Christmas at Grassmere

         Last weekend my family decided we'd take a spontaneous trip to the Nashville Zoo. I had been hoping to go and try some new film I had purchased for 4x5. Foma's new Retropan Soft 320. (A panchromatic black and white film supposedly good at rendering half tones and softer lighting effects.) There have been some special Christmas activities planned for the month of December and I thought this to be a great opportunity to try some of the new film. 
     I had learned the hard way earlier in the year about not having a bag full of holders preloaded and ready to go. So I solved that by reminding myself to always have my Super D and Pacemaker Speed Graphic ready to go. So I always keep them at the ready with color and black and white holders loaded just in case. Which was good as all I had to do was grab and go. 
     On a whim I also grabbed my Graflex Graphic 35, a small fixed lens 35mm camera for general snap-shooting. (I'll be posting a review on this fabulous little camera later.) I loaded it up with Fuji Acros 100. Another famed black and white film I've never shot before. 
     We arrived on a particularly cold day. Thus most of the Zoo was deserted. 
     

Remodeled Entrance Nashville Zoo.
(Graflex Graphic 35 shot with Fuji Across 100)

         
     Many of the animals are not suited to the colder weather and were in their shelters. After a short walk we came to the Grassmere House.

Graflex Graphic 35 shot with Fuji Acors 100

     The Grassmere Historic House was built in 1810. Constructed by Col. Michael Dunn it is the second largest old home in Davidison County Tennessee that is open to the public. Col. Dunn's son-in-law later purchased the adjacent farm, and it prospered late into the 1800's.
     Eventually the house and farm were handed down the line of family to William and Kate Croft. Their two daughters Margaret and Elise, having no children of their own and concerned for the future of their home, entered into an agreement with the Nashville Children's Museum in 1964. The agreement stipulated that the Museum would pay for the property taxes and maintenance of the property and the sisters could live there for the rest of their lives. Upon their deaths, ownership of the home would transfer totally to the Museum. The only stipulation was that the property would have to be used as a "nature study center," to educate the public about animals and the environment.

Grassmere Historic Home during Christmas weekend celebration.

Graflex 4x5 Super D: Ilford HP5+

     It eventually became Grassmere Wildlife Park with trails and examples of native North American Wildlife, but was not profitable and closed in 1995. It become the property of Nashville Metro and in keeping with the will of the Croft Sisters the Nashville Zoo was invited to utilize the property. The house was restored and reopened to the public in 1998. With the farm opening in 1999. 
    Today, the Nashville Zoo runs right next to the home and offers visitors a very unique zoo going experience with the Historic Home offering many unique activities and presentations along with the adjacent farm and the Zoo and it's very bio-diverse exhibits. 

"Tipton and Boone" American Milking Devons
Graflex Graphic 35: Fuji Acros 100

Graflex Graphic 35: Fuji Acros 100

It was a cold day. A child watches the animals from the shelter of the barn.
Graflex Graphic 35: Fuji Acros 100

     This particular day had some Christmas celebrations and tours of the house available. Flash was prohibited inside the house, and since I had only two holders of 400 speed film I didn't shoot any inside. (Another time perhaps?) But they did have some live music and an Organ Grinder outside the front. 

Ted Guillaum and His Mechanical Organ.
Graflex Super D 4x5 with Foma Retropan 320. 

     
     Ted is a kind man, who seemed as interested in my Graflex as I his mechanical instrument. The instrument is an Organ made in Germany and is designed to be operated using reels similar to a small player piano reel. Here, have a visit at his website, he can explain it better than I can!  http://organgrinderted.weebly.com/about.html

     After meeting Ted and touring the home we set about visiting around the zoo. Here are some photos of our visit. 

I missed the recorder players, but I didn't their instruments.
Graflex Super D 4x5 with Foma Retropan 320

     A few of the animals were out. Flamingos don't seem to mind the cold.

Graflex Graphic 35 with Fuji Acros 100

Graflex Graphic 35 with Fuji Acros 100

Clouded Leopard taking a break.
Graflex Graphic 35 with Fuji Acros 100

     

"Wildlife of a Different Sort...My Two Sons!"
Graflex Graphic 35 with Fuji Acros 100

Graflex Super D 4x5, Ilford HP5+

     By this time the sun was getting low and we called a day of it. All in all, a fun day with family, new friends and the Graflex. 

     Once again thanks for reading and until next time, search for beauty and creativity in the great world around us!
 

The Graflex Super D Part II

        Winter last year was surprisingly cold and had a lot of snow, for us anyway. So that led to some nice shooting opportunities as well as some time to work on and tweak some gear. Many of the old cameras I shoot need continuous TLC. Or you miss something and it needs to be fixed or cleaned. So last winter left me with plenty of time to work on stuff.  As well as take a few photos. 

Graflex Super D (3.25 x 4.25 Version) Shot with Medium Format film in Graflex "23" (6x9cm) back.
Kodak Portra 160 Film Rated at 125 and self processed at normal times.
 Oaklands Historic Mansion 

Graflex Super D (3.25 x 4.25 Version) Shot with Medium Format film in Graflex "23" (6x9cm) back. 
Kodak Portra 160 Film Rated at 125 and self processed at normal times.
 Oaklands Historic Mansion 

Graflex Super D (3.25 x 4.25 Version) Shot with Medium Format film in Graflex "23" (6x9cm) back. 
Kodak Portra 160 Film Rated at 125 and self processed at normal times.
 "Side Door"

Graflex Super D (3.25 x 4.25 Version) Shot with Medium Format film in Graflex "23" (6x9cm) back. 
Kodak Portra 160 Film Rated at 125 and self processed at normal times.
 "Stumped"

      
      While continuing to work on and clean up the 3x4 Super D, I came across a 4x5 version. It is a curious example and supposedly has an interesting history. I bought this particular Super D, a 4x5 version, from "Victory Camera" out in Colorado. They have great service and great products. I buy quite a bit of vintage gear from them. This particular Super D was supposedly owned by Colin Cantwell, the designer of many of the Starships from the original Star Wars films. Since the original light sabers were made from Graflex flashes called the "Graflite," I have to wonder if the flash for this camera became a light saber? Who knows? True or not all of these camera not only bear histories, they are history themselves. 
          So when I received it I did a little work on the mainspring and bearings as well as clean it as best I could. The grip was not original and I made a nylon strap to hold as a temporary replacement. There was a metal shield inside to protect the hood from the screws from the grip handle screws. I had to see how it worked and I made a handful of exposures. The old workhorse still functioned after decades of non-use. A testament to the longevity of these cameras.

Graflex Super D (4x5 Version) . 
Ilford HP5+ and self processed at normal times.

Graflex Super D (4x5 Version) cropped
Ilford HP5+ and self processed at normal times.

Graflex Super D (4x5 Version) . 
Ilford HP5+ and self processed at normal times.
"Roots"

           After testing I knew it was special and had to sent to be CLA'd (clean lubed and adjusted) by Charles Monday, THE Graflex expert. He did an amazing job, as well as clue me in to the history of this special camera. It was made in 1947. An interesting date as the 4x5 Super D's official release isn't listed until 1948. But Graflex was shifting ownership during this time and the records are unclear. What is clear is that there were two runs made in 1947. This camera was in the second run and was number 422 of the first 1000 to come off the line. 
         Not surprisingly, a camera this old has some problems. The grip needed to be replaced. The rails have teeth for the focus knob gears to engage. They are quite worn near infinity focus. So it's a little rougher to focus at that distance, but not impossibly so. The second and more serious issue was the mainspring. This spring controls the curtain shutter. This shutter has slits that yield a varying speed for exposures. The springs loose tension over time and this one was no different. The max speeds are quite slower than spec. But the good news is, they are consistent which make compensation much easier.            
         In any case, when Charles returned my Graflex it was like new. I cannot recommend him enough if you obtain a Graflex and need work on it. The Graflex, in and of itself is a classic work of art, made in a time of great craftsmanship and American innovation.
         I apologize for the delay in posting, the last year was a very busy and hectic one with one occurrence after another vying for my attention. It is my hope this year to do a great deal of shooting with these wonderful cameras as well as introduce you to some more examples of these American classics.           
        
Once again thanks for reading and until next time, search for beauty and creativity in the great world around us!

New Year and the Graflex RB Super D, Part 1.

     I did not notice that it has been nearly a year since my last post. No excuse really, just life interfering. A wonderful door had opened for me in life which unfortunately closed. But as a door closes God opens another, and it allows me with greater potential to pursue this craft we love.
    My friend Eric over at www.easmithv.com, has been on me for a couple of years to get a Graflex SLR. Which is exactly as it sounds. It is a Single Lens Reflex camera, but it uses large format film, or medium format with the proper back.
     Rather than do a full write up on it's history, the good people over at www.graflex.org (THE site for all things Graflex related) already have a great write-up on these cameras you can read here.
     After searching for a decent example and scraping up the funds after a tough year, I finally found one. A nicely used 4x5 SLR, for a good price. But, unfortunately as is the case with many things on ebay, it wasn't described properly and turned out to be a 3x4 Graflex instead. It wasn't the seller's fault, unless you are familiar with these cameras, it is easy to make mistakes in identification. The two look almost identical save for size. This one happened to be the seller's grandfather's. It is in good condition and at first I thought of returning it, but the seller kindly offered me $100 in partial refund if I wanted to keep it, and I accepted. I had already kind of gotten attached to it anyway.

My Graflex RB Super D in 3.25 x 4.25.

     Now the problem with 3x4 is it's unusual size, 3.25 inch x 4.25 inch. Which isn't really made at all today. But with some careful cutting you can trim 4x5 film to fit and there are some medium format backs that are available, albeit somewhat uncommon and expensive. Mine is a 6x9 (6 cm x 9 cm) which is not much less than 3x4. So that was an easy option to fix. However, the camera came with a magazine for 12 sheets which is called a "bag mag." I had already figured how to cut the film, but the film was an unusual size for my processor to develop. So I found a solution by cannibalizing two old broken Patterson reels. By adjusting their size to open more than normal I was able to slip two sheets of 3x4 film in it. It isn't terribly efficient, but it does work.

Modified Patterson Reel to accept 3.25x4.25 film.

     Not long after, I did finally find a nice 4x5 Super D from Victory Camera. I'll talk more about that in the next post. In the meantime here are some pictures from the 3.25 x 4.25 RB Super D.

Another Happy Accident. This was exposed at the nearby Stones River Battlefield and later accidentally double exposed when I was doing some still life's on the kitchen table. Green sensitive X-Ray film, cut to 3.25 x 4.25. Developed in D-76.

"Park Fountain" Green Sensitive X-Ray Film, Developed in Rodinal

"The Large Format Photographer's Friend" Ilford HP5+, 120 Film, Developed in D-76

                                                                                      "The Trail"                                                                                                Ilford HP5+, 120 Film, Developed in D-76

"Old Man"  My faithful dog getting along in years. Ilford HP5+, 120 Film, Developed in D-76.

"Lone Tree" Ilford HP5+, 120 Film, Developed in D-76.

"Sigma SA-9"  Ilford HP5+, 120 Film, Developed in D-76.

"Salt and Pepper" Ilford HP5+, 120 Film, Developed in D-76.

"Stones River Cannons" My standard test shot. Ilford HP5+, 120 Film, Developed in D-76.

      Join us next time for: New Year and The Graflex RB Super D, part 2!

Stones River National Cemetery and Battlefield

          It's been awhile since my last post. The holidays and responsibilities of the new year kept me away a little bit. But I'm back now and ready to share another chapter in my exciting large format journey.
          I thought I'd take a break from reflecting on my history of my journey of large format, but instead focus on some recent work. This has been an extremely cold winter on record for the country and we here in the South have been no exception. Three waves of extreme cold (at least for us) hit this winter season. Around when the first wave came through I had already planned to go and make some exposures at the Stones River National Battlefield Cemetery. So I left work that cold afternoon and went.
         It was bitter cold and the wind, although light was slicing to the core. I drove into the cemetery and went to a cannon that overlooks about a quarter of the headstones. A lone cannon standing watch over the fallen.

Lone Canon Standing Vigil over the Fallen
Graflex with Optar 135mm
Arista 200 BW Film

          The little Optar was working now that I repaired it. (More on that in another post) Even in this bitter cold, the lens that was such a frustration worked perfectly. Even though I never trusted it on this shoot, it came through. Meter readings were made on the cannon, grass, trees and background and simply averaged.
          After this shot, I quickly packed up and threw the set in the car which was conveniently out of the frame to the right. I left the engine running and slowly thawed my frozen fingers out. After heating up a bit I got back out and decided to do a handheld shot. The light wasn't all that bright on this cloudy late afternoon, but the Graflex is designed to shoot handheld and I wanted to try that feature some more. After readying the camera I walked over to a nearby monument. You can actually barely see the base of it in the above photograph close to the second most distance cedar tree.
          I have a dedicated spot meter. It's a nice little meter and very accurate. However, I have been using a metering app on my iPhone that works very well. I take the other meter with me, but rarely use it now. Metering on the monument and shadow I readied an exposure. I decided to do this quick as the cold was biting even worse now.
          I had to open the Optar all the way to get the shot and even then I was worried about motion blur at the low speed of 1/30 sec I was having to shoot. The Graflex is unique in its screens to make a composition. There is the ground glass in the back for use on a tripod, but also a built in rangefinder for hand held use. Which is what I used for the following shot, and a "sports finder" which consists of a "wire frame" in the front and a peep in the back. I affectionally call it, "the gun sight."
          Using the rangefinder is a two stage affair. You focus until the "Split image" in the viewer "becomes one" or lines up. Once this is done you can use the second viewer to frame up the composition. It takes more time to describe it than actually do it. I set the camera to take a picture, focused the image, composed and released the dreaded shutter on the Optar. A faint but crisp "click" confirmed it took an exposure.

Monument to the Fallen
Graflex with 135mm Optar
Arista 200 BW Film

          Not the best composition in the world, and the very narrow depth of field softened the top to the monument. But it was gratifying knowing that I could handhold such a large camera steady enough for this type of shot. It's nice to know what the camera is capable of doing. I look forward to shooting hand held more and developing my technique.
          After visiting the cemetery, wanted to go to the park and try my hand at an early composition where the Optar's shutter had failed. (see "Early Failures") So I drove back to the cannons I had shot earlier in the past spring.
          It was too dreary for my tastes to make a color exposure but the tones on this gray day were great. So I loaded another holder of black and white. I tilted the lens to compensate for distortion but also to create the effect of "miniturizing" the cannons and carriages. Once again the Optar worked! It was on a roll, and I got one of my favorite images from the Graflex to date.

"Toy Cannons"
Pacemaker Speed Graphic Optar 135mm
Arista 200 Black and White Film

          This effect is very unique among large format cameras. Yes smaller formats do have tilt and shift lenses, but even they can't reproduce fully this effect that a large format camera gives. A little about the physics of this. Basically here's what happens. When an image is parallel to the film or sensor, all of the image can be rendered relatively sharply. This area in focus is commonly referred to as depth of field and it is affected by the camera's film or sensor size and the aperture setting of the lens. The aperture setting determines "the flow" of light as it enters into the camera. The aperture settings determine how much of an area in an image is in focus. To get all of a picture in focus generally requires a very narrow aperture. Not a lot of light is entering, but this renders a sharp image. Consequently it takes a longer time for the image to be recorded on the film or sensor. To compensate one has to extend the time for the light to strike the recording medium, thus the shutter time is extended, often to the point one can't hold the camera by hand and a tripod is necessary.
          When an image is tilted the depth of field remains the same. But the plane of focus is altered. The PoF is the dimension of the image in focus. Generally it is parallel to the film or sensor plane. When the lens is tilted the PoF is also tilted relative to the lens and areas in focus are also manipulated. When more open(wider) apertures are used one can selectively pick what objects are in focus and which aren't. It's is a very powerful creative tool. One in which I am only just beginning to learn.
        Well, I hope you enjoyed this week's post. I'll leave you with a quote from one of the memorial markers at the cemetery.

On fame's eternal camping-ground,

Their silent tents are spread,

And glory guards with solemn round

The bivouac of the dead.

         As always, thanks for reading and until next time, search for beauty and creativity in the great world around us!

          

Oaklands

          Okay, so I have this great piece of history, that can still make great pictures if I do my part. The Graflex definitely rewards hard work and doesn't tolerate any shirkers. So it was time to do some planning. What do I shoot? As I have stated earlier I often will just get a vague idea of what I'd like to take pictures of and just go. Oh I'll plan "the big trip" but locally I simply consider what I'll be shooting pack my bag and hit the road. But, this was different.
          I felt that I needed to be much more deliberate. Going so far as actually imagining what type image I wanted to capture and how I wanted it to look. It is different that most other photography I do. It's the difference between a hunter going into the woods seeking whatever quarry he may find, as opposed one hunting a very specific prey with very specific weapons and knowledge. You have to consider it a lot more. The environment, the animal's behavior, weather conditions and more. The same can be said of large format, at least in my experience. Yes, you can go out and be spontaneous, but I felt like I needed to be purposeful. What am I photographing? When? What type of weather is there going to be? What type film? What position will I shoot from, assuming I had been there previously to scout it out.
          That's when I decided I would take pictures of where I'd been before. I was familiar with these locations after all and I knew what to expect. So the first places I decided upon were the Stones River National Battlefield (and it's aforementioned failures), the Murfree Springs Wetland area and the Oaklands Historic Mansion. I decided upon the Oaklands.
         One of the things I love about Murfreesboro is the rich history it possesses. Once the capital of Tennessee it featured prominently during the Battle of Stones River during the American Civil War. Much of the impact of the founding families can still be felt in the city today.
         The Oaklands began as a plantation founded by Dr. James Maney and his wife Salile Murfree Maney. Located at the then north part of the town next to some nearby springs that Sallie inherited in 1813.

Murfree Springs located near the Mansion. Named for Colonel Hardee Murfree
Nikon F6, Tokina 100mm 2.8 Macro Ilford XP2 400 film

          Setup was straightforward. There is a turn-about in front of the mansion with a large circular area of grass with two huge trees on either side. The Optar was working perfectly for once that day and I released it a few times just to be sure. I metered on several locations of the home and surroundings and performed a simple average. What was different this time was a second attempt at using color, after the failure at the Battlefield. Loaded with Portra 400, this time my shutter on the questionable Optar worked. 

Golden Afternoon at the Oaklands Mansion
 Pacemaker Speed Graphic, Optar 135mm,  Kodak Portra 400

          Upon development I found the exposure was a little overexposed. But the beauty of color negative film, especially Portra 400 is it's incredible exposure latitude. It is extremely forgiving and a very good choice for one's first foray into color film. I made some corrections in Lightroom and got an acceptable image. 

          I am using a "hybrid" system to process at present, as I do not have a darkroom set up in my home as of yet. So I develop my film in the traditional manner then scan, process and print digitally. While not 100% traditional it does make film shooting easier for those who do not have a dedicated darkroom. 

         I did take a black and white capture from exactly the same position. I had to meter again for the slower film, which yielded a more accurate exposure this time. 

Oaklands in Black and White
Ilford FP4+ 125 film

          When I returned home and developed my sheets I was very happy. Both the images and the performance of the Optar's shutter. I thought my prescription for work to cure this shutter had finally succeeded. It was a brief calm before the storm. Nearly every shoot after this one would be met with failure of the shutter to release properly and end in many failures and frustration. It nearly made me stop shooting the format all together. Happily that was not the case. 

          If you are ever in Murfreesboro, be certain to stop by the Oaklands. They have many programs that occur there during the year along with a very friendly staff. Until then you can visit their website for more information on this wonderful historic home. www.oaklandsmuseum.org

Once again thanks for reading and until next time, search for beauty and creativity in the great world around us!

So...why large format?

     Something that happens quite frequently when I go to shoot the Graflex is, it tends to draw a crowd. This is generally a positive experience as people seem genuinely interested in the camera and it's history and use. Most people have never seen such a camera and the device tends to fascinate people. Particularly younger folks. They tend to look on curiously as you set up a shot, but sooner or later they come by as their curiosity gets the best of them.
     Most know it's old and that's the first comment they make. "That's an old camera." Or, "What is that?" I even had one person think it was some sort of video camera as the back of the Graflex has a hood that pops out and looks something like the hood of a video-camera monitor. Then comes the next question or rather statement. "It shoots film?!" and "How does it work?" To which I patiently and enthusiastically explain it to them. Most people, particularly and encouragingly young people really seem to appreciate it. But then comes the inevitable question. "So, why do you shoot it?"
     It's a valid question. "Why do I shoot large format?" Well, there are a number of reasons. Today's society is so fast paced and technology driven that I think we forget to take time to slow down and enjoy much of what is going on around us. I've sat at our local Zoo and have seen people go to an exhibit, take a picture, look at it on the screen and then walk off. They never took the time to enjoy the animal in front of them. To observe it's behavior. So for me it is a way to slow down. It is in a way my own personal form of rebellion against our "forever rushed" society. But, it is much more than that.
     Shooting large format makes you think. It is very contemplative. You generally will think about what it is you want to shoot and plan for that shoot. It may be for only one location or subject and maybe only one exposure. There may be no capture of any image, the conditions may not be right. You tend to know your subject. You may learn the history or the geography of a place; it's significance, or you may know it in a physical sense as you travel over the land and learn it's features. You scout and explore the hidden places, the secret groves and streams that few people ever venture. You may visit a place several times and see something new each time. The purposefulness of the format forces you to contemplate what you are doing, what you are photographing. I find too, that when you are under the darkcloth, you shut the world out. It is just you, the camera, and your subject. Not only is the light diminished, but sounds are muted as well, you become more isolated.
     It is also very reflective. I find when I shoot that my mind will drift and think about a location and how it affects me. What is it about a place that I am trying to record? Why does black and white reflect that better than color, and vice-versa? Which film will render better? I will also find myself thinking a lot about the location and/or my subject long after I'm gone. The format makes you more a part of what you are photographing, you not only take away an image, you take a part of "it" with you. And you leave a part of you there. I still find myself thinking about places and people from when I first starting shooting large format. I can't say that about other formats, at least not as often.

"Snake Fence"
Pacemaker Speed Graphic 135mm Optar, Arista EDU 200.

   

                                                                             "Murfree Springs in Summer"                                                                            Pacemaker Speed Graphic, 135mm Optar Lens, (Objective Tilted for effect) Ilford HP4+

     It makes you a better photographer, as I have said before, you have to be mindful of everything. It's not like shooting an advanced 35mm SLR or DSLR. Even shooting them manually is still faster than the Graflex. But the technology can make you a little complacent if you're not careful. It slows you down. You don't have a lot of built in advanced technologies to assist you. You have to adjust your style of shooting to fit the camera, and once again think ahead and be creative.
    The other very important aspect is simply image quality. The sheer size of 4x5 film lends to a better quality image for a variety of reasons. The negative is simply much larger than that of 35mm/full frame sensors and medium format, to say nothing of APS-C size sensors. A "full frame" sensor or 35mm negative is approximately 1.33 sq. inches. While a 4x5 negative is 20 sq. inches! Almost 20 times greater, and 4x5 is the smaller of the large formats. 5x7, 8x10, and even larger sheets of film are available to produce unbelievable quality for those who know to produce them.

4x5 Large Format Negative vs. 35mm "Full Frame" Slide

     Each type of camera, whether they are small format, medium or large formats all require and produce different forms of visualization. Each has it's own unique qualities, and each photographer at some point gravitates toward one to take photographs. I find large format unique and very enjoyable. To see the image on a ground glass before composition is a special beauty in itself and the inverted nature of it makes one view the image in a new and different way. You pay closer attention to edges, shapes, and composition, than through a smaller format viewfinder. 

     So, for all of these reasons and more is why I have come to enjoy large format. I have only just begun my large format journey, but it has been a wonderful trip so far. The deep contemplation and reflection associated with it is a tremendous  advantage in my mind. And the flexibly of the Gralfex to be able to shoot handheld if need be aids in the flexibility and transition. I hope that if you are interested in photography, that you will give the larger formats a try. Film is much more forgiving than most realize and there is a special type of freedom found in this contemplative approach to photography.

Thanks for reading and until next time, search for beauty and creativity in the great world around us!

Bob

Early Failures

     Shooting my Graflex was a pleasant experience, and it was growing more and more so. I was learning the theories behind tilt and shifting lenses for a variety of effects. Eric was continuing being his helpful self in guiding me along the process. Developing was still being a little bit of a hassle as I struggled with scanning the much larger negative. In all though my new camera worked marvelously and I marveled at how those dapper reporters of yesteryear carried and used these larger instruments to document the world around them. I also enjoyed the minimalist aspect of shooting this camera. I had but one lens! An Optar 135mm 4.7 lens. Not carrying a bag full of lenses was in many ways liberating and it is something I now do on a more regular basis with my 35mm's.
     Yet, in all of this a problem was developing. My little Graflex Optar was of course old and it had seen much use and then little use. It began to stick on me when I tripped the shutter. It was only occasionally and I thought little of it. I had a Bronica lens that did me that way and it freed itself up after some use. So I prescribed more work for it to do. I doubt you'd want me as your physician. "You feel sick? You need to sweat it out, go give me 10 laps around the clinic! That'll do the trick!"
     Well obviously, since you are reading about failures, it didn't.
     I decided that the next few places I'd take my new friend were some of my regular haunts, Oaklands Historic House Museum and Stones River National Battlefield. These are some of the most beautiful locations in my home town and I was anxious to capture them on 4x5 film. I first went to Stones River, or just "the battlefield" as we call it locally. I found a nice paved path that moved in a straight line away from the tour area and was encircled by trees and bordered with "snake rail" fences. I was excited to try some tilt effects and set up my shot. I went through the motions of preparing the camera and fiddled with the tilt mechanism until I got the desired effect of adjusting the focal place closer along the plane of the ground. An effect not possible with traditional 35mm and digital lenses. I locked my focus. Everything was set. I depressed the plunger of my release.
    "Tick." This wasn't the usual double "click-click" I normally hear. I looked at my optics and I was disgusted that the shutter was stuck open. I pushed the release arm the rest of the way with my finger. And slightly aggravated I reset to shoot it again. I did and once again it was just a "tick." But the shutter was closed this time, so I figured it took. It didn't. That ended up being a blank negative, with no exposure. The first did record an image however.

"What's Wrong?" Graflex Pacemaker Speed Graphic, Optar 135mm (stuck open), Kodak Portra 400

     Yep, that's my ugly mug trying to figure out what went wrong. The straight lines weren't caused by the stuck shutter. That's something else. More on that later.
     Thinking that I had only wasted one sheet I moved on to the other location I wanted to go and photograph. I nice open spot with two cannons and ammo carriages near the main visitor center.
This time I clicked the shutter many times to be certain it was working properly. It was, so I readied the camera and made two exposures. The first once again didn't open properly and I got a negative with no image. The second did take and I was happy that I knew I had at least one shot, if I did everything correctly. I had done everything correctly hadn't I?
     Well, I got home and prepared to develop. I used my darkbag and made the "tacos" to fit in my tank. But something was wrong. The funnel of the tank didn't feel like it had locked properly but it felt secure, so I assumed it was and put the lid on. As long as you have the tank funnel and spindle connected in the tank it is light tight. Opened the lid to do a pre-wash and I heard a rattle. I looked and I saw film emulsion in the hole where the spindle was supposed to be, it wasn't secure. I quickly put the lid back on but I knew it was too late. I opened it back up in the dark bag and resealed everything. I decided to develop anyway, there was a chance that one made it. Turns out, they didn't.
     As a result my cannon shot looked like you are going back into time through a portal.

Portra 400, Shot through a temporal displacement field (yeah that's it)

     This is one of those "happy accidents" as Bob Ross would say. It was a "failure" that turned interesting. I was happy to see my tilting would have been successful. This is the care one must take. My lens issues put the first damper on my excitement. I should have sent it off then, but I was still confident it would work itself free of it's issues. Indeed my next shoot went without a hitch. But it was a problem that would continue to plague me all the rest of the year until I finally had to do something about it. This episode was very frustrating in what I was hoping to accomplish. As I couldn't blame it on equipment failure but also my own carelessness.
     In photography, you are going to make errors. That's normal, and it's fine. It's part of the journey. So in your own work don't get frustrated if you miss a shot, or get the light wrong or botch a composition. Learn from those mistakes. It's easy to be bothered, but turn it into a determination to learn and correct them.

As the painter Bob Ross once said, "We don't make mistakes. Just happy accidents."

Thanks for reading and until next time, search for beauty and creativity in the great world around us.

Bobby

Early Successes

     After getting the Graflex and cleaning it the best I knew how, it was time to go and take some pictures. Only one problem. I had forgotten to order film! So I went to Nashville to a couple of stores I knew would have some 4x5 as I didn't want to wait the three days if would take to order via mail. So after visiting a rather large Pro Shop in my area I was disappointed to see they had nothing. So hopping back in the car I headed for the only other shop that I thought might have some. They did, one box of Ilford HP4+. I paid for it and headed home wondering how this film would be as I had never shot it before that time.
     I found the style of shooting large format isn't like other cameras and photography that I was accustomed. I will often just grab a bag and get in the car and go where ever the road takes me. I'll plan my trips, but the Graflex I felt deserved some more planning before I took it shooting, especially considering it was $1 to $3 per shot!
     I thought to keep it simple and visit a couple of places around my home. One is an old barn, another was a dogwood tree I saw in bloom near the road as I drove into town. I grabbed my bag I had loaded with my Graflex, four film holders filled with HP4+, cable release, light meter and a makeshift dark-cloth. I also brought my Nikon D700 to assist with metering if needed.
     I stopped off at the old barn I drive by almost every day. It was an overcast spring morning. The lighting was pretty soft from the cloud cover and I didn't have very far to walk from the fishing access road that leads to the nearby river.
     I was very keen on metering correctly and coming from using an auto nothing film camera in my teenage years got me very use to spot metering. I metered on several different locations in the scene: the barn wall, the field, trees and sky and performed a simple average.
     One thing about large format you are forced above all other systems I've ever shot to slow down. It's like a rocket pre-launch checklist. Tripod secure. Check. Focus locked. Check. Aperture set and shutter blades closed. Check. Film holder inserted. Check. Review previous settings. Check. Remove darkslide. Check. You may now trip shutter...3...2...1...(click) And then you are done with the exposure, but not with being careful. It's time to protect that hard won image. Replace the dark slide but reversed to show the black "exposed" side. Don't mix it up here or you'll just get a double exposure, or worse you'll burn out the sheet when you pull out the holder or reopen the shutter blades for composition.

     Here is my first exposure with the Graflex.

Pacemaker Speed Graphic, Graflex Optar 135mm lens. Ilford HP4+ , developed in Rodinal

     While not the greatest composition in the world, I was thrilled when this came out. I felt, "This is actually possible!"

     After making a single exposure, I packed up and headed to my next stop. A large Dogwood in spectacular bloom. When I arrived it was quite a bit more windy than I expected, but not too bad. I set up to capture the whole tree. But the background was quite distracting and I decided against a wide exposure and decided instead for a close up.
     The advantage of extendable bellows is the ability to reduce the focus distance of the lens. Turning most any lens into a close up capable lens. So I set up on some blossoms and focused.

Pacemaker Speed Graphic, Optar 135mm lens, Ilford HP4+, Bellows extended for macro. Developed in Rodinal

   
     On the barn shot I used the rangefinder and the view screen to confirm focus but I used the viewer only for the flowers. After confirming my meter reading I loaded the film and made an exposure.
     Then I was done. I planned two shots and made two shots. I went home feeling very fulfilled and prepared my sheets to develop. This was an entirely new way to shoot to me. Oh I've planned shoots before, but this was vey precise and purposeful and deliberate. It was methodical and analytical. It was a way to really think about your subject before making a capture.
     I had some difficulty scanning the files as my scanner couldn't scan a full 4x5 sheet. So I had to  scan in sections and photo-stitch them together at first. This grew much easier as I got a scanner that specifically handles 4x5. Yet, this medium while very rewarding is one where care must be given. But I felt that first day that I had grown as a photographer. That my work would take a new turn. Little did I know the frustrations that awaited me.

Thanks for reading and until next time, search for beauty and creativity in the great world around us.

Bobby

Next Post: "Early Failures"

Welcome

     Welcome to our premier post. If you've come here you are either a friend or someone who is curious about large format photography. Either way, I'm glad you stopped by. I won't bore you with too many details of my personal photographic journey at this time, I'll leave that for another post. But in the 24 years I have been, off-and-on, involved in photography I have encountered many interesting type of cameras. This however is my story of how I discovered and started in large format photography.
     I grew up with 35mm manual cameras then later their more advanced automatic counterparts. Then digital came along. While fascinating and full of promise, not to mention instant gratification, I often found it wanting. Colors and tonalities just weren't what they are with film. And while I enjoy and shoot digital my love with this art lies with film. Not too long ago I began playing with medium format cameras: Bronicas and Yashicamats. I loved the larger negative and the slower more methodical approach. But there was still one format that eluded and even intimidated me a bit...Large Format Film.
     While I enjoyed medium format and still do with my little Yashicamat 134G, I was still missing something. It's not as fast nor agile as 35mm, and while I love it's more purposeful approach, there is something about the large negative of a 4x5 or 8x10 that is very appealing to me. The ability to where my eyes have the feeling of "stretching" into the photo, looking for colors and tones and details is greatest in large format. But yet, while I enjoyed large format photographs and viewed the works of great landscape artists, I still had no idea where to begin. Yes, I did a little investigative research, but nothing in depth, and nothing inspiring me to the point to make the leap into it. 
     I'm not necessarily a gear head. My infatuation with gear has grown less and less with time. A photographer's skill and vison far outweigh any camera, lens, film or megapixel. Yet, in spite of those feelings there is one bit of technology that has changed my life photographically. The incomparable Nikon F6. When the D800 and D4 are gone into digital obsolescence this camera will still be going, and while it is still merely a device, owning it has led me to some very important friendships, and a particular cadre of online friend photographers who share and encourage one another. One of them, a talented young photographer by the name of Eric Smith convinced me to purchase a Graflex. An American legend in its own right, the Graflex is simply an amazing piece of engineering. 
     After grilling Eric with hours of questions about the Graflex and Large Format in particular I began research into large format work and finding a Graflex. I knew I had to have the Pacemaker Speed Graphic, simply for its versatility and great redundancy. Yet, finding one in decent condition for the price I wanted to pay was not the easiest task, but after a couple of weeks and searching www.graflex.org, I found it. I forked the dough down and within a week it was at my doorstep. 
     Little did I know what I was getting myself into. I already self develop my own film, so the development part was straightforward enough once you get around the difference of a sheet of film as opposed to a roll. While the Graflex itself was in great shape, the lens it came with was not. It is an excellent little Optar 135mm 4.7, and while the glass was good the shutter had a bad habit of sticking at the worse times. I didn't blame the seller, this is not an uncommon occurrence and after some work, I got it freed up and working.
     So with my new Graflex and a handful of holders I set off upon this new journey shooting large format. I hope you will join me along the way, as my walk on this particular path of my photographic journey is a new one and I haven't gone very far. I hope I can spark a little interest in you in this wonderful medium.

I'll end this post with a quote from Ansel Adams...     

 “I hope that my work will encourage self-expression in others and stimulate the search for beauty and creative excitement in the great world around us.”

         

Until next time, search for beauty and creativity in the great world around us.

Bobby

My Graflex Pacemaker Speed Graphic on the first day of shooting it. Spring 2013.

PS - Here is the list of my photographer friends. Their friendship as well as their encouragement and talent as photographers continue to inspire me. 

Eric Smith: http://www.easmithv.com/ The culprit who got me into Large Format to begin with, Eric is an excellent photographer with a great heart for instruction as well as a great love of the traditional darkroom process. His assistance has been invaluable in learning not only large format, but a great many developing techniques. He possesses a gifted eye which, when teamed with his cameras makes for some very unique imagery.

Bob Kidd: http://www.bobkiddphoto.com/ Traveller, writer, blogger, and photographer extraordinaire. Bob has a great gift for teaching, but also in recognizing the nuances of day to day life and art that makes photography so interesting. Bob is prolific writer and his weekly blog "Sunday Street" is not something to miss. Bob is a great encourager and is always willing to give some very useful and wise insights. Be sure to check out his "Advent Calendar" this holiday season.

Mark Kittleson: A "newcomer" to our group Mark too is a lover of all things analogue. We look forward to what he has to share with us in the future. Mark uses a variety of formats and captures a diverse range of imagery. He is between webpages now and we'll post it as soon as it's up.

John Crane: http://www.johncranephotography.com/ John is quite simply one of the kindest and best photographers I know. John's work spreads across many disciplines using both film and digital to capture his subjects. Indeed it was John's work that led to me want to get a Nikon F6 in the first place based in no small part to his other webpage. http://www.nikonf6.net/  John's work is primarily in color and he spends a great deal of time in the outdoors in the western U.S.