DOCSLIB.ORG

The Alternative Journal of Medium and Large Format Photography VOLUME 1, ISSUE 4, BUILD 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Alternative Journal of Medium and Large Format Photography VOLUME 1, ISSUE 4, BUILD 2 The Alternative Journal of Medium and Large Format Photography VOLUME 1, ISSUE 4, BUILD 2 WWW.MAGNACHROM.CO M NancyScans and NancyScans DFM NancyScans NancyScans DFM Custom Tango Drum Scans Your Own On-Line Store Front KRIST’L Fine Art Archival Prints Sell Prints, License Stock Res80 Transparency Output Seamless Fulfillment & Distribution MC MC MC MC MC MC MC MC MAGNAchrom v1.4 MC MC Volume 1, Issue 4 ©2007 MAGNAchrom LLC. All rights reserved. The Alternative Journal of Medium and Large Format Photography Contents of this issue: SOAPBOX: A Brotherhood of Photographers HOT MODS: MP4 with Technika-style lensboards 4-SQUARE: Tim Myers STUDENT WORK: The Royal College of Art REVIEW: Shen-Hao HZX 45IIA CENTERFOLD: Mike Stacey VOLUME 1, ISSUE 4, BUILD 1 FEATURE: Sandy King: Carbon Prints CUSTOMIZE: A Homebrew 6x17 Camera www.nancyscans.com INTERVIEW: Robert Kresa www.nancyscans.net NEWS: New Stuff 800.604.1199 COLLECTIBLES: Rolleiflex TLR PROJECT: Working Class PARTING SHOT: Guggenheim, Bilbao Cover Photo: MAGNACHRO M VOL 1, ISSUE 4 “Retrato” — Cuba, La Habana ©2007 Leonardo Régnier WWW.MAGNACHROM.CO M About MAGNAchrom: Advertising with MAGNAchrom: How to Print MAGNAchrom on your inkjet printer: MAGNAchrom is an advertiser- MAGNAchrom offers advertisers a supported, hybrid magazine choice of four ad sizes based on the Unlike the first three issues of MAGNA- published bi-monthy, six times A4 paper format oriented horizon- chrom which were produced with a per year. It is available for free tally. horizontal page format, this issue inaugurates a new vertical page to registered users by download- Artwork should be supplied either as size of 8 1/2” x 11”. This format will ing from our website at www. RGB EPS or RGB PDF or RGB TIFF facilitate delivering MAGNAchrom to magnachrom.com. (flattened, no layers) TIFF format @ you in alternate media such as print- 300dpi using the dimensions indicat- on-demand and CD-ROM. Addition- You are encouraged to download ed below. We do not offer scanning it, save it to your harddisk and ally, we have decided to output the nor ad layout services at this time. PDF version in side-by-side format print it on your printer. How- Do not send CMYK “color separated” of 11” x 17” simplifying the viewing ever, you may not resell it, nor files. We reserve the right to refuse of panoramic spreads. The upshot put a copy of any issue on any any advertisement that we deem in- of this change is that you can only network where it would be ac- consistent with our target audience. print individual spreads on your cessible by someone browsing Full Page inkjet printer. the internet. Additionally, you 7 1/2” x 10” text area (190.5mm x We suggest the following print set- may not translate it, nor create 254mm) tings: derivative versions of any of the $900 US interior of magazine, non- MAGNAchrom v1.4 articles, photographs, illustra- cover (bleed: $100 US extra) 1. Use a paper size of 11” x 17” tions nor of the issue in part or $1200 US inside/outside covers 2. Print at 100% full bleed (if your t the heart of all photography is an urge in its entirety. Doing so will make (full bleed included) printer supports this) us very mad. And trust us, you 3/4 Square to express our deepest personal feelings don’t want that. Instead, you 3. Print at high-resolution on glossy 45p0 x 45p0 (190.5mm x 190.5mm) or photo glossy paper may place a link to the MAGNA- $675 US chrom website and let people — to reveal our inner, hidden selves, download it for themselves. 2/3 Page Vertical 29p6 x 60p (124mm x 254mm) The full Terms of use can be $600 US to unlock the artist. Those of us who found at www.magnachrom. 1/2 Page Vertical become photographers are never satisfied with just com/MClegal.php 21p9 x 60p0 (92mm x 254mm) A This issue and all the content in $450 US it is © 2007 MAGNAchrom LLC. 1/2 Horizontal looking at someone else’s expression of something All rights reserved. 45p0 x 29p3 (190.5mm x 124mm) $450 US EDITOR/PUBLISHER: that is dear to us. We must produce our own images, J Michael Sullivan 1/3 Page Square 29p6 wide x 29p3 tall (125mm x instead of buying postcards and photo books. We CHIEF TECHNOLOGY OFFICER: 124mm) Bob Kuszewski $300 US seek to make our own statements of individuality. ADVISORY BOARD: 1/3 Page Vertical Banefsheh Etehmam, Lance 14p0 x 60p0 (59mm x 254mm) Keimig, Liz Haywood-Sullivan $300 US — Galen Rowell LEGAL COUNCIL: 1/4 Horizontal Alesia Flemming, Esq. 45p0 x 13p9 (190.5mm x 59mm) $225 US WEBSITE: magnachromagnon www.magnachrom.com 1/4 Vertical 21p9 x 29p3 (92mm x 124mm) ADVERTISING: $225 US www.magnachrom.com/MCad- To inquire about current ad rates vertising.php and specials, please send email to: PORTFOLIO PROPOSALS: [email protected] www.magnachrom.com/Contribu- torRegistration.php KUDOS & CRITICISM: [email protected] MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M [THE SOAPBOX] An International Brotherhood of Photographers PHOTOGRAPHER'S MACHINIST Products • World’s Best Lenscaps here is a whole world of photogra- the younger generatiion hasn’t completely aban- In summary, we are all in this together. And • Original Spanner Wrenches Going digital, • New Copal Shutters but still need phy out there and we at MAGNA- doned the quiet dignity that larger formats offer. we can and should draw inspiration from each • Extension/Recession Tubes compatibility? chrom aim to show it to you. In this While many schools and workshops have elimi- other. The fact that professionals have largely • Custom Threaded Adapters Give us a call! Tissue, we are pleased to feature the artwork nated their traditional processes, there are a few abandoned traditional processes in favor of • Slip-On Adapters • Focusing Mounts of ten international artists from all over the that continue to encourage their students learn those that offer quick turn-around should not • Mounting Flanges globe. What is encouraging is to discover to master all media and techniques. dissuade anyone from continuing to use classic • Retaining Rings how popular medium and large format And then there are those who are not satis- cameras to produce their art. On the contrary, • Lens Boards and Adapters • Unique Bracketry photography remains in this global village fied with “out of the box” solutions and are will- you are in good company as evidenced by the of ours. In fact, if this issue is any indica- ing to experiment with and advance the knowl- many people who have embraced our beloved Services • Barrel Lens Adapted to Shutters tion, “big” cameras are the prefered way edge of uncommon (and sometimes archaic) big cameras and have found new uses for them. • Prototyping and Design Shop with which advanced amateurs and dedi- photographic processes. Equally fearless are • Shutter Repairs and Clear, Lubricate, cated art photographers continue to create those who carry on the proud tradition of build- his issue of MAGNAchrom marks a and Adjustments their art. ing or modifying their own equipment in order major turning point for us. As you may • Lens Board Mountings • 35mm Conversions Equally important, there exists a com- to better produce and discover their inner art. Thave noticed, the format of the maga- mon thread shared by all photographic art- And while it is true that the real artist is zine has now changed to a standard vertical size. www.skgrimes.com tel: 401-762-0857 fax: 401-762-0847 ists worldwide. Specifically, that photog- constantly taking risks, it is equally important This is to better facilitate alternate media deliv- raphers everywhere are baring their souls to realize that no man is an island — we all are ery in the future (such as CD-ROM, print-on- — either deliberately or inadvertantly— building upon and extending the work, experi- demand, and others) as well as make it easier for with their imagery. For some, it takes the ence, and vision of others. advertisers to work with us. We also took the form of literally placing themselves in their Taken together, these are healthy signs that time to listen to you and incorporate some of your artwork. For others, it is the lonely vigil not only is medium and large format photogra- (many) design suggestions. We hope you like of focusing on and uncovering the beauty phy alive and well, but that perhaps that it is ac- our new direction and look forward to providing and joy in this crazy world we live in. Still tually undergoing a quiet revolution worldwide you the best articles on medium and large for- others discover joy in using and restoring as advanced amateurs and dedicated artists push mat photography anywhere in the whole world. older equipment — and producing stun- the bounderies of convention and offer an alter- ning art to boot (see our cover for such an native to the less-than-satisfying “pop” art that J Michael Sullivan example). It is also heartening to know that now permeates our world. C41 experts with 25+ yrs experience Ship us your color negs - we will develop, scan, and ship them back to you. Fast turn around. Dev + scan: 35mm, 120/220, 4x5 Dev + contact: 5x7, 8x10 Also Type C prints up to 30”x40” 25 Liberty Square #216 Rockland MA 02370 Phone: 781-681-6644 Fax: 781-681-6646 E-Mail: [email protected] www.colorvisiononline.com MAGNACHRO M VOL 1, ISSUEphoto taken 4with BetterLight scanning back on Technikardan 45S in pano mode WWW.MAGNACHROM.CO M CONTRIBUTORS v 1.4 J Michael Sullivan Mike Stacey Leonardo Régnier Christian Holmgaard Robert Kresa Cristina Mian & Marco Frigerio USA.
Load more

Recommended publications
  • Through Lens View
    This article originally appeared in the 2010-2011 publication, “LANGDON REVIEW OF THE ARTS IN TEXAS” published by Tarleton State University’s Dora Lee Langdon Cultural and Educational Center in Granbury, Texas. THROUGH THE LENS OF THE VIEW CAMERA The general description of the wet darkroom process is not that complicated. yet the successful implementation requires a much deeper understanding and dedication to craft than is readily apparent. Large and Ultra Large Format photography requires a dedication and understating of craft, which in turn allows the artist to express themselves in a way that is unique to the medium. All cameras, regardless to size, are only a light-tight Box that hold the lens and film. Camera, film, chemicals and process are only the tools used to create the finished product. That finished product is the photographic print. It has to contain and express what the artist wants to say with respect to their feeling and interpretation of the suBject. It is said that amateur photographers talk aBout equipment, while serious photographers talk about photographs. Certainly it is important to have the proper tools in order to be successful at anything you attempt. Matters not whether you are building a bookcase, fixing a leaky kitchen faucet or making a photograph. But to obsess endlessly over your tool Belt is not necessary. When asked how they choose which camera to use, JB or Susan Harlin will usually say, “it is the largest camera I can get into position.” This is especially true for landscapes. The biggest obstacle is just how far they can carry any one camera.
    [Show full text]
  • Price List NEW.Pmd
    Price List November 2014 The essential guide to the very best photographic equipment and materials Telephone: 01636-823922 Fax: 01636-821719 Email: [email protected] wwwwww.mor.morcoco.uk.com.uk.com We supply all these top brands... Agfa Hahnemühle Manfrotto Quantum Ansmann Harman Marrutt Reflecta Apple Heliopan Marumi Richards B+W Hensel Medalight Rodenstock Beattie Herma Metz Rosco Benbo Hewes Morco Rotatrim Benro Hitech NEC Samyang Billingham Holga Nissin Sandisk Bowens Hot Press Nova Savage Braun Hoya Omega Sekonic Camlink HP OpTech Sigma Canon Ilford Orchard Silvestri Canson Just Oregon Slik Cokin Kaiser Osram Snapshut Colorama Kenko Panasonic Sony Creativity Kenro Pantone Sunpak Delkin Kentmere Paterson Tamrac Douglas Kodak Peli Tamron Eclipse LaCie PermaJet Tetenal Elinchrom Lastolite Philips Toyo Energizer Lee Photolux Velbon Epson Lensbaby PhotoTherm Visible Dust Falcon Lexar Pinnacle Wein Fotospeed Light Craft Pocket Wizard Westcott Fuji Linhof Polaris X-Rite GePe Lowepro Polaroid Zeiss Gossen Lyson Morco Limited College Farmhouse, Cromwell, Newark, Nottinghamshire, NG23 6JE England Telephone: +44 (0)1636-823922 Fax: +44 (0)1636-821719 Email: [email protected] www.morco.uk.com Introduction Contents Welcome to The MORCO Price List. Page Inkjet Paper and Digital Consumables Since 1987 Morco has been a supplier of a wide range of Ilford Paper.................................................. 1 top quality products to the professional and amateur Fotospeed Paper......................................... 2 photographic and allied markets. Permajet Paper........................................... 2 - 6 Pinnacle Paper............................................ 7 We are the UK distributor for BEATTIE, PHOTOTHERM Hahnemühle Paper...................................... 8 - 9 and WEIN products, we also manufacture/produce MORCO Harman Paper............................................. 10 PHOTOGRAPHIC products. These products are available SnapShut Folio Covers...............................
    [Show full text]
  • FULL PROGRAM A-4 Printable Format
    A SPECIAL THANK YOU TO: OUR SPONSORS INSTITUTIONS AND INDIVIDUALS FOR THEIR CONTRIBUTIONS New York Public Library for the Performing Arts New York Public Library, Barbara Goldsmith ConservaIon Lab The James B. Duke House of The InsItute of Fine Arts, New York University The Metropolitan Museum of Art, Department of Photograph ConservaIon Museum of Modern Art, The David Booth ConservaIon Department Laumont Photographics Alison Rossiter, ArIst Adam Fuss, ArIst ORGANIZING COMMITTEES Heather Brown, AIC Photographic Materials Group Secretary/Treasurer TaIana Cole AIC, Photographic Materials Group Program Chair Diana Diaz, ICOM-CC Photographic Materials Working Group Coordinator Jessica Keister, NYC Local Planning Team Coordinator Barbara Lemmen, AIC Photographic Materials Group Chair Saori Kawasumi Lewis, AIC Photographic Materials Group Secretary/Treasurer Ruth Seyler, AIC MeeIngs & Advocacy Director Barbara Brown, ICOM-CC Photographic Materials Working Group Assistant Coordinator Susie Clark, ICOM-CC Photographic Materials Working Group Assistant Coordinator Lee Ann Daffner, NYC Local Planning Team EsIbaliz Guzman, ICOM-CC Photographic Materials Working Group Assistant Coordinator Marc Harnly, ICOM-CC Photographic Materials Working Group Assistant Coordinator Greg Hill, ICOM-CC Photographic Materials Working Group Assistant Coordinator MarIn Jürgens, ICOM-CC Photographic Materials Working Group Assistant Coordinator Natasha Kung, NYC Local Planning Team Krista Lough, NYC Local Planning Team Mark Strange, ICOM-CC Photographic Materials Working Group Assistant Coordinator Elsa Thyss, NYC Local Planning Team TABLE OF CONTENTS Program of Talks in Summary . 1 Speakers, Authors, & Abstracts Wednesday, Feb. 20th . 3 Thursday, Feb. 21st . 13 Friday, Feb. 22nd . 24 Session Chairs . 30 Workshops . 30 Tours Tuesday, Feb. 19th . 32 Wednesday and Thursday, Feb. 20th and 21st .
    [Show full text]
  • (In This Case, Huge-Format) Negatives. New Solutions Were Also Needed to Keep the 20 X 24 Inch Negative Optimally Positioned During Projection
    of large-format (in this case, huge-format) negatives. New solutions were also needed to keep the 20 x 24 inch negative optimally positioned during projection. Initial attempts were sobering and led to stretching of the negative. The idea of simply adapting the dimensions of a classic glass holder to the required format was also discarded because, due to the weight of the glass, it showed significant buckling. In the end, two solutions were delivered: a combination of anti-Newton glass and museum glass, and anti-Newton glass in a metal holder pressed together with magnets. The mechanical design also had to be extremely stable to ensure the necessary precision. This in turn led to the use of some very heavy individual components which would require a body- builder as operator/lab technician. To make it both safer and easier to operate, mechanical brakes were designed into the new product along with motor-driven assists. Anton Ivanov was involved in all phases of planning and construction to Anton Ivanov and the MAMONT at the Art of Foto Gallery and Lab in ensure that the enlarger could be operated practically and St. Petersburg, Russia. The rails on the floor were for an older horizontal productively in its intended home. enlarger; the MAMONT doesn’t need them. No less complex than the mechanical design was the electronic hardware and electromechanical design. Heiland’s goal from the beginning was to forego rail guidance. But the 400+ kg (almost 900 pound) enlarger still needed to be easily movable, and not cause any problems with image projection Jürgen Heiland really got into his work in St.
    [Show full text]
  • The Resurgence of Large-Format Photography
    THE RESURGENCE OF LARGE-FORMAT PHOTOGRAPHY Shutter Release, September 2006 Rustic large-format cameras frequently feature as picturesque props in television commercials and men’s fashion magazines. The quaint imagery sustains a nostalgic view of large-format photography that has nevertheless improved of late. The borderline eccentrics trotting out creaky wooden cameras with cracked leather bellows now tend to be nattily dressed, and include women. Depicting large format as a relic may have reflected reality 15 or 20 years ago, following a half-century of decline. Happily, times have changed. Large format is on the rebound. The past decade has seen a remarkable resurgence of large-format photography. Improvements in technology, materials and film, together with the introduction of digital backs of up to 39MP resolution, have made the ponderous into an instrument of finesse. Sinar (Switzerland) Large-format cameras, commonly called view cameras, allow photographers great creative potential in composition, perspective and focus. The cameras remain large by virtue of the film area, and are entirely manual and slow to set up and operate, but such is the appeal of large-format photography to those who have the calling. In principle, each photograph is treated as if a portrait, to be carefully planned and executed. Large Format and What It Offers Literally defined by the size of the negative or transparency, large format is photography using single sheets of film, most commonly 4x5 inches. Larger models take film sheets of 5x7, 8x10 and even 20x24 inches. Imagine a contact print the size of a huge enlargement! One benefit of large format, though by no means the primary benefit, is the size of the film.
    [Show full text]
  • Large Format Digital Cameras for Aerial Survey of Geospatial Information
    Large Format Digital Cameras for Aerial Survey of Geospatial Information Ralf Wolfgang SCHROTH, Germany Key words: large format frame camera, radiometry, geometry, workflow SUMMARY The Hansa Luftbild Group decided in summer 2005 to purchase the Digital Mapping Camera (DMC) of Z/I Imaging (Intergraph) and is operating this system since February 2006. Up to November 2006 there was about 250 hours of aerial survey flights flown and about 25.000 images processed. Additional experiences exist with other large format cameras. This paper will first give some information about the technical and financial processes of evaluation of the digital large format camera for aerial surveys. In the second part, the configuration of the system as it was chosen by Hansa Luftbild will be explained. The emphasis will be laid on the installation of the system in different kind of survey planes. The handling of the amount of data and the image post-processing are challenging tasks which demand a strict workflow and an integration into the complete project management workflow. Solutions for intermediate quality checks have been established and some are still under preparation. Finally, experiences about geometric and radiometric quality and calibration procedures can be demonstrated in the real production environment. RÉSUMÉ Le Groupe Hansa Luftbild a décidé à l’été 2005 d’acheter une caméra numérique DMC de Z/I Imaging (Intergraph) et utilise ce système depuis février 2006. Jusqu’à novembre 2006, 250 heures de vol ont été effectuées et environ 25 000 images ont été traitées. Des expériences additionnelles ont aussi été effectuées avec d’autres caméras à grand format.
    [Show full text]
  • Large Format View Camera a Creative Tool with Limitless Potential
    Section3b LargeFormat – View Arca Swiss . 158-169 Horseman . .170-179 Linhof . 180-197 Sinar . .198-217 Toyo . 218-228 ARCA SWISS DISCOVERY 4x5 SYSTEM Arca Swiss cameras are more than the sum of their parts. Each and every model gives you an entry into the Arca system, allowing you access to the most complete line of professional accessories available. Designed by working photographers, this modular system allows you to add components as needed, giving you the freedom to purchase what you need when you need it. In addition, Arca Swiss cameras are ergonomically designed, allowing the photog- VIEW CAMERAS rapher to control perspective and depth-of-field accurately. And Arca has devised a fail-safe (and foolproof) system for Arca Swiss attaching the lensboard bellows and camera back. Discovery The affordable Arca Discovery is an economical introduction to the Arca Swiss system. In spite of its 158 low cost, the light-weight Discovery shares many of the unique features that Arca cameras are renowned for (plus a few of its own). The Discovery is also compatible with most Arca system accessories, such as rails, viewers, hoods, masks, rollfilm holders and more. FEATURES ■ Precision micro gear ■ Made of lightweight Arca Swiss 4x5 Discovery Camera (0210445) focusing metal alloys Consists of: 30cm monorail (041130), monorail attachment piece 3/8˝, Function Carrier Front ■ Superfluous refocusing ■ Precision Swiss construction (Discovery), Function Carrier Back (Discovery), after parallel displacements Format Frame Front (Discovery), Format Frame ■ Includes Rucksack case Back (Discovery), standard 38cm bellows ■ Yaw-free movements (72040), film and groundglass holder 4x5, 1 3 ■ Built-in ⁄4 and ⁄8 fresnel lens and Arca Swiss nylon backpack.
    [Show full text]
  • HALS Photography Guidelines Define the Photographic Products Acceptable for Inclusion in the HABS/HAER/HALS Collections Within the Library of Congress
    Historic American Landscapes Survey Guidelines for Photography Prepared for U.S. Department of the Interior National Park Service Historic American Buildings Survey/ Historic American Engineering Record/ Historic American Landscapes Survey Prepared by Tom Lamb, January 2004 HABS/HAER/HALS Staff (editing & revision, July 2005) 1 INTRODUCTION 1.0 ROLE OF THE PHOTOGRAPHER 1.1 Photographic Procedures 1.1.1 Composition 1.1.2 Lighting 1.1.3 Focus 1.1.4 Exposure 1.1.5 Perspective 1.2 Photographic Copies 1.3 Photography of Measured Drawings 1.4 Property Owners and/or Responsible Agencies 1.5 HALS Photographic Process 1.6 Methodology of Landscape Photography 1.7 Field Journal 1.8 Photographic Key 1.9 Identification 1.10 Captions 1.11 Site 1.12 Other Types of Photography often included in HALS 1.12.1 Historic Photography 1.12.2 Repeat and Matched. 1.12.3 Copy Work 1.12.4 Measured Drawings 1.12.5 Aerial Photography 1.12.6 Historic Aerials 2.0 PHOTOGRAPHING THE LANDSCAPE 2.1 Elements of site context that should be considered for photography 2.1.1 Geographic location 2.1.2 Setting 2.1.3 Natural Systems Context 2.1.4 Cultural/Political Context 2.2 Physical conditions on a site may be influenced by elements of time 2.2.1 Era/Period/Date of Landscape 2.2.2 Design Context or Period Influences 2.2.3 Parallel Historic Events 2.2.4 Parallel Current Events 2.3 The historic continuum/evolution of a site may include: 2.3.1 Chronology of Physical Layers 2.3.2 Periods of Landscape Evolution 2.3.3 Landscape Style 2.3.4 Periods of Construction 2.3.5 Land Use/Land 2.3.6 Settlement.
    [Show full text]
  • LARGE FORMAT LENSES LARGE FORMAT LENSES 24 Hour Fax: 800-947-7008 Any Movement.) Limeter, Forminimum Imagecircle Required Without Cific Filmsize
    Section4 LargeFormatLenses Introduction . 230-232 Nikon . 233-235 Rodenstock . 236-239 Schneider . 240-243 Heliopan Center Filters . 242 Wisner . 244 LARGE FORMAT LENSES INTRODUCTION All large format camera lenses are designed to be used with all photographic films. Image Circle The size of the circular image that lenses project is called the image circle. It is large enough to surround, or cover, the frame of the final image on the film. If you take a lens intended for 35mm film and use it with a larger-sized film, its covering power will not be exten- sive enough. As a result, vignetting, which is the dark- ening of the image’s corners, will occur. In a situation in which the covering power is extremely inadequate, a LARGE FORMAT LENSES LARGE FORMAT darkened circle appears around the image. Conversely, using a lens from a large-format camera on a smaller Angulon series. Almost every lens in this group has an camera works, because there is more than enough cov- angle of coverage of either 100° or 105° and focal erage. (This is what happened when you visualize a lengths ranging from 65mm to 210mm. All of these lenses are considered wide-angle, and each focal length 230 90mm lens covering both 4x5˝ and 35mm film). Photographers who use 35mm or medium-format is designed for a specific format. The 65mm lens is lenses are not very concerned with covering power, intended for use with 4x5˝ film; the 210mm lens, with because they almost always shoot with lenses designed 8x10˝ film. These lens-and-film format combinations specifically for their cameras, or at least the same cam- provide wide angles of view of approximately 86° and era format.
    [Show full text]
  • The Hybrid Photography Issue
    The Alternative Journal of Medium and Large Format Photography VOLUME 1, ISSUE 6, BUILD 2 The hybrid photography Issue WWW.MAGNACHROM.COM NancyScans and NancyScans DFM NancyScans NancyScans DFM 3 Custom Tango Drum Scans Your Own On-Line Store Front KRIST’L Fine Art Archival Prints Sell Prints, License Stock Res80 Transparency Output 6HDPOHVV)XO¿OOPHQW 'LVWULEXWLRQ MC MC MC MC MC MC MC MC MAGNAchrom v1.6 MC Volume 1, Issue 6 ©2007 MAGNAchrom LLC. All rights reserved. The Alternative Journal of Medium and Large Format Photography Contents of this issue: HOT MODS: In The Pink 4-SQUARE: Edoardo Pasero MEDIA: Tri-Transparency Prints VISION Pinhole + Alternate Process BEYOND LF: Room-size pinhole photography TRAVELS: Enviro-Industrio Panoramas VOLUME 1, ISSUE 6, BUILD 1 BUILD 6, ISSUE 1, VOLUME CENTERFOLD: Klaus Esser EQUIPMENT: Going Ultra: with a 14x17 Lotus View www.nancyscans.com TECHNIQUE: DIY inkjet print onto aluminum www.nancyscans.net INTERVIEW: Denise Ross 800.604.1199 PORTFOLIO: Roger Aguirre Smith NEW STUFF: Mamiya ZD The hybrid photography Issue VIEWPOINT: Gum Printing, Then & Now WWW.MAGNACHROM.COM ADVICE: Hybrid Technique Cover Photo: Squish ©2007 Christina Anderson MAGNACHROM VOL 1, ISSUE 6 WWW.MAGNACHROM.COM About MAGNAchrom: Advertising with MAGNAchrom: How to Print MAGNAchrom on your inkjet printer: MAGNAchrom is an advertiser- MAGNAchrom offers advertisers a supported, hybrid magazine choice of four ad sizes based on the 8QOLNHWKH¿UVWWKUHHLVVXHVRI0$*1$ 4published bi-monthy, six times A4 paper format oriented horizon- chrom which were produced with a per year. It is available for free tally. horizontal page format, this issue inaugurates a new vertical page to registered users by download- Artwork should be supplied either as size of 8 1/2” x 11”.
    [Show full text]
  • Photographic Treasures 19Th Century Rare Book & Photograph Shop
    Photographic Treasures 19th Century Rare Book & Photograph Shop Curated by Jacob Loewentheil 19th Century Rare Book & Photograph Shop Important Books, Manuscripts, and Photographs CATALOGUE 179 PAGE ITEM PRICE IN U.S. DOLLARS 4 Watkins, Carleton. 40 Mammoth Plate Photographs of the American West POR 10 Brady, Mathew. Whole Plate Daguerreotype Portrait of John Calhoun 650,000 12 Brady, Mathew. Large Format Camera from Mathew Brady’s Studio 250,000 16 Brady, Mathew. Portrait of General Ulysses S. Grant, Signed and Inscribed by Brady 52,000 18 Langenheim, William and Frederick. American Calotype of Water Tower 11,000 20 Frith, Fiske, Barker, Pollock, and others. American Travel Album 9,500 22 Collection of Photographs Depicting 7,500 The Oldest Military Installation in the Continental United States 24 Fleischmann, Trude. Signed and Inscribed Portrait of Albert Einstein 13,500 26 Sternberger, Marcel. Albert Einstein Unframed 1,250 Framed 1,650 27 Sternberger, Marcel. Frida Kahlo Unframed 1,250 Framed 1,650 28 Stacy, Charles. Coney Island Panorama 4,500 30 Armstrong, Neil. Buzz Aldrin on the Moon, signed by the Apollo 11 Crew 28,000 32 Mayall, John. Portrait of John Romeyn Brodhead 11,000 34 Panoramic Photograph of Cairo 8,500 36 Curtis, Edward S. Dog Woman (plate 668), 35,000 Original Glass Interpositive from The North American Indian 36 Curtis, Edward S. A Cree Girl (plate 622), 35,000 Original Glass Interpositive from The North American Indian 40 Early 19th Century Silk Map of Beijing 200,000 446 Kent Avenue PH-A, Brooklyn, New York 11249 USA 10400 Stevenson Road, Suite 100, Stevenson, Maryland 21153 USA phone: 410-602-3002 | fax: 410-602-3006 | [email protected] | www.19thshop.com 19th Century Rare Book & Photograph Shop Important Books, Manuscripts, and Photographs CATALOGUE 179 am pleased to present my first photographic catalogue, produced under the auspices of the 19th Century Rare Book & Photograph Shop.
    [Show full text]
  • Nikon-Large-Format-Lenses.Pdf
    www.mr-alvandi.com 2 www.mr-alvandi.com 65mm f/4S 75 mm f/4.5S Series SW The SW-series lenses feature wide covering power and a wide image circle. Maximum apertures of f/4 and f/4.5 assure fast and pin-point focusing and bright images, corner Nikkor-SW 65mm f/4S Nikkor-SW 75mm f/4.5S Focal length 65mm Focal length 75mm to corner. Covering power can be Maximum aperture ratio 1:4 Maximum aperture ratio 1:4.5 extended to 105° ~ 106° by Minimum aperture f/45 Minimum aperture f/45 Lens construction 7 elements in 4 groups Lens construction 7 elements in 4 groups stopping the lens down. SW series Covering power (f/4) 80° Covering power (f/4.5) 80° lenses deliver high contrast and Covering power (f/16) 105° Covering power (f/16) 106° Image circle (f/4) ø110mm Image circle (f/4.5) ø126mm resolution, reduced flare and Image circle (f/16) ø170mm (4" x 5") Image circle (f/16) ø200mm (120mm x 165mm) excellent color rendition, thanks to Shutter No. 0 (Copal® *) Shutter No. 0 (Copal® *) Shutter speed 1 ~ 1/500 s, T, B Shutter speed 1 ~ 1/500 s, T, B Nikon Super Integrated Coating Sync socket X-contact Sync socket X-contact and strict control of aberrations. Front mount size Å ø70mm Front mount size Å ø70mm Attachment size ı ø67mm x 0.75mm (P) Attachment size ı ø67mm x 0.75mm (P) SW-series lenses with a maximum Rear mount size Ç ø54mm Rear mount size Ç ø60mm Î Î aperture of f/8 are compact and Flange attachment size ø32.5mm x 0.5mm (P) Flange attachment size ø32.5mm x 0.5mm (P) Flange focal distance ‰ 70.8mm Flange focal distance ‰ 81.3mm well compensated for distortion.
    [Show full text]