Please share your 4x5" photos!

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Operation Pheasant 1944-2023
Anni Speed Graphic 4x5, HP5+, slightly cropped
 
Haven't posted here in ages, but here is a relatively recent one: pinhole image of a Studebaker, captured on 4x5 Kodak TMax, and then printed as a Van Dyke Brown contact print in the Arizona sun last summer

Studebaker by Mike, on Flickr
Camera: Travelwide with Pinhole "lens"
Film: Kodak TMax 400
Print: Van Dyke Brown on Hanemühle - contact-printed in the sun
 
A long ago....Michael Smith came to my office and wanted me to purchase one of his AZO ultra large camera prints.

I ended up buying a print along with his signed book which also has prints. If I remember correctly, Michael and his wife (also a very good photographer) were stock of AZO when nobody else had any.
 
hap said:
A long ago....Michael Smith came to my office and wanted me to purchase one of his AZO ultra large camera prints.

I ended up buying a print along with his signed book which also has prints. If I remember correctly, Michael and his wife (also a very good photographer) were stock of AZO when nobody else had any.
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Michael and his wife Paula Chamlee were the people who kept Azo alive for decades after Kodak had discontinued it, and then went on the hunt to produce its follow-up, Lodima, in Europe. Their Azo forum was a very lively place.
 
Makiflex 150 Xenar F11 Octobox 50 Ortho Commercial 9x12cm by Nokton48, on Flickr

Plaubel Auto Makiflex with SK Grimes Graphic Back 150 f4.5 Auto Maki Xenar Yellow Filter Ilford Commercial Ortho 9x12cm Arca Swiss 9x12cm Graphic Back. Broncolor Octobox 150 1500J C200 Monolight One Pop F11. D23 Straight Replenished in 9x12cm Combiplan Tank. DipN'Dunk works great! Love it. New Background Low Key by Artist David Maheu. 4x6 Foamcore Fill off camera right. A successful first test of the Combiplan, I utilized red LED safelight Inspection 25 minutes Straight Replenished D23. Omega DII Laser Aligned 180mm Rodagon Omegalite Dektol 1:2. Copied with Sony Nex 7 on Minolta SRT Copy Stand, Zeiss Touit 2.8/50M at F8
 
Freakscene said:
Is this the Fomapan 100 Rodinal combination again? It’s both distinctive and lovely.

Do you shoot the film at ISO 100? What dilution of Rodinal do you use?
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Yes, same again. It is a rather stupid but longlasting habit of mine to add 1/3 of an f-stop to any film I use, so it was ISO 80. Dilution was 1:50.
The Combiplan developing tank I use has very long (around 30 seconds) filling and emptying times, what causes keeping the dev- time a bit unprecise, but it works. Dev time 8,5 minutes with 5 sec. of agitation every minute.

I also want to use Foma 320, but the first negs came out way too thin, following the recipe from "digital truth", so I have to adjust this film.

02-2.jpg

Foma 100 again
 
Very nice. Sheet film always seemed awkward to me whichever way I developed it. I used to develop hundreds of sheets of Kodak SO-163 electron microscope film weekly at a lab where I worked. I figured it out, but it always made me uncomfortable.
 
Freakscene said:
Very nice. Sheet film always seemed awkward to me whichever way I developed it. I used to develop hundreds of sheets of Kodak SO-163 electron microscope film weekly at a lab where I worked. I figured it out, but it always made me uncomfortable.
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What exactly did you find awkward? The process or the results?
 
Harry the K said:
What exactly did you find awkward? The process or the results?
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Physically handling hundreds of sheets and keeping them individually labelled was hard. Consistent agitation to completely avoid uneven development was challenging. I tore my hair out because of occasional unevenness until I set up a nitrogen burst large tank development system. It did not help that a lot of the applications had extremely high technical requirements - and the images often had large areas of totally even tone which showed any unevenness very clearly. The technical requirements of the film - high contrast developed in D-19 complicated things further. It was a steep learning curve.

Oh, and the sheets were 3.25x4 inch. This made them harder to handle than a more rectangular sheet.

And, more than anything, doing it right and doing it fast. I usually had one shift per week to get the sheet film development done. There was a lot of pressure.
 
Freakscene said:
Physically handling hundreds of sheets and keeping them individually labelled was hard. Consistent agitation to completely avoid uneven development was challenging. I tore my hair out because of occasional unevenness until I set up a nitrogen burst large tank development system. It did not help that a lot of the applications had extremely high technical requirements - and the images often had large areas of totally even tone which showed any unevenness very clearly. The technical requirements of the film - high contrast developed in D-19 complicated things further. It was a steep learning curve.

Oh, and the sheets were 3.25x4 inch. This made them harder to handle than a more rectangular sheet.

And, more than anything, doing it right and doing it fast. I usually had one shift per week to get the sheet film development done. There was a lot of pressure.
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Sounds like hard work, so much different from my leasurely meanderings...
 
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