Post Yer Still Lifes take 2

[GSX4]

Had to share this as I am jazzed about this lens! A Jim Galli special 5" B&L Cinephor odified Petzval... F2.5 and Packard mounted on the front and placed into a home made lensboard on my Chamonix 45-1N.... I took this on Tuesday afternoon and printed it last night....

The print is on FOMA MG '131' emulsion souped in Agfa Neutol WA. Lightly bleached back, lightly sepia toned and finished in selenium.

As the coverage of this is not full 4x5, I cropped it square and seems to be perfect for that format. At anyrate, the OOF areas are wonderful when shooting close focused subjects and not as crazy as when foliage is in the frame where it swirls violently! Thanks Jim for this great lens.

[butterflydream]

This was actually a test for Sironar-N 135mm bought exclusively for Chamonix 45N-1.

A bug wanted be in the photo, it landed on the cap of Rodinal just after I have measured exposure and before released shutter and left when I pull out the film holder.

http://img378.imageshack.us/img378/1148/20081017047pc8.jpg

Chamonix 45N-1
Sironar-N 135mm f5.6
Fuji Acros
D-76

[Jim Galli]

Had to share this as I am jazzed about this lens! A Jim Galli special 5" B&L Cinephor odified Petzval... F2.5 and Packard mounted on the front and placed into a home made lensboard on my Chamonix 45-1N.... I took this on Tuesday afternoon and printed it last night....

The print is on FOMA MG '131' emulsion souped in Agfa Neutol WA. Lightly bleached back, lightly sepia toned and finished in selenium.

As the coverage of this is not full 4x5, I cropped it square and seems to be perfect for that format. At anyrate, the OOF areas are wonderful when shooting close focused subjects and not as crazy as when foliage is in the frame where it swirls violently! Thanks Jim for this great lens.


I'll confess I sometimes wonder if these lenses will get used or not. This is a wonderful example of exactly what it can do. Great!

[Scott --]

Here's one fer Halloweird. Korona 8x10, old brass Koehler 10"/4.5 lens.

[z_photo]

Dad!!!

[shmoo]

...looks like he spent too much time in the darkroom!!!!

[alanps]

Taken 25 years ago (developed a year back) - on a Wista like camera (borrowed) - Ilford FP4 film.... one of my first ever large format shots :-)

[cobalt]

Camera: old battered Speed Graphic, lens: Kodak 127mm Ektar, film: Tmax 100, developed in Acufine.

[Daniel_Buck]

145mm f2 petzval projection lens, speedgraphic 4x5.

I put some rise on the lens to move the center sharp area down towards the shoe, which is why it's vignetting only on the top.

http://www.buckshotsblog.com/wp-content/uploads/2008/10/pumpkin_carving_01.jpg

[Jim Galli]

SWEET!


145mm f2 petzval projection lens, speedgraphic 4x5

http://www.buckshotsblog.com/wp-content/uploads/2008/10/pumpkin_carving_01.jpg

[Alan Davenport]

I don't do much still life, and I suppose that shows. But I do try on the rare occasion:

[Eugene van der Merwe]

Not quite LF since it was done using a 6 x 7 rollfilm back, but at least shot on a view camera. Cambo SC, fuji 150mm on velvia 100. Multiple exposures: First exposure straight with 1 stop underexposure, second out of focus with same exposure as the first, third exposure is of the texture on the oven pan background only, about a stop under.

[Jim Galli]

http://tonopahpictures.0catch.com/Pinkham-Smith/15SAseriesII/PinkhamSAseriesII_8s.jpg
porcelain coffeepot, fall peach sprigs

Pinkham Smith Semi Achromat Series II at f6

[cobalt]

Delta 100 in Acufine. Scneider Symmar 300mm. 8x10.

[Joppino]

Symmar-S 150mm
1/60s @ f22
Ilford HP5+
(not printed yet)


http://farm4.static.flickr.com/3244/2947721744_c06461b52d.jpg


Marco

[rodneyAB]

Symmar-S 150mm
1/60s @ f22
Ilford HP5+
(not printed yet)

Nice! i like this
http://farm4.static.flickr.com/3244/2947721744_c06461b52d.jpg


Marco

[Joppino]

I'm glad you like it, Rodney!


Marco

[Pat Kearns]

Daniel, IMHO, the vignetting adds to the photo, it knocks my socks off.

[Donald Miller]

Symmar-S 150mm
1/60s @ f22
Ilford HP5+
(not printed yet)


http://farm4.static.flickr.com/3244/2947721744_c06461b52d.jpg


Marco


One of the best still lifes that I have seen in quite some time. Wish I were back in Italy...I have visited your city.

[Joppino]

Thankyou Donald!

I hope you'll find time to come back to Italy, in the future!



Marco

[Ted Stoddard]

Here are some of mine:

Artichoke Cyanotype: Toned in tea for a few hours

Pepper Detail

Tomatoes On A Vine

All three donated for the Raid Our Gallery 2008 which was on monday...

[Donald Miller]

Tempe Art Center detail. Could be both architectural and still life...regardless it wasn't moving

[goamules]

Trying out my new: Seneca 8x10, Busch Portrait Aplanat, associated contrivances for wetplate. Halfplate.
http://farm4.static.flickr.com/3065/2979360725_88dc2185e7.jpg

Garrett

[GSX4]

Beautiful plate Garrett!

[Miguel Coquis]

Monnai du Pape
13x18
scanned neg

http://lh3.ggpht.com/_RwFNDsHP6Tk/SQjhMMNWKVI/AAAAAAAAARc/i8jUA-UT9d0/s720/Monnai-du-Pape.jpg

[Jim Galli]

Monnai du Pape



?? explain to an ignorant yankee please. I was looking for a picture of your father :confused:

father of money? ?? Oh, lovely picture btw!

[Miguel Coquis]

?? explain to an ignorant yankee please. I was looking for a picture of your father :confused:

Hi Jim, Give a look here:
http://fr.wikipedia.org/wiki/Lunaire
maybe that will help

father of money? ?? Oh, lovely picture btw!

In fact is just a visual... once you put a name, mind feels better !

... and, yes, I see, it is a picture of Father !
here is Mother

[cjbroadbent]

Gattett, that wet plate has a lot of magic.
I'm back, so here's my contribution: 8x10 tmax200
http://i318.photobucket.com/albums/mm440/downstairs_2008/shards2.jpg

[cjbroadbent]

Sorry Garrett, I have chronic typos.
C.

[cjbroadbent]

http://i318.photobucket.com/albums/mm440/downstairs_2008/wedge.jpg

Zeppe (wedges) 4x5 tmax200

[monsta]

horse chestnut spikey thing + stone

http://farm4.static.flickr.com/3167/3026233916_c6f165f2f5_b.jpg

[Jim Galli]

http://tonopahpictures.0catch.com/Pinkham-Smith/15SAseriesII/15SeriesIapples.jpg
apples

Watershed print. You say huh?? You should see this in person. E surface #1 double weight 1966 AZO and the surface just knocks my socks off. Quiet but powerful. Hopefully you can get some small sense in a 90kb .jpg.

[Jim Fitzgerald]

http://tonopahpictures.0catch.com/Pinkham-Smith/15SAseriesII/15SeriesIapples.jpg
apples

Watershed print. You say huh?? You should see this in person. E surface #1 double weight 1966 AZO and the surface just knocks my socks off. Quiet but powerful. Hopefully you can get some small sense in a 90kb .jpg.

Jim, I can see what this looks like! Must be nice to have some of that old E surface Azo to use? I only have 1976 8 1/2 x11 and 1980 11x14 to use.

Jim

[Jim Galli]

Zeppe (wedges) 4x5 tmax200


Perfect symmetry, balance, light! As usual. Very nice.

[Bob Chambers]

Here is a seagull skull and miscellanous feathers. 5x7 tri-x.

[MPrice]

Man, that's beautiful, is the blur from the lens or from camera movement?


horse chestnut spikey thing + stone

http://farm4.static.flickr.com/3167/3026233916_c6f165f2f5_b.jpg

[monsta]

glad you likes it. no movements but it's an old projection lens with no aperture or shutter, i think it's about f4 so the focus falloff is very quick. the camera was about 45 dgrees onto the subject which helps too.

cheers

john

[Akki14]

I should do more still lifes. I made this one months ago. I've gone into magpie-mode collecting items I want to create a still life with but not really having a fully formed composition in my head yet.

[Tintype Bob]

bmp

[arca andy]

Heres some Gum Bichromate images that I did some years ago. I experimented with the process for some time until it finally sent me bonkers...far too many variables to produce consistent prints for my liking...anyone else tried it?

[Donald Miller]

A recent print.

[Daniel_Buck]

not quite sure if this qualifies as a still life, but I think it fits this thread better than the other running threads so far.

Arista EDU 100 in Rodinal, Chamonix 8x10 with Gundlach Radar 12" f4.5 with a tad bit of front swing to get both sets of headlights in focus.

http://www.404photography.net/wip/apn_01.jpg

[dwhistance]

Donald, that's lovely. It must look even better in a print.

David Whistance

[Donald Miller]

Donald, that's lovely. It must look even better in a print.

David Whistance

Thank you David

[Brian_A]

A recent print.

Very, very nice.

[Donald Miller]

Very, very nice.

Thanks Brian

[eddie]

i was looking for this thread.....

i do not ghink it will fit into the "galli style" thread as i stopped it down to f11, so here it is! :)

this is my 3rd solo wet plate attempt. 10x10 black aluminum. petzval 8x10 lens at f11. 10 sec exposure. sugar developer and KCN fix. it has a great coffee color!

cheers

eddie

[walter23]

I put this in the Galli thread, but what the hell... might as well put it here too.

http://i23.photobucket.com/albums/b377/walter2323/vase-with-speedy.jpg

[zack]

testing out an old rapid rectilinear
http://zack.loseby.net/images/blrr1s.jpg

[Asher Kelman]

i was looking for this thread.....

i do not ghink it will fit into the "galli style" thread as i stopped it down to f11, so here it is! :)

http://www.largeformatphotography.info/forum/attachment.php?attachmentid=20802&d=1229277542

this is my 3rd solo wet plate attempt. 10x10 black aluminum. petzval 8x10 lens at f11. 10 sec exposure. sugar developer and KCN fix. it has a great coffee color!


Eddie,

This looks fabulous! I love the simple composition. What a treat! I looked at the image in photoshop and the crystal comes out very well Very kind of you to make that picture. I was hoping you would. Now how are you going to print it? Can that plate be put in a regular 8x10 camera and do you have a link for the process? Presumably, no one makes commercially packaged sensitized plates today!

Sugar and cyanide sounds like a Jonestown brew!

Asher

[eddie]

Eddie,

This looks fabulous! I love the simple composition. What a treat! I looked at the image in photoshop and the crystal comes out very well Very kind of you to make that picture. I was hoping you would. Now how are you going to print it? Can that plate be put in a regular 8x10 camera and do you have a link for the process? Presumably, no one makes commercially packaged sensitized plates today!

Sugar and cyanide sounds like a Jonestown brew!

Asher

hey asher. it was a pleasure to shoot a "request". i too really like that crystal....i plan to shoot it some more.

here is a link to the wet plate process (http://unblinkingeye.com/Articles/WPC/wpc.html) this is on aluminum so i t is a one of a kind unless i scan it. you can print it on glass also but that i a bit more difficult so i will wait till i have a better handle on it before i start doing that.

i have the aluminum cut to specific sizes. so yes, i can shoot almost any size that i can get into my camera. i have an 8x10 "pressure plate" holder i will try to use this week. i plan to make one of these (http://www.collodion.com/forum/forum_posts.asp?TID=1601&KW) also for whole plates sizes.

cheers

eddie

[cjbroadbent]

http://i318.photobucket.com/albums/mm440/downstairs_2008/clothC.jpg

5x7 Ektachrome with a Linhof Technica + 180mm symmar and a window-light an some patience.

[Miguel Coquis]

[QUOTE=Christopher Broadbent
5x7 Ektachrome with a Linhof Technica + 180mm symmar and a window-light an some patience.[/QUOTE]

Christopher, very nice and coherent light !


Here is another window light with some patience too !
http://lh6.ggpht.com/_RwFNDsHP6Tk/SUZ94ioVbII/AAAAAAAAAWM/yOV8YcIrn8Y/s800/Peras.jpg

[eddie]

10x10 collodion on aluminum

f5. j f adams 8x10 petzval shot at f11.

deer antlers was 7sec ( a bit too much i think) sugar developer. kcn fix

holiday basket 6 sec, sugar developer, kcn fix

[Steve M Hostetter]

10x10 collodion on aluminum

f5. j f adams 8x10 petzval shot at f11.

deer antlers was 7sec ( a bit too much i think) sugar developer. kcn fix

holiday basket 6 sec, sugar developer, kcn fix

Nice eddie

[Steve M Hostetter]

http://i318.photobucket.com/albums/mm440/downstairs_2008/clothC.jpg

5x7 Ektachrome with a Linhof Technica + 180mm symmar and a window-light an some patience.

Brilliant

[gbogatko]

This with an Imagon 250mm on TMY 320 6x9 roll film.

[cjbroadbent]

http://i318.photobucket.com/albums/mm440/downstairs_2008/soup.jpg
Another 5x7 in a softer mood.

[eddie]

Another 5x7 in a softer mood.

WOW! and it even looks like you have steam coming from the pot!

[Jim Galli]

Another 5x7 in a softer mood.

Perfect!

[Shutter]

Positive or negative? ;)

Sinar F2 + 150mm Symmar (rear lens element only)
Tri-X 320

[eddie]

hello everyone,

still at the wet plate collodion! this time i tried shooting a negative on glass plate. it worked perfect. i am very happy!

5x7 glass neg that i printed in my darkroom on ilford warmtone paper.

[Jiri Vasina]

I'm not much into still lifes (I can't do them properly), but here is something that clearly has it's idea... And it was shot while portraying my daughter...


http://www.vasina.net/wp-content/gallery/katka/r005-2web.jpg

"Stage, where anything is possible"

Graflex RB Super D 3¼×4¼″ with a Kodak Ektar 152mm lens, 6×9cm roll film back, Fomapan 100, Agfa Rodinal.

Btw. working with the old Graflex is a real pleasure.

[Ken Lee]

What kind of Ektar is that ? I love the blur rendition.

[Allen in Montreal]

http://i318.photobucket.com/albums/mm440/downstairs_2008/soup.jpg
Another 5x7 in a softer mood.

Now that image says Italy!! :)

[Jiri Vasina]

Ken, it's the Kodak Ektar f:4.5 152mm with the (L) sign (Luminized?) in Graflex autostop mount. SN is "ES 45xx".

And yes, the rendition of the lens is very nice, especially wide open and close up (for portraits and the detail)

[Emil Schildt]

here are two Stills, made some years ago.
Both painted with light.

the first printed using homemade liquid emulsion (the simplest possible) - the second using SE1 and then hand coloured...

Love to make stills - must do it more often!

[Emil Schildt]

.. and this one was made with Sudek in mind....

[Janko Belaj]

3 cups of coffee (turkish coffee, before boiling)
http://belaj.com/unsorted/before/3-salice-kave.jpg

[eddie]

back with my 10x10 aluminum plates!

8 sec at f 5.6 with my trusty 15 inch cooke!

[eddie]

the sun came out so i thought i would shoot one more.

this one is the same as above but with #3 diffusion dialed in

[David Hedley]

Shiitake
http://farm4.static.flickr.com/3024/3111737494_63e2fa7d8b.jpg

Toyo metal field 4x5, 90mm Fujinon, Fuji Neopan 400 / Rodinal

[Miguel Coquis]

[QUOTE=David Hedley;427969]Shiitake
Wow, great pic !

Here is a speed graphic contribution, old lemon

http://lh4.ggpht.com/_RwFNDsHP6Tk/SWSA9UCaGXI/AAAAAAAAAW0/fRwP3O80DJQ/s800/Old%20lemon.jpg

[cjbroadbent]

http://i318.photobucket.com/albums/mm440/downstairs_2008/bottlerackBN.jpg
4x5 Gandolfi + 135mm sironar on ektachrome, rejected (sc**w them), duped & scanned to B&W.

[GSX4]

Nice image!!! where did you get neopan 400 in sheets??? Or is this a rollfilm back?


Shiitake
http://farm4.static.flickr.com/3024/3111737494_63e2fa7d8b.jpg

Toyo metal field 4x5, 90mm Fujinon, Fuji Neopan 400 / Rodinal

[David Hedley]

Thanks for the comments. Neopan 400 in 4x5 sheets is available in Japan - I've not seen it anywhere else unfortunately, as it is a great film.

[Colin Graham]

http://farm4.static.flickr.com/3376/3176944557_6783c04111.jpg

Storm and power outage yesterday.

[Scott --]

The business end of the wife's Pinarello:

http://i531.photobucket.com/albums/dd359/smpsweeps/pinarello00.jpg

Korona 8x10, Koehler 10"/4.5, Arista.EDU Ultra 100, HC-110 dil H

[cjbroadbent]

http://i318.photobucket.com/albums/mm440/downstairs_2008/glass.jpg

More of New Years dinner. I get asked about lighting SL. I don't light. I push things around in whatever light comes in the window making sure that each and every edge is set off against a lighter or a darker tone, with the deeper contrast towards the ends of the set. It's like doing a sudoku.

[Ken Lee]

"...making sure that each and every edge is set off against a lighter or a darker tone, with the deeper contrast towards the ends of the set"

Brilliant !

[Colin Graham]

http://farm4.static.flickr.com/3377/3184608851_b2c1f2f74d_m.jpg

Reclining carrot

[Miguel Coquis]

Hope this one mounts right !!!
speed+xenotar
400asa
dev +2
scan neg

http://lh4.ggpht.com/_RwFNDsHP6Tk/SWjZlZdW8PI/AAAAAAAAAYI/4Oz55bSeRH8/Xenotar.jpg

[Miguel Coquis]

OK, I'll just post thumbnails:-(
speed graphic
xenotar
400 asa
dev+2
scan neg

[SamReeves]

Shiitake
http://farm4.static.flickr.com/3024/3111737494_63e2fa7d8b.jpg

Toyo metal field 4x5, 90mm Fujinon, Fuji Neopan 400 / Rodinal

Very nice! Those would look good on a teriyaki steak. :D

[eddie]

a few more from todays wet plate adventure.

5x7 black aluminum. whole plate RR at f16 for 1 sec.

[Miguel Coquis]

More and more letters !

[Miguel Coquis]

and numbers !
speed graphic
isco gottingen super kriptar f:2
classic pan 400
dev + 1 1/2 Tmax 1/4

[cjbroadbent]

http://i318.photobucket.com/albums/mm440/downstairs_2008/meissen.jpg
For old lens freaks, this is a Cooke 8 1/2" anastigmat on 5x7. Just clipping the corners.

[David Hedley]

Very nice! Those would look good on a teriyaki steak. :D

They ended up being sliced into a bowl of ramen, and were great. :D

[eddie]

For old lens freaks, this is a Cooke 8 1/2" anastigmat on 5x7. Just clipping the corners.

great shots chris! and with no lights! thanks for the inspiration.

[Ben Hopson]

210mm APO Sironar S, HP5 Plus

[Jim Galli]

and numbers !
speed graphic
isco gottingen super kriptar f:2
classic pan 400
dev + 1 1/2 Tmax 1/4

I love these shots. Well seen. Is it a 6X9cm? Curious why the notch reaches so far into the picture.

[cjbroadbent]

... and with no lights! ...
Well, sort of. That was a halogen stuffed tight into an umbrella for no spill. The curved background does all the work because it catches light where the subject goes into shadow. The highlights are retouched square.

[Miguel Coquis]

I love these shots. Well seen. Is it a 6X9cm? Curious why the notch reaches so far into the picture.
Hi Jim,
Me love them too !
Well found, those are 6x9 and notch are "gourmet" choice.
Here is one more for dessert,

[Alex Hawley]

Natural light, 4x5 FP4+, Pyrocat-HD with extreme minimal agitation.

[Jim Galli]

http://tonopahpictures.0catch.com/Pinkham-Smith/SAiiiJB/DeadRoses2s.jpg
dried roses

8X10 Panatomic X. No notch because I cut it from a long roll of aerial recon film. Lens is a Smith.

[andress007]

my first 8x10 Tri-X in XTOL (1:1) :)

[Miguel Coquis]

do-re mi,
a female dear ....

[goamules]

1940 Elgin on quartz crystal. The small second hand is present, but blurred in the 50 sec exposure. Halfplate collodion Verito lens.

http://farm4.static.flickr.com/3358/3189171811_c6701f6cd0.jpg

Garrett

[Jim Galli]

1940 Elgin on quartz crystal. The small second hand is present, but blurred in the 50 sec exposure. Halfplate collodion Verito lens.


Garrett
Excellent!

[Colin Graham]

http://farm4.static.flickr.com/3498/3184589449_f2872dbb8a.jpg

More empty days with bowls of veggies. ;)

[Alex Hawley]

Union Pacific #844 Driver Wheel
Natural light, Efke PL25 (4x5), Pyrocat-HD, negative scan.


http://www.apug.org/gallery/data/2/UP_wheel_neg_001.jpg

[unrealalex]

http://farm4.static.flickr.com/3201/3149580913_e6d7bef884_o.jpg (http://flickr.com/photos/unrealalex/3149580913/)

Still Life, Wet-plate collodion, BGA ambrotype, 18x24 cm

30 sec at F/8, Hugo Meyer Portrait Trioplan 12"/3.5
Used artificial light - two sources: one as primary with two tape strips to emulate a window and another one was placed between table and background just to light the bottle.

[Miguel Coquis]

Still Life, Wet-plate collodion, BGA ambrotype, 18x24 cm
30 sec at F/8, Hugo Meyer Portrait Trioplan 12"/3.5
Used artificial light - two sources: one as primary with two tape strips to emulate a window and another one was placed between table and background just to light the bottle.[/QUOTE]
After trying some seeing on your ambrotype, I can better understand when you say:
"When I print my photos with alternative processes I put a little piece of my soul into them."
Great work Alexei !
Here goes some music to celebrate our "photographic joy" and to feed our souls before they go into too many pieces:-)

[Miguel Coquis]

http://farm4.static.flickr.com/3498/3184589449_f2872dbb8a.jpg

More empty days with bowls of veggies. ;)

Wow Colin, nice color in this beautiful pic !

[cjbroadbent]

http://i318.photobucket.com/albums/mm440/downstairs_2008/breadP.jpg
More fungi in 5x7. Though not as nice as Colin's.

[cjbroadbent]

http://i318.photobucket.com/albums/mm440/downstairs_2008/vegP.jpg
And a fractal cauliflower with bits of Baugin and Cotain. (For Pioneer)

[aphexafx]

tons of inspiration going on here.

[manfromh]

Print was first exposed for 3 sec's, then the boots were covered up with a paper cutout of the same shape. The whole print then got additional 10 - 20 seconds (i didnt realy count, just went by feeling) of exposure. I'm eventually going to re-do this more better.

Era 100, and contact printed on expired Slavich RC paper.

[Jeff Graves]

Great work everyone! Definetly an inspiring thread. Here is some fun I had with stainless steel tubes.

[Steve Gledhill]

I don't do much still life but I guess these 3 qualify. The two shots with the 4 dried hosta leaves are 5x4 but the two maple leaves are a cheat - they were laid on my scanner.

[Ken Lee]

http://www.kenleegallery.com/images/forum/r06.jpg
Vintage Tessar, 4x5 Sinar P
TMY, Pyrocat HD

[Keith Tapscott.]

Shiitake
http://farm4.static.flickr.com/3024/3111737494_63e2fa7d8b.jpg

Toyo metal field 4x5, 90mm Fujinon, Fuji Neopan 400 / RodinalI didn`t know that Neopan 400 was available in large-format.

[cobalt]

I'd like to know where to find that myself. It is my favorite film, but I can only find it in 120 or 135.

[cjbroadbent]

I'd like to know where to find that myself. It is my favorite film, but I can only find it in 120 or 135.
Maybe Fuji Neopan Acros-100 4x5" Quickload? Whatever; it is a very impressive still-life.

[Miguel Coquis]

This may go with mushroom... hum !

[jmooney]

Shiitake
http://farm4.static.flickr.com/3024/3111737494_63e2fa7d8b.jpg

Toyo metal field 4x5, 90mm Fujinon, Fuji Neopan 400 / Rodinal



Awesome shot! can you describe your setup and lighting a bit?

Take care,

Jim

[Drew Bedo]

Window Light, Blinds and Tea Pot. My wife's hand thrown pottery.

[Jan Pedersen]

Those Shitake makes me dribble. Miguel, nice work as always.
As for the Neopan 400, i believe it is available in Japan only, wish we could get Fuji USA to import the acros and the 400 in 8x10

[Kerik Kouklis]

A couple of new collodions. 8x10 on aluminum, Derogy Portrait Petzval:

http://www.kerik.com/belljar_1.jpg

http://www.kerik.com/belljar_2.jpg

[icefan13]

http://farm4.static.flickr.com/3498/3184589449_f2872dbb8a.jpg

More empty days with bowls of veggies. ;)



This is stunningly beautiful! Any specs on the film/developer/toning/lens, etc?

It's simply gorgeous.

[Colin Graham]

Thanks for the comments.

Funny, this was shot on some 4 year old efke 100 that I found in the garage freezer, thawed and refrozen god knows how many times, and with the ziplock back punctured. If the film didn't have the paper interleaves, it probably would have been a solid brick long ago.

Anyway, it was shot on a 4x5 with an older Fujinon 125 W (not SW), developed in pyrocat-HD, 2:2:100. I don't print silver gelatin anymore, so this is a negative scan. But I'm looking forward to trying it as a carbon transfer.


Kerik- those are incredible.

[andress007]

test of made in ca 1860 12x10 SWIFT & Son Rapid 16", 45 W/H stop cut from black paper, 8x10 TRI-X @ 320 2 sec, in HC-110

[icefan13]

Anyway, it was shot on a 4x5 with an older Fujinon 125 W (not SW), developed in pyrocat-HD, 2:2:100.



Sorry, but what does '2:2:100' mean?

[Colin Graham]

it's the dilution of pyrocat HD: 2 parts solution A, 2 parts solution B and 100 parts water.

[GSX4]

Saw these on APUG as well Kerik..... Simply stunning work... Another level this!

A couple of new collodions. 8x10 on aluminum, Derogy Portrait Petzval:

http://www.kerik.com/belljar_1.jpg

http://www.kerik.com/belljar_2.jpg

[GSX4]

You raised the bar on this one Colin WOW! Just stunning!


http://farm4.static.flickr.com/3498/3184589449_f2872dbb8a.jpg

More empty days with bowls of veggies. ;)

[Miguel Coquis]

Polafruits !
http://macoquis.caraldi.com/scaled/2001-01/Pola-Fruit.jpg

[Jim Galli]

http://tonopahpictures.0catch.com/MysteryLens13F4/Transpaque/RossInTheJawsS.jpg
ross in the jaws

Made with a projection lens I'm playing with. I've moved things around to try to create an affordable soft focus lens. Can't afford a Pinkham?

[Jim Galli]

http://tonopahpictures.0catch.com/MysteryLens13F4/Transpaque/PorcelainPotandLeavesS.jpg
porcelain pot and leaves

As above. These are done on 8X10 with a 14" optic.

[Miguel Coquis]

still lifes habitat, there was plenty of mice in this place:-)
http://macoquis.caraldi.com/scaled/Old%20Neg/La-Loup-001.jpg

[kev curry]

love it...

[manfromh]

Paper negatives

[eddie]

okay, looks like my photos got deleted as i mentioned a political figure by name and an event.....:eek:

lets try this again.

i was inspired today by a current event.

5x7 collodion image.

2 sec and 4 sec respectively. f16 and f22

[PaulRicciardi]

http://farm4.static.flickr.com/3502/3254257706_e97b9deb0f.jpg

8x10, Efke Positive Paper, Diafine

The scan really does not do the print justice, the print has a lot more dimensionality.

[darr]

I don't think I have posted this one before.


http://cameraartist.com/snaps/10014.jpg

Ebony SV45U, Docter 240/f9, Polaroid 55

[Jim Galli]

I don't think I have posted this one before.




Ebony SV45U, Docter 240/f9, Polaroid 55

VERY pretty.

[darr]

VERY pretty.

I shoot like a girl!! :o

Your work is so defining Jim. One of these days I am going to try a 'silver bullet' and buy one of your lenses. Maybe some of your pixie dust will come with the glass. :)

Thanks!
Darr

[cjbroadbent]

4x5 on a Technika + 120mm Sironar. From Ektachrome.

[Miguel Coquis]

4x5 on a Technika + 120mm Sironar. From Ektachrome.

Hi Christopher, nice color in this pic !!!

[cjbroadbent]

Hi Christopher, nice color in this pic !!!
Chromes are just a lazy man's TMax.

[Miguel Coquis]

The plateau of Quesos

http://macoquis.caraldi.com/scaled/Expo%20Mars%2009/Cheese.jpg

[PViapiano]

http://farm4.static.flickr.com/3301/3253167251_8e0b2665cd.jpg

Palladium print on Fabriano Artistico EW
Ebony 45s
320 TXP
D76 1:1

[Kerik Kouklis]

A new plate from the Bell Jar series:

http://kerik.com/belljar_6.jpg

8x10 collodion on aluminum
Kodak Masterview, Hermagis Eidoscope

[Darryl Baird]

http://farm4.static.flickr.com/3399/3260365185_f6a7652d58.jpg

Polaroid PN55 - 10 inch Dynar

[Noeyedear]

The Kitchen. 5x7 305mm Kodak portrait lens.

Kevin

[Jim Galli]

The Kitchen. 5x7 305mm Kodak portrait lens.

Kevin

Gorgeous!

[gbogatko]

It's a still life, but taken outside. Does that count?

george

[manfromh]

Paper negative

[Steve M Hostetter]

8x10" back on 11x14" deardorf 16" f4.5 @4.5 Kodak Efke 25 D76

[espressogeek]

Awesome frame. How did you get the window light to fall directly on top of the subject?



Christopher, very nice and coherent light !


Here is another window light with some patience too !
http://lh6.ggpht.com/_RwFNDsHP6Tk/SUZ94ioVbII/AAAAAAAAAWM/yOV8YcIrn8Y/s800/Peras.jpg

[Steve M Hostetter]

Paper negative

well done love the paper neg

[Daniel_Buck]

this one 4×5, can't remember which focal length, I want to say 180mm. 70 pound case of Ukranian 7.62×54R ammo

http://www.buckshotsblog.com/wp-content/uploads/2009/02/ammo_01.jpg

[Steve H]

4x5 on HP5 pushed

http://lh4.ggpht.com/_IPGHyT92a24/SY9lRaRbqKI/AAAAAAAACh0/NZXEXejnbS0/s800/hagley_gear_cutter.jpg

[Steve M Hostetter]

antique clock, 8x10" efke25 405mm @4.5 Kodak barrel lens taken on an 11x14 Dorf w/ 8x10" reducer back

[Jim Galli]

antique clock, 8x10" efke25 405mm @4.5 Kodak barrel lens taken on an 11x14 Dorf w/ 8x10" reducer back

Beautiful glow on this. I love the Kodak lenses. Funny, I've never owned a 305mm though.

[Steve M Hostetter]

Hello Jim,

Thank you .. And thank you for the inspiration.. !

I own the 305mm barrel lens but hardly ever use it.. I must say I was lucky to pick these up as minty as they are.. The 16" Kodak will be my primary lens I think.

[Jim Galli]

http://tonopahpictures.0catch.com/021502/11VeritoTulipsS.jpg (http://tonopahpictures.0catch.com/021502/11VeritoTulips.jpg)
tulips

11 1/2" Verito, f5.2, 6.5X8.5 format

[Steve M Hostetter]

http://tonopahpictures.0catch.com/021502/11VeritoTulipsS.jpg (http://tonopahpictures.0catch.com/021502/11VeritoTulips.jpg)
tulips

11 1/2" Verito, f5.2, 6.5X8.5 format

which reminds me I need to hold on to some film nice work

[Steve M Hostetter]

horse chestnut spikey thing + stone

http://farm4.static.flickr.com/3167/3026233916_c6f165f2f5_b.jpg

incredible I look long enough I fall in

[seven]

'forgiveness'

http://farm4.static.flickr.com/3655/3295254271_d345c17899_o.jpg

Dallmeyer-Bergheim @F8, 8x10 Ilford Delta 100, pyrocat

[dynamo]

http://www.digital-silence.de/largeformat/blumentopf_small.jpg
larger version (http://www.digital-silence.de/largeformat/blumentopf.jpg)

Sinar 4x5 (6x9 rollfilm back), APX100
Problems with the film transport.

[cjbroadbent]

http://i318.photobucket.com/albums/mm440/downstairs_2008/eggs.jpg
Just to keep the thread alive. 180mm Sironar on a Technika 13x18. Lit with an umbrella.

[keeds]

Nautilus with Lith...

I have some other version on flickr

on POP - http://flickr.com/photos/keeds/3239228675/
on Lodima - http://flickr.com/photos/keeds/3240065968/
with Palladium - http://flickr.com/photos/keeds/3239228539/

[darr]

Nautilus with Lith...


Simply elegant!

[Chris Strobel]

Conch Shell-Polaroid-Type 55-Shen-Hao 4x5-150mm Nikkor W

http://www.pbase.com/cloudswimmer/image/80091221.jpg

[NER]

FP4 in PMK on MGIV with Ansco 103.
N. Riley
http://normanrileyphotography.com/

[cjbroadbent]

http://i318.photobucket.com/albums/mm440/downstairs_2008/bilboquet.jpg
Trying to keep up conceptually. 4x5 TMax100 in D76.
Norman, page five of your site is intriguing. Are thy your creations?

[NER]

Christopher,

Yes, those on V and Vb are mine. Thank you. I like what you do too. Numbers 26 and 27, for example, are quite good in my opinion. You may be interested in http://www.fotostil.de

N. Riley
http://normanrileyphotography.com/

[Jim Galli]

http://tonopahpictures.0catch.com/BandLTessar/Towels_1s.jpg
towels

Done with an 11X14 Bausch & Lomb Tessar wide open and fuzz-u-lated.

[bspeed]

Stilled life, in a field of discard.

HP5+, HC110 "H" dilution, 10 minutes.
Nikkor 210, toyo 45a Cropped.

http://bryanspeed.smugmug.com/photos/486646990_Wp2E8-L.jpg

[Andrew ren]

http://www.andrewren.com/Images_for_web/Summer_2007/Leaf,Study-1.jpg

http://www.andrewren.com/Images_for_web/Summer_2007/Pepper,-Study-1.jpg

http://www.andrewren.com/Images_for_web/Summer_2007/Fern,Study-1.jpg

[Alex Hawley]

Most excellent Andrew!

[Steve M Hostetter]

In memory 16" 4.5 Kodak 8x10" efke 25 D76

[Steve M Hostetter]

16" 4.5 Kodak on 8x10 efke 25 D76

I shot this on 11x14" HP5 iso 400 which included the whole stem but I had to make an 8x10 so I just used the same frame

[Steve M Hostetter]

100 yr old bucket ,,, 8x10" 16" 4.5 Kodak efke 25 D76

[Jim Galli]

100 yr old bucket ,,, 8x10" 16" 4.5 Kodak efke 25 D76
These are lovely all Steve. It's the simple things eh?

[Steve M Hostetter]

thank you Jim ,, yes I think i fingered it out

[eddie]

having more fun with collodion

13.5 inch petzval f4

[Jim Galli]

having more fun with collodion

13.5 inch petzval f4

You'll have to call that one flower in a beaker :)

[Steve M Hostetter]

having more fun with collodion

13.5 inch petzval f4 one of a kind

[Andrew ren]

Most excellent Andrew!

Thanks Alex.

Eddie, wonderful shot!

Andrew

[Roger Thoms]

Tempe Art Center detail. Could be both architectural and still life...regardless it wasn't moving

Could also be Abstract, I like it.
Roger Thoms

[Steve M Hostetter]

memories

[Ken Lee]

http://www.kenleegallery.com/images/forum/f022.jpg
Tete a Tete Daffodils
Sinar P, 135mm Tessar
5x7 TMY, Pyrocat HD

[Drew Bedo]

Three Gourds; All looking One Way

[cjbroadbent]

NER,
I was rather dismayed by what I saw on the www.fotostil.de site. It's about time I got outdoors.

[NER]

I'm not sure I understand what you mean, Christopher. I assume it's a compliment to individuals those who post there. That would be warranted. While some of the images on the site are rather silly, others are exceptionally well conceived and executed. I realize they're digital creations, but even so there is a level of skill apparent in some of them that one does not ordinarily see in the typical digigraph.

N. Riley
http://normanrileyphotography.com/

[Jim Cole]

Just got a 12" brass Rapid Rectilinear yesterday that I wanted to try out. My wife ran the other way, so since I've never shot a still life before I thought I would give it a try. I do not pretend to compete with some of the masters here, but I had fun with this. Wish I would have had a better choice of organic material, but what the heck. This is a new beginning (along with my feeble attempts at portrait photography) to step outside my well defined box.

4x5 Acros, f22, 8 seconds, winter cap for a shutter, souped in Rodinal 1:49, N-1 development, scanned with a bit of levels and curves.

http://farm4.static.flickr.com/3618/3344465027_8075768711_o.jpg

[darr]

... I've never shot a still life before I thought I would give it a try.

Great beginning Jim!

[Jim Cole]

Thanks, Darlene. I appreciate the encouragement.

[cjbroadbent]

... Wish I would have had a better choice of organic material, but what the heck. This is a new beginning ...
Still-life is overwhelmed with organic material. Stick with inorganic; you're on the right track Jim.

[Jim Cole]

Christopher,

Thanks for the positive push. Your work, along with one or two others here, inspired me to give this a shot. I'll see what I can do with this set without the organic treatment and post a follow up shot. I have a serious lack of the creative style that good still lifers, like you, have in abundance.

[PViapiano]

BTW, and a little OT...Linda Butler's books have some of the most beautiful still lifes in them, especially her book on Italy...wow!

http://lindabutlerphoto.com/?p=63

[Jim Cole]

Here's version 2 of the Crown Graphic shot. It has become a "requirements of photography" story: knowledge, subject, tools, time, results.

Again on Acros with the 12" RR, this time at f32 where the lens gets sharp across the field. I love the look of the this lens/film combination.

I'm having fun wih this. Thanks for the helpful comments.

http://farm4.static.flickr.com/3651/3347756357_423703271f_o.jpg

[Miguel Coquis]

While working, having fun too !
105 mm f:4
dev: N (what can N be ?)
scan neg


http://macoquis.caraldi.com/scaled/Expo%20Mars%2009/Tournevis.jpg

[Allen in Montreal]

I love some of her stuff too,
very nice.




BTW, and a little OT...Linda Butler's books have some of the most beautiful still lifes in them, especially her book on Italy...wow!

http://lindabutlerphoto.com/?p=63

[Jim Cole]

Here's another. I have a series in mind that will include the clock as a common element. Let me know if I'm boring everyone or using up valuable band width :) I can take a hint.

Same specifics as far as film and lens.

http://farm4.static.flickr.com/3542/3350454020_4be89a6880_o.jpg

[mandoman7]

Here's a lettuce. 4x5, HP5 in D-23, 1992.

[Shutter]

Snowdrops in a small and quite old liqueur bottle. (my second 8x10 sheet :->)

Sorry for the uneven development, had a few problems in the darkroom...well I guess that's to be expected in the beginning...

Sinar P 8x10 // 480mm APO-Ronar @ f11.0, 8s
Fomapan 100 // Rodinal @ 7min

[Michael Roberts]

Actually, I kind of like the shadowing effect...kind of reminds me of an old story about a couple of world-class milers in the early 60s. One guy lived in Chicago and trained by running on railroad tracks (no mention of racing trains). He thought if only he had some hills to train on, like Peter Snell, the then-world champ from New Zealand, he could beat the champ. What the guy from Chicago didn't realize was all over the world, other guys were training on railroad tracks 'cause they heard that's what he did.

So, if you hadn't mentioned this was a mistake, you'd probably have folks writing in to ask how you managed that neat effect....

[cjbroadbent]

Here's another....
http://farm4.static.flickr.com/3542/3350454020_4be89a6880_o.jpg
Jim, I have to knock together heaps of unrelated junk for magazines and christmas catalogs. So here goes. You gotta have system.
The system is to build outwards from the middle. Some of the stuff is black, so get rid of that black background, it's killing the edges. A table and a wall would do (the seamless bg is finally dead. Long live horizons).
You've got 3 great elements to use as mini-backgrounds inside the shot, the paper roll, the cloth and the Ilford bottle. Right now they are wasted and dragging the eye off to the side. So use those white things to build up a structured centre and to set-off the edges of the black things. The clock is the subject? get it to the foreground and let it breathe.
If I bore or offend, please say so.

[Jim Cole]

Hi Christopher,

Thanks again for your welcomed suggestions. The clock (time) is an element of the photographs not the main subject although what I wrote earlier may have confused what I was trying to say.

I agree with the white elements drawing the eye off the frame. The more I looked at this one, the more I decided that with the exception of the Ilford bottle too far left, the left side of this photo works well, but the right side is all wrong. I will also try this with a horizon as per your suggestion and start in the center and build outward.

This is my project for the day. I will always appreciate your feedback while I go through this learning process.

Jim

[cjbroadbent]

Thanks Jim. In fact, I shouldn't do this, its bad form. I came here to learn about landscape.

[catshaver]

Had to share this as I am jazzed about this lens! A Jim Galli special 5" B&L Cinephor odified Petzval... F2.5 and Packard mounted on the front and placed into a home made lensboard on my Chamonix 45-1N.... I took this on Tuesday afternoon and printed it last night....

The print is on FOMA MG '131' emulsion souped in Agfa Neutol WA. Lightly bleached back, lightly sepia toned and finished in selenium.

As the coverage of this is not full 4x5, I cropped it square and seems to be perfect for that format. At anyrate, the OOF areas are wonderful when shooting close focused subjects and not as crazy as when foliage is in the frame where it swirls violently! Thanks Jim for this great lens.

Sublime!!!

[Jim Cole]

Thanks Jim. In fact, I shouldn't do this, its bad form. I came here to learn about landscape.

Aw heck Christopher, what's a little bad form now and then. Let's see some of your landscape stuff! It should be a fun transition for you from your excellent portrait and still life work. I'll be glad to contribute my two cents worth.

Gotta finish up my morning cappuchino and get to working on that studio shot.

Chao!

[Steve M Hostetter]

Jim, I have to knock together heaps of unrelated junk for magazines and christmas catalogs. So here goes. You gotta have system.
The system is to build outwards from the middle. Some of the stuff is black, so get rid of that black background, it's killing the edges. A table and a wall would do (the seamless bg is finally dead. Long live horizons).
You've got 3 great elements to use as mini-backgrounds inside the shot, the paper roll, the cloth and the Ilford bottle. Right now they are wasted and dragging the eye off to the side. So use those white things to build up a structured centre and to set-off the edges of the black things. The clock is the subject? get it to the foreground and let it breathe.
If I bore or offend, please say so.

sorry wrong guy

[Steve M Hostetter]

Here's another. I have a series in mind that will include the clock as a common element. Let me know if I'm boring everyone or using up valuable band width :) I can take a hint.

Same specifics as far as film and lens.

http://farm4.static.flickr.com/3542/3350454020_4be89a6880_o.jpg

Took some thought. I like the way all the lines compliment eachother

[Jim Cole]

Thanks, Steve. I post a new one soon that will take into account some of Christopher's comments. I'll see what I can do.

Jim

[Miguel Coquis]

Oh yeah, they stay still !
this ones have been going around for millions years and are still good.
105 mm f:8 t:1/125
scan neg

http://macoquis.caraldi.com/scaled/Expo%20Mars%2009/Fish-06.jpg

[Jim Cole]

Here's another attempt at "Developing Time"

http://farm4.static.flickr.com/3268/3361385155_bcb2016be5_o.jpg

[cjbroadbent]

Here's another attempt at "Developing Time"

Jim, So explicit, it looses magic. Go less vanilla with the light and have it pass between the stuff. Like it is, the white parts are not doing their rightful job - which is outlining the dark parts.
Drop the wall tone - at least on the side the light comes from so the faces towards the light stand out. Anyway high and low tones in the subject should exceed the background tones by quite a lot.
It's a vanilla lens too. Get in there and use some depth. Come over the table edge for 3D. Bind it all together with the cloth somehow - maybe underneath. There's plenty of vertical room so build the whole thing upwards. Beware overlapping blacks. Tell me to go away and I'll go. Sorry.

[Jim Cole]

No, no, don't go away. All of your comments are very helpful. I agree that this is all too static. I wanted to use a cloth of some sort to bind things together, but couldn't find the magic. I also tried to go with high and low objects, but that was tied to the fabric issue and failed as well, because I was falling into that continuous background thing. The background is an issue for me that I have to figure out. White obviously didn't work. I need some photographic backgrounds, but that will have to wait. I have a handle on the light against dark and dark against light for composition, but there is a breakdown occasionally. This is a process and I'm learning a lot from you. This image may be too boring overall for any success given the subject matter, but I'm determined to get something worthwhile out of it.

The lens is a 12" RR and I drifted away from the reason for using it, the nice, soft out of focus areas. I started shooting at f32...I might as well have been shooting with my Nikon 300M. I will try several things, including moving the grouping more to center, go 3D, change the lighting and shoot more wide open for some lens effects. I'll post something again when I'm a bit more successful.

Thanks again for all your comments and please continue with them as I go forward.

[unrealalex]

http://www.ambrotype.ru/wet-plate-collodion/still-life/images/WineAndCofee.jpg
Wine And Coffee, BGA ambrotype, 8x10"

[Jim Cole]

Nicely done!

[Miguel Coquis]

White (evident !) bottle
Mentor 10x14
4x5 neg
scan neg
http://macoquis.caraldi.com/scaled/Mentor%2010x14cm/White-Bottle-001-bis.jpg

[unrealalex]

http://www.ambrotype.ru/wet-plate-collodion/still-life/images/Machinery2.jpg (http://www.ambrotype.ru/wet-plate-collodion/still-life/index_en.html)
Numerator, Machinery Series, BGA ambrotype 8x10"

http://www.ambrotype.ru/wet-plate-collodion/still-life/images/Machinery1.jpg (http://www.ambrotype.ru/wet-plate-collodion/still-life/index_en.html)
Striking Clock, Machinery Series, BGA ambrotype 8x10"

[Andrew ren]

http://www.ambrotype.ru/wet-plate-collodion/still-life/images/WineAndCofee.jpg
Wine And Coffee, BGA ambrotype, 8x10"

this is nice!

[Paul Kierstead]

I'd just like to say I'm really really appreciating and enjoying the work between Christopher and Jim; I'm learning a lot. My $0.02; for some reason, I find the book really incongruous.

[Jim Cole]

Paul,

Thanks for the comments. I almost left the book out, and will do so in my next attempt. The reasoning at the time was that it was a source of knowledge for the whole developing process and therefore relevent. After the fact, I agree with your assessment. The whole set needs to be simplified as I was attempting to include too much. I'll see what I can do with the next installment. I'm glad you're enjoying this as much as I am. Stay tuned!

[Marko]

I'd just like to say I'm really really appreciating and enjoying the work between Christopher and Jim; I'm learning a lot. My $0.02; for some reason, I find the book really incongruous.

And Miguel and Alex and... :) I agree, this is one of the best and most productive threads I've followed in quite a while and all without even mentioning gear except for the optimal focal length. It makes me want to start doing still lifes myself. I might soon, when the weather gets hot again...

A big thank you to all who contributed, most of all to Christopher for great instructions.

[mandoman7]

Here's some garlic. FP4 in D76, 4x5 w/Goerz 6".

[Jim Galli]

White (evident !) bottle
Mentor 10x14
4x5 neg
scan neg




Numerator, Machinery Series, BGA ambrotype 8x10"

Striking Clock, Machinery Series, BGA ambrotype 8x10"


Miguel and Alex, both of these posts are just beautiful! Miguel, the light on that bottle is sublime.

[Incoherent Fool]

Toyo 45AX w/ 150 Nikkor, T-Max 100, f/5.6, 1/60

It was dead, so it counts! This shot was handheld because I forgot my tripod plate. Doh!

http://static.zooomr.com/images/7103638_d538ac5ff7_o.jpg

[Maretzo]

Dry rose on rotten wood. :D
Another dead animal..
Delta 100 in Rodinal. Chamonix 45 and Rod. 120

[Miguel Coquis]

To start the week
Getting Very Near Sound
Xenon 125 mm f:2
speed graphic
scan neg

http://macoquis.caraldi.com/scaled/Expo%20Mars%2009/Violon.jpg

[Ted Stoddard]

Toyo 45AX w/ 150 Nikkor, T-Max 100, f/5.6, 1/60

It was dead, so it counts! This shot was handheld because I forgot my tripod plate. Doh!

http://static.zooomr.com/images/7103638_d538ac5ff7_o.jpg

I have one similar to this done in color with seaweed that was taken back in the early 1990's on the Santa Cruz Beach & Boardwalk....

It looks like the the seaweed are entrails coming out of the seals stomach area... I know sick but I love this image...

[mandoman7]

I knew a young photographer who had took a road flattened cat and stood it up and took a shot with the road in the background. It was kind of sick but it worked, strangely enough.

JY

[Jim Cole]

OK, so here we go again. I wanted to be able to get closer with the 12" RR lens and since my RW45 only has a bit over 12" extension, I had to get an Ebony extension lens board which I fortunately found on the LF Buy/Sell forum. Once I got that I had to figure out how to mount the brass lens on the extension board. Turns out I needed a #3 Copal cap for the Ebony board which gave me about 1mm of leeway for the screw holes. It was a close fit, but it works like a champ and I have an additional 35-70mm of extension.

So after reviewing what I had learned from Christopher on my last few shots, I gave it another try. This is very hard! I can certainly recognize a great composition when I see one in nature, but creating one from scratch with a bunch of related items is really, really difficult.

As usual, all comments are welcome. I have very thick skin and I DO want to see if I can eventually do still lifes. So please, let me know if anything here did or didn't work. It just may be the subject material which is a hard start.

http://farm4.static.flickr.com/3320/3408685662_147c604a3f_o.jpg

[Andrew O'Neill]

I knew a young photographer who had took a road flattened cat and stood it up and took a shot with the road in the background. It was kind of sick but it worked, strangely enough.

Laughed my arse off! Would love to see the photo!

[Mark Sawyer]

http://i55.photobucket.com/albums/g139/Owen21k/ThurberGerber.jpg

Thurber, Thurber, Thurber, Thurber, Thurber, Thurber, Thurber, Gerber, Thurber, Thurber, Thurber, Thurber, Thurber...

11x14 B&J with an old brass Cooke 25" Series V, 37" of bellows extension. I always liked James Thurber...

[cjbroadbent]

OK, so here we go again. ...... As usual, all comments are welcome. I have very thick skin and I DO want to see if I can eventually do still lifes. So please, let me know if anything here did or didn't work. It just may be the subject material which is a hard start.

http://farm4.static.flickr.com/3320/3408685662_147c604a3f_o.jpg

Jim, It is getting much stronger.
I feel that things could be bunched tighter. Symmetrical things only need to show one side for the other side to be understood. There are six over-described symmetrical objects on the shot.
The black cloth on the table does not help much to give the viewer a plane of reference; the raised parts even create some confusion, as does the tilted reel.
The background is half out of focus - better if it just became air with light and shadow.
You've got to get the light to work for your composition. The light areas have to fit against the dark areas. I don't ever bother to compose. I just fit the light parts against the dark parts. And add paper, books and unremarkable stuff wherever the white parts are lacking to set off the dark parts. See here http://gallery.me.com/cjbroadbent#100005/carpenter&bgcolor=black for some stuff jammed up tighter.

[Jim Cole]

Christopher,

Again, an excellent critique. I understand exactly about overdescribing the symmetrical objects and the overdone platform for the objects. It seems without the black cloth I have a hard time with the light against dark. I'll work on this part along with an even tighter grouping. I'll also move the table further away from the wall to blur the detail on the paneling into light and shadow. I have a tight working space, so I'll get creative on this.

I actually got the idea of the tilted reel from one of my favorite images of yours:

http://gallery.me.com/cjbroadbent#100005/vases&bgcolor=black

Granted, your image is immaculately executed and with vertical forms the tilted vase works better than it does with the circular reel. A bad attempt at immitation, but flattery was intended! Another lesson learned.

The only part of the critique that I do not understand is where you say "You've got to get the light to work for your composition. The light areas have to fit against the dark areas."

The greatest effort for this shot went into the light against dark placement. I'm not sure where this fell apart.

Again, Christopher, your willingness to provide valuable critiquing as part of a public forum is very gratifying. Thank you very much.

Jim

[cjbroadbent]

.... The only part of the critique that I do not understand is where you say "You've got to get the light to work for your composition. The light areas have to fit against the dark areas." ...
Jim
Put a soft key-light a bit off to one side so that objects have lighter and darker parts. Put the dark part of an object in front of the light part of the object behind it. And so on. When you are stuck, use a book, a breadboard, paper or whatever as a local background. I'm often stuck - see here:
http://gallery.me.com/cjbroadbent#100005/music&bgcolor=black

[Jim Cole]

Here's another attempt.

Changed out a couple of items, did away with the black cloth and 3-d set, and tightened up the grouping. Key light off to picture right. Table moved another couple of feet from the wall (as far as I could get and leave room for the camera) and shot at f11 instead of f16.6 to shorten DOF so the wall would go softer. This caused the back of the grouping to go a bit soft as well, but I decided to live with that. I did block too much of the key light from the rear wall on the right hand side causing me to lose a little of the definition between the right side of the lens, the table and the rear wall. This is something that I can fix in the next try after a bit of feedback. I set this shot up much faster than my previous tries and tried to work with only the limited number of items without adding anything to improve the light against dark setup...

http://farm4.static.flickr.com/3391/3416250170_27116fcf61_o.jpg

[cjbroadbent]

Jim,
Hurrah! Your prize:

[sun of sand]

I'm trying my hand at still-life for the first time, too. I've set up shop in a large cistern down in the basement that isn't doing anything. If jumping in and out of that thing isn't creepy..
Attic has no outlets, though

Lighting is the first thing I'm tackling. New at that, too.
Made a softbox
Hung a photoflood for strong raking light which shines through a cutout "window" to control illumination which can be diffused with tissue paper when desired
Repurposed an umbrella
overhead light with snoot from beehive safelight
background light
reflectors
canvas for background but also like the cistern concrete/rock foundation

Been playing with all that for a few days now


I think this last photo of yours has much better rhythm. Still static and forced, IMO I'd say it's time for a scavenger hunt.
If you crop tightly in to the top of film tank and over to far edge of lens and down to below the 12 you get a more vibrant energy with numerous circles of varying dark tones playing against planes of white
a decent still-life abstraction

Try cropping these attempts and seeing photos within them that maybe work better than the whole?
Lens/funnel/thermometer
Lens/reel/half vase/half funnel
half lens/half reel/half clock/half pen

Maybe after seeing these cropped relationships you can grow those fragmented segments into full objects with the same compositional balance
If it doesn't translate to still-life it should with abstracts, at least.

[sun of sand]

saw your website
Looks like you just have to shrink the world down and it'll be fine

maybe smush 2 or 3 of those landscapes/etc into one crafty manmade arrangement

[Jim Cole]

Jim,
Hurrah! Your prize:

Christopher,

Thanks. You made me laugh out loud at 6am which is a rare thing before I've had my coffee. I'm still working on this, but it's nice to know I'm making progress.

Jim

[Jim Cole]

I'm trying my hand at still-life for the first time, too. I've set up shop in a large cistern down in the basement that isn't doing anything. If jumping in and out of that thing isn't creepy..
Attic has no outlets, though

Lighting is the first thing I'm tackling. New at that, too.
Made a softbox
Hung a photoflood for strong raking light which shines through a cutout "window" to control illumination which can be diffused with tissue paper when desired
Repurposed an umbrella
overhead light with snoot from beehive safelight
background light
reflectors
canvas for background but also like the cistern concrete/rock foundation

Been playing with all that for a few days now

Yes, I'm learning lighting as well. I bought a 3-umbrella fluorescent light kit about 6 months ago when I started doing fine art reproduction for a few artists I know. Most are paintings, but I had to learn a bit about controlling reflections for some 3-D glass. Lighting adds quite a bit to the learning curve for still life. It's quite a challenge.

At least I get to work in an upstairs well lit studio. I do not envy your cistern. Sounds dark, damp, and I agree, creepy. But at least you have full control over the lighting.



I think this last photo of yours has much better rhythm. Still static and forced, IMO I'd say it's time for a scavenger hunt.
If you crop tightly in to the top of film tank and over to far edge of lens and down to below the 12 you get a more vibrant energy with numerous circles of varying dark tones playing against planes of white
a decent still-life abstraction

Try cropping these attempts and seeing photos within them that maybe work better than the whole?
Lens/funnel/thermometer
Lens/reel/half vase/half funnel
half lens/half reel/half clock/half pen

Maybe after seeing these cropped relationships you can grow those fragmented segments into full objects with the same compositional balance
If it doesn't translate to still-life it should with abstracts, at least.

I agree that it may be time for a visit to a local antique store for some goodies. I was focused on making this still life work with only related objects without resorting to throwing in miscellaneous items for balance or interest, but I have a feeling that it may be very difficult to truly make this work without some added visual interest. The "too static and forced" comment is valid. Looking at Christopher Broadbent's work and his ability to toss seemingly unrelated items into a shot and make it work makes me wonder if I have the creative gene for doing this. It seems like I need an attic or workshop full of stuff I would never have kept.

Your comments about the image within the image are excellent and I will stage some of these combos as starting points and see what happens. I think I should have included the funnel in this last shot for a bit of dynamic form. Well, back to the studio.

Good luck with your foray into still life photography and I look forward to seeing some of it here before too long.

Thanks again,
Jim

[Jim Cole]

saw your website
Looks like you just have to shrink the world down and it'll be fine

maybe smush 2 or 3 of those landscapes/etc into one crafty manmade arrangement

Fascinating comment. One shouldn't muck with mother nature you know. I think I can tumble a bunch of man made objects around on a table without recourse.

[Ken Lee]

If it isn't obvious, what Christopher has so kindly shared about Still Life images, applies to beautiful images of all genres.

Here's (http://gallery.me.com/cjbroadbent#100005/fifties&bgcolor=black) one of his that provides a striking illustration of his principles. He manages to use them without becoming a slave to them, so his images avoid that stiff "contrived" feeling.

[Jim Cole]

If it isn't obvious, what Christopher has so kindly shared about Still Life images, applies to beautiful images of all genres.

Here's (http://gallery.me.com/cjbroadbent#100005/fifties&bgcolor=black) one of his that provides a striking example.

Absolutely!

[Allen in Montreal]

+2

I love his work.




If it isn't obvious, what Christopher has so kindly shared about Still Life images, applies to beautiful images of all genres.

Here's (http://gallery.me.com/cjbroadbent#100005/fifties&bgcolor=black) one of his that provides a striking illustration of his principles. He manages to use them without becoming a slave to them, so his images avoid that stiff "contrived" feeling.

[Ken Lee]

This all reminds me of a classic story from the Zen tradition:

A student said to Master Ichu, "Please write for me something of great wisdom."

Master Ichu picked up his brush and wrote one word: "Attention."

The student said "Is that all?"

The master took the brush again, and wrote "Attention. Attention."

The student became irritable. "That doesn't seem very profound to me."

Master Ichu picked up the brush again. This time he wrote "Attention. Attention. Attention."

In frustration, the student demanded, "What does this word 'attention' mean anyhow?"

Master Ichu replied "Attention means Attention."

[Miguel Coquis]

Did he mean Relax ????
10x14
Meyer Goritz Trioplan 260 mm f:4,5
Scan neg

http://macoquis.caraldi.com/scaled/Mentor%2010x14cm/Bottle-and-branch.jpg

[Drew Bedo]

My Dad's Rreading glasses.

Zone VI, 150mm Symar, Ektachrome, strobe.

[Jim Cole]

http://macoquis.caraldi.com/scaled/Mentor%2010x14cm/Bottle-and-branch.jpg

Miguel,

I think the simplicity and lighting of your compositions make for outstanding still lifes. Please keep contributing here as those of us who are attempting to accomplish what you and a couple of others on this forum do, really appreciate the quality of your work.

Love this one and well as your silent sound series.

Jim

[darr]

My Dad's Rreading glasses.

Zone VI, 150mm Symar, Ektachrome, strobe.

I can feel the emotions in this photo Drew.
Nice!

Darr

[Drew Bedo]

Shadows: Zone VI, 90mm Nikkor, Tri-X, Window light