more and more, so the PS method wouldn't be much use -- it'd just love to replicate it in the darkroom!

Cheers.
 
paulfish4570 said:
hey matt s: fine shot and i noticed your Jen is a knitter, as my bride is.

this thread makes me think 4x5 makes more sense to me than 6x6, 6x7 or 6x9 ...
Click to expand...


I think the pleasing ratio that 4x5 offers is quite unique and 6x7 is very close to it. As soon as I saw a 6x7 image from my P67 I realised it was my perfect MF camera.
 
I currently have a love/hate relationship with large format, but I suspect that, when my skills improve, it will be a love-only relationship. These were all shot with a Linhof Technika V:

Quadra_illumination_by_philosomatographer.jpg

(1950s convertible Symmar 150mm @ f/5.6, Ilford technical Line Film @ ISO6, scanned 8x10in darkroom print on Ilford MG IV)

fern_valley_by_philosomatographer-d37vpfs.jpg

(APO-Symmar 150mm @ f/32, Ilford HP5+ @ ISO400, scanned 8x10in darkroom print on Ilford MG IV)

sandals__watering_cans_and_sun_by_philosomatographer-d37vprw.jpg

(APO-Symmar 150mm @ f/5.6, Ilford HP5+ @ ISO400, scanned 8x10in darkroom print on Ilford MG IV)


river_bed_by_philosomatographer-d37vpn1.jpg

(1950s Convertible Symmar 150mm @ f/22, Ilford Technical Line Film @ ISO6, scanned 8x10in darkroom print on Ilford MG IV)

P.S. The resolution of Line Film is absurd, this is a small crop from the above 8x10in print:
river_bed_crop_by_philosomatographer-d39laun.jpg


For all my big prints, I also make 8x10in "proof" prints which I end up scanning to post online. But you can imagine the impact of this level of detail on a large print. This is what makes the "pain" of large format worthwhile.

I really laugh when people make claims (such as in a thread I read recently in the Digital Leica M sub-forum) that a print from a 10MP Leica M8 or a 18MP Leica M9 "looks as good, or better than, large format".

4x5in film and larger is completely in a league of its own when it comes to resolving power. And I love the simplicity (and yet, precision) of the cameras - As we speak, I am busy repairing my Technika V (a broken-off screw in the drop-bed strut, must be due to age, 50+ years, and this part takes a lot of strain), and I am not a master repairman if you catch my drift...
​
 
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