There’s a good reason that the go-to format for most film photographers is 35 mm, in that it provides a mix of convenience and cost. Shooting huge large-format negatives in the style of a 19th-century photographer can return astounding pictures with detail and lens effects unavailable on relatively tiny cameras, but it’s hardly the most convenient or cheapest medium. [Amos Chapple] may have a way to cut those costs though, by using a digital camera to capture the image projected by the camera onto a screen where the film would otherwise be.
He’s following in the footsteps of a Ukrainian photographer who tried the same technique photographing the projected image from the lens side, but that approach gave disappointing results due to the offset angle. Instead he’s placing the camera behind a translucent screen, having his DSLR behind a sheet of waxed paper held at the focal plane.
The results are we’d have to say, stunning. The old Soviet Ukrainian camera he’s using is something of a beast, but his photos of dancers at a folk festival have that other-worldly look to them which might well have something form the 1890s about it. We like it a lot and perhaps it’s tempting to fashion a poor-mans version using a cardboard box, and try for ourselves. Long-time readers will know it’s not the only attempt to digitize a large format camera we’ve seen.
Much to the chagrin of Eastman Kodak, the world has moved on from chemical photography into the realm of digital, thanks to the ease of use and high quality of modern digital cameras. There are a few photographers here and there still using darkrooms and various chemical processes to develop film, and the most common of these use some type of chemistry based on silver to transfer images to paper. There are plenty of alternatives to silver, though, each with their unique style and benefits, like this rarely-used process that develops film using platinum.
This process, notable for its wide tonal range, delicate highlights, and rich blacks, produces only black and white photographs. But unlike its silver analog, it actually embeds the image into the paper itself rather than holding the image above the paper. This means that photographs developed in this manner are much more resilient and can last for much longer. There are some downsides to this method though, namely that it requires a large format camera and the negatives can’t be modified to produce various sized images in the same ways that other methods allow for. Still, the results of the method are striking for anyone who has seen one of these images in person.
As to why this method isn’t more common, [Matt Locke] describes a somewhat complicated history involving the use of platinum to create commercial fertilizers, which is an identical process to that of the creation of explosives, which were needed in great numbers at the same time this photographic method was gaining in popularity. While the amount of research and development that goes into creating weapons arguably generates some ancillary benefit for society, the effects of war can also serve to divert resources away from things like this.
When one of your design goals for a 3D printer is “fits through standard doors,” you know you’re going to be able to print some pretty big stuff. And given that the TAUT ONE printer by [Nathan Brüchner] could easily be mistaken for a phone booth, we’d say it’ll be turning out some interesting prints.
The genesis for this beast of a printer came from the Before Times, with the idea of printing a kayak. [Nathan] leveraged his lowdown time to make it happen, going through three prototypes. Each featured a print bed of 1,000 mm x 550 mm with 1,100 mm of Z-height, and the overall footprint fits a standard Euro-pallet. It uses a CoreXY design to move the dual-filament hot end, which has ducting for taking cooling air from outside the cabinet. And the machine has all the bells and whistles — WiFi, an internal camera, filament sensors, and a range of environmental controls.
In a nod to making it easier to build, [Nathan] kept all the custom parts either laser cut or 3D-printed — no mill or lathe required. He also points out that he used only quality components, which shows in the price — about 3,000€. That seems like a lot to be able to print kayaks that you can buy for fraction of that amount, but we certainly appreciate the potential of this printer, and the effort that went into making it work.
You can’t argue with the results of large-format film cameras — picture the boxy bellows held by a cigar-chomping big-city press photographer of the 1940s — but they don’t really hold a candle to the usability and portability of even the earliest generations of 35mm cameras. And add in the ease-of-use features of later film and digital cameras, and something like a 4×5 Graflex seems like a real dinosaur.
Or maybe not. [Aleksi Koski] has built a large-format camera with autofocus, the “Conflict 45.” The problem with a lot of the large-format film cameras, which tend to be of a non-reflex optical design, is that it’s difficult or even impossible to see what you’re shooting through the lens. This makes focusing a bit of a guessing game, a problem that [Aleksi] addresses with his design. Sadly, the linked Petapixel article is basically devoid of technical details, but from what we can glean from it and the video below, the Conflict 45 is a 4″x5″ sheet-film camera that has a motorized lens board and a laser rangefinder. A short video has a through-viewfinder view showing an LCD overlay, which means there’s some kind of microcontroller on board as well, which is probably used for the calculations needed to compensate for parallax errors during close focusing, as well as other uses.
The camera is built from 3D printed parts; [Aleksi] says that this is just a prototype and that the finished camera will have a carbon-fiber body. We’d love to see more build details, but for now, we just love the idea of an easy-to-use large-format camera. Just maybe not that big.
Continue reading “Laser Brings Autofocus To Tricked-Out Large Format Film Camera”
With a quarter-century of more of consumer digital cameras behind us, it’s easy to forget that there was once another way to see your photos without waiting for them to be developed. Polaroid Land cameras and their special film could give the impatient photographer a print in about a minute, but sadly outside a single specialist producer, it is no longer a product that is generally available. [The Amateur Engineer] sought an alternative for a large format camera, by adapting a back designed for Fuji Instax film instead.
Lomography, the retailer of fun plastic cameras, had produced an Instax back for one of their cameras, and to adapt it for a Tachihara large format camera required a custom 3D-printed frame. Being quite a large item it had to be printed in three pieces and stuck together with epoxy. Then a series of light leaks had to be chased down and closed up. The result is a working Instax back for the camera, which appears to deliver the photographic goods.
We’ve seen a few digital backs for larger cameras produced with scanners, but we rather like this linear CCD one.
It’s possible to have an enjoyable weekend touring a city with a stolen cardboard cutout from some advertising display or other. However, it’s 2019, and 3D printing means you can go so much further. [Simon] of RCLifeOn went so far as to print a lifesized body double of himself, and it’s only slightly creepy! (Video, embedded below.)
The model was sourced from a 3D scan [Simon] had done with commercial hardware. An Optimus P1 industrial-grade 3D printer was used to print the parts, with total printing time being around 200 hours. Adhesive was used to join the various segments together, and the assembly was then sanded and primed, ready for paint.
Unwilling to tackle the task alone, [Simon] enlisted a professional painter to help put the finishing touches on the piece. The end result is impressive, particularly from a distance. [Simon 2.0] was then sent out to the city centre, aiming to raise money from bewildered passers by.
We suspect the market for custom body doubles will only increase as the technology to create them becomes more widespread. If you’ve tackled a similar project, be sure to let us know. Video after the break.
Continue reading “How To 3D Print Your Identical Twin”
Large format photography gives a special quality to the images it produces, due to the differences in depth of field and resolution between it and its more modern handheld equivalents. Projecting an image the size of a dinner plate rather than a postage stamp has a few drawbacks though when it comes to digital photography, sensor manufacturersdo not manufacture consumer products at that size.
[Zev Hoover] has created a large format digital camera, and is using it not only for still images but for video. And it’s an interesting device, for the way he’s translated a huge large-format image into a relatively small sensor in a modern SLR. He’s projecting the image from the large-format lens and bellows onto a screen made from an artist’s palette, a conveniently available piece of bright white plastic, and capturing that image with his SLR mounted beneath the large-format lens assembly. This would normally cause a perspective distortion, but to correct that he’s mounted his SLR lens at an offset.
He does point out that since less light reaches the camera there is also a change in the ISO setting on the camera, but once that has been taken into account it performs satisfactorily. The result is a camera that allows something rather unusual, for Victorian-style large-format images to come to life as video. He demonstrates it in the video below, complete with friends in suitably old-fashioned looking steampunk attire.
Continue reading “Large Format… Videography?”