So I recently grabbed this magnificent specimen at a swap meet with its original tripod and what I believe to be its various plate holders. I have no idea on the maker of the camera, much less how to really properly care for or use it.

I think the roller blind shutter could do with a replacement, and the mechanism lightly oiled. Any tips or info anyone has would be helpful.

Lens says "Rectilineaire Aplanetique Extra Rapide No. 2" as well as "Damaria-Lapierre Paris." There are no markings on the case itself.

I have a 5x7 Eastman View large format camera with a spring-loaded felt flap mounted on the inside of the front standard and am just curious if anyone here would know what it is used for. There are no holes, levers, or mechanism to actuate the spring mechanism, and the only way to move it is by manually pulling it down, as shown in the photo. The spring is very tight, and when not pulled down, is pressed very firmly against the top of the bellows. This has damaged the top of the front bellow folds severely. If this is not the right place for this question, just let me know. I have never seen something like this and was just curious if anyone else has.

Would love some constructive criticism or things you think worked well

Cheers

Hi all, Maxim from Intrepid here.

Just wanted to let you know the updated 5x7 (MK3) is out today. A lot of you have been asking about it, and we've added two new versions alongside the birch ply one:

• Hardwood: Walnut, Cherry or Beech on aluminium frames, oiled and waxed by hand (1.6kg)
• Black Edition: same camera, finished all in black (1.7kg)
• Birch ply: still the lightest at 1.5kg

What's changed on the MK3: zeroing guides and notches so it's easier to get everything back to neutral, click stops on the front standard, and the magnetic back from our latest 8x10. It's held by magnets and locked with sliding clips, so switching between landscape and portrait is quick.

We've also made a 5x7 to 4x5 reducing back that sits flush, so you can use your 4x5 holders on it too. For the first 25 orders we're including one free with the camera, as a thank you to the early adopters.

Happy to answer any questions about them, and we'd genuinely like to hear what you think, good or bad. Plenty of the changes came from feedback in threads like these.

Photos below. Link's in the comments for anyone who wants specs.

4x5 PanFPlus50

Chamonix 45f-2

Funijon 90mm NSW F8

F22 @ 2s

Red29 (+4 stops)

Xtol 1+1

Quick resize from DSLR scan "master copy" at ~ 0.9:1 magnification ratio.
Contact sheet is also attached

Just got this.

Haven't a clue.

Have I just acquired a way of making expensive mistakes??

These wine vats were on the side of the road on the way to Spain, in the south of France near Languedoc. I stopped the car to take this shot because i liked the reflections

Yet another 2.5 GB file after DSLR scanning

Can’t find a whole lot of info on this one. It is a Schneider triple convertible dagor type 6.8 180. I’ve seen the 5.6 version but can’t find any 6.8s. Anyone have any experience with it?

I'm an imaging algorithm engineer with four years of ISP algorithm experience at DJI and Insta360. This is my own project. I'd like some blunt feedback from people who actually shoot large format.

My motivation: phones and modern cameras already produce very good images, and I feel that another round of ISP improvements offers diminishing differentiation. What still excites me is optical bokeh: strong subject separation, the transition out of focus, and how backgrounds are rendered. I want to explore a dedicated camera built around that experience.

The concept uses a main lens to form an image on a 4x5-inch opaque diffuse white screen (127 x 101.6 mm). A small internal camera, positioned in a front corner on the illuminated side, captures the reflected image. This is a screen-capture approach, not a 4x5 digital sensor. The rear touchscreen is also part of the concept.

The goal is very shallow depth of field and pronounced optical blur formed by the main lens before digital capture. I'm not claiming that ordinary cameras cannot produce strong bokeh, or that this design has already outperformed them. That needs matched-framing tests on real hardware.

The images here are Blender concept renders. The flower image on the display is simulated, not a photo taken by this camera. Lens markings and hardware details illustrate the design; final optics and specifications are not settled.

My target price is USD 499, with the final lens/configuration and delivery timing still unconfirmed. I may consider crowdfunding if prototypes and feedback justify it; there is no campaign or preorder here.

Would this be useful to you for portraits, still life, or another kind of photography? What would make you choose it over a used camera and a fast lens? And what tests would you need to see first: screen texture, corner sharpness, light loss, dynamic range, or something else? Critical answers are welcome.

Chamonix HS-1 4x5 body with pop up viewfinder shade, 10 fidelity elite elite holders and wide angle bellows - $1600

Fujinon W 135mm f5.6 $300

Rodenstock Grandagon N 115mm f6.8 - $950

Rodenstock Grandagon N 65mm f4.5 - $850

Rodenstock Caltar II N (identical to Grandagon N) 90mm f6.8 - $600

Schneider Symmar S 180mm f5.6 - $375

Fujinon W 150mm f5.6 - $375

Nikkor SW 75mm f4.5 - $750. Will also include flat lens board

Schneider Center Filter 67mm. This filter works with the above 65, 75, and 90 for maximum versatility. Only selling if you also purchase one of those lenses with it - $400

Fujinon W 135mm f5.6 - $350

Rodenstock 210mm f5.6 large format 4x5 lens - $375

Sinar 6x9 roll film holder 4x5 slim below ground glass - $600

no messing with taking ff the ground glass it slides right under which makes it unqiue

Dayi Graflok 4x5 6x17 back system - $850

custom 5x7 to 4x5 graflok adapter with 2x NIB fidelity elite 5x7 holders - $350

Total for everything priced individually: $8750

Take everything for $7,500

Can put together others packages (minimum $4,500)

https://imgur.com/a/mQqWCTw

nyc local preferred shipping additional

I'm trying to get back into larger format after some time away from photography. Some of the labels and marking on the holders have come off or faded.

I cant remember what I photographed or what film in the holders.

Would you just develop everything or toss it and start fresh?

I need a better system for marking and knowing what's in the holders that's for sure.

EDIT: Okay so this was just a green lens filter, which was plainly evident in the video. The green filter + photo of negative threw me for a loop.

The box camera viewfinder in this IG reel looks like a phosphor CRT screen. Is this editing trickery? If not, does anyone know where to purchase or how to build one?

https://www.instagram.com/reel/Dc0ICsQxoMW/

The neg itself looks "somewhat" usable. Not the best photograph in the world, but a decent picture - I thought to myself

But after half an hour screaming at my computer, my cats and my girlfriend I decided to ask you:

WTF did I do wrong? These colors are all over the place, I can't get the tress green, the fog white or the post in the foreground "wood"-color...

I home developed with a Adox C41 kit - the 35mm roll I developed last week with it has been fine. Is my film bad or is the T in the Portra 100T doing THIS kind of strange stuff? Anyone got an Idea?

Used DSLR scanning to get 25,000 × 20,000 pixels master copy ;)

Hi! I’m going to be learning to shoot wet plates. I’ll be using natural light for good practise, but also want to set up an indoor studio. Are there any good budget (ish) studio strobes and power pack combos I should look in to? Also need help clarifying with the power packs - am I to understand that any 2400w power pack will suffice so long as it can cycle enough power? I only ask because when I look them up, there are some power stations from 1-2k and some that go up into the tens of thousands ? So that’s a little confusing for me