Photo Notes A place to talk about making images.

June 4, 2024

Cherry Blossoms and Lenses, a lot of lenses….

In most cases the inspiration for my photography comes from the external world. So, in the old days a client might contact me and request that I make pictures of spark plugs or concrete or whatever. As I am now retired most of my images begin with a spark of recognition from something outside myself. The challenge is to recognize the spark and to interpret the spark. For me a photograph is an invitation to interpret reality rather than to record reality. The entire process of making, rather than taking, a photograph is about interpretation.

One of the tools of interpretation that interests me most is the lens. Most current lenses are built with a bias toward accurate reproduction and high saturation and high contrast. Certainly, there is nothing wrong with this, but, for me, it lacks inspiration. First, I would rather have lower contrast because it’s easy to increase contrast in Photoshop, and saturation as well. But since I have many lenses, and whose counting, I also value lenses which have a very different way of interpreting the world. The lens is like a paint brush: some are good for fine detail and others spread a wash of color.

What I wanted to do with this group of images was to present different interpretations of cherry blossoms inspired by the use of different lenses. 15 different lenses. If nothing else, this will show that the lens matters, it changes how a photograph is seen. Please understand that there is nothing really straight about these images. They have all been interpreted in photoshop, some just by adjusting exposure and cropping, and some in more aggressive ways. The lens is only part of interpretation, but, since it is the first step in interpretation, it can open and close doors for your final image.

There will be some who will say “I can do all of this with Photoshop, so I don’t need these lenses.” While that might be true with many of these images, would you be inspired to create these images if you only saw a sharp image with high contrast and saturation? Probably not. So, I hope that all of these shots cause you to want to see in new ways.

The Sharp Group

These lenses are designed, in one way or another, for macro and micro work. I used a Godox 685 flash with all these shots so I could stop the lens way down to increase depth of field. The lenses have different ranges and abilities, but all are quite sharp.

Nikkor 60mm f2.8 Micro at f22

I want to start with this lens because it’s a modern Nikkor lens. Has all the bells and whistles: auto focus, modern coatings and so on. I used it at about f22 for theses shots to give some depth of field. I used a Godox 685 flash with these shots, and all the others that are set to a small stop. The flash also allows me to hand hold the camera for these shots.

Nikkor 55 f2.8 Micro at f16

This is a lens that is probably about 30 years old. Manual focus, but otherwise quite modern. As with the 60mm Micro, this lens is really designed for this kind of work. Once again, used the Godox flash.

Medical Nikkor at f22

This is a special purpose lens from Nikon. Designed for shooting surgery. I think mine was made around 1980. The lens does not focus, instead you change out the front elements of the lens to get the reproduction ratio you want, then move in and out to get the image sharp. In this case I used the life size element so that the flowers were actual size on the sensor. Larger here of course. While the lens has a built-in ring light, I find it much easier to use the Godox. This lens is weird, but it’s fun.

Vivitar 90-180 Series 1 Flat Field Zoom at f22 (180mm)

One of my favorite lenses. Designed for Vivitar back in the 1970s when they wanted to make high quality lenses. Really designed to be a technical lens, for copy work, product work, macro work and even surgery. Heavy and a little awkward, but very sharp. Since it focuses to infinity and has zoom for the focal length this lens is often in my camera bag. Used the Godox flash again.

Zeiss Luminar 63mm at T2 and T4

T2 and T4 are aperture settings, like f-stops, but used in micro work. In this case depth of field is practically non-existent. This is basically a microscope lens deigned for large format photography. So, it’s a little weird. This, and the next lens, also a Luminar, are the closest things I used for this project. I mounted the lens with Nikon K-rings to give me enough distance between the lens and the sensor. There is no way to use this lens at infinity. It has no internal focusing. There are ways to mount regular microscope lenses onto your camera, but they don’t have a diaphragm. This lens is difficult to work with.

Zeiss Luminar 25mm at T2

Similar to the 63mm Luminar, but closer and even more difficult to work with. Even with the Godox flash, which stops movement, this is a really difficult lens to use hand held. Both this and the 63 were used with the K rings, numbers 2, 3, 4 & 5. The picture shows the K rings.

 

The In-Betweeners?

These lenses aren’t intentionally macro lenses, but they can see close up in a special way. All shots here are made with daylight. I’ve added the 500mm macro Soligor to this group, just because…

Nikkor 55 f1.2

This lens is designed to be let in a lot of light. It’s designed to have NO depth of field. It isn’t designed for macro work. Since this particular lens has some optical problems, including a little fungus, it has a really nice glow in these shots. Used the Nikon K rings to get close.

Nikkor 85 f1.8

I really like this lens. For portrait and street shooting it’s hard to beat. The very wide aperture helps to isolate a subject. And, given a couple of K rings it has a nice look when doing macro work. A good reason to have a couple of the K ring extension tubes in the camera case.

Vivitar 70-150 f3.8

I bought one of these back in the 1970s. I liked the size and weight and functionality. I really liked the price. It’s not great, but it’s not terrible. Like a lot of lenses from that time it had a macro setting, not great but a good feature. One reason I put it here is to contrast it with the 90-180 flat field zoom from above. This only has a very limited macro setting, not the continuous focusing of the 90-180. It doesn’t get as close either. It’s just not nearly as good.

500mm Soligor Macro Lens F8

I paid $18 for this lens. I’ve done a bit of work with it. My all-time favorite lens for shooting rattle snakes and other venomous creatures. I’ve also done some nice hummingbirds with it. It’s not perfectly sharp, but it does things at a distance that other lenses won’t. This is a mirror lens, so it’s pretty small and light weight. It is interesting in this case because it flattens out the flowers as a result of being so far away.

The Fuzzy and Fuzzy-Wuzzy Group

All these were done with daylight. I used these lenses wide open to enhance the soft interpretation of these lenses. On some I had to use a higher ISO to enable me to hand hold the camera effectively

Sima SF Lens f2

If you can get this lens cheap, say less than $20. It’s worth buying. It’s all plastic. It mounts on most Dslr cameras using a T-mount adapter. It focuses by pulling the barrel in and out. It is a soft-focus lens; that’s all it’s good for. 100mm focal length and f2, which is a nice choice for portrait. The close-up function didn’t make it more difficult to build, so it will focus very close. Nice for flowers, and also nice for very soft portraits.

Lomography Achromat 64mm f2.9

This is the only gold-plated lens I own. Hey, it’s made in Russia, so who knows. The lens is designed after the very early lenses used by Daguerreotypists. It does have a very nice soft look. I used it with a couple of K rings to get close. I’ve also used it with a 1.4 teleconverter, which I think makes it a better portrait lens. It creates a nice glow in these shots. It comes with some Waterhouse stops which allow you to adjust the effect. I used it wide open here, which is f2.9.

Lensbaby 3G f2

I really admire the idea of this lens. A decent 50mm optic mounted on a flexible shaft so that a photographer can adjust the geometry of a shot as well as the focus. By using tilt and swing you can follow the focus of a subject or isolate the subject by throwing the rest of the image way out of focus. It’s a little tricky to use. My own technique with it would benefit from some practice. This lens also has Waterhouse stops you can use to control the effect.

Close up lenses

These are simple single element meniscus lenses used like reading glasses to allow a lens to focus closer. They were very popular when I was a young photographer. Used less now. In this case I used two of the #4 of the close-up lenses to build a lens that worked on its own, without a regular camera lens. I need to do a whole blog post on this, but I did do a magazine article a few years about using these lenses with a view camera. Check it out here:  www.siskinphoto.com/magazine/zpdf/LensAssembly.pdf

Diopter Lens on bellows wide open

This has a focal length of about 125mm assembled with two +4 diopter lenses. The group mounts on a Nikon bellows unit so that you can focus it. Fun!

Diopter Lens on Bellows with custom stop

Same lens as above but I used a stop with several hole in it in front of the lens. This gives a little depth of filed and a glow like a soft-focus lens. At least I think so. I’ve included a picture of the lens with the custom stop mounted on a bellows unit.

If you got this far, THANKS FOR YOUR ATTENTION. If you’d like to let me know what you think please e-mail me at john@siskinphoto.com

 

A few links

Siskinphoto.Home

Introduction Page

Monument Valley

Taos Pueblo

Night Sky

Flowers

Monastery Road

Petroglyphs

Rock

Ice and Snow

Tsankawi

Sugarite Campground

Churchs

 

I did a large show when I was still in Indianapolis called Courting Chaos. The link will take you to the pages which describe the work and its evolution. These images are, well, chaotic and many of them are nudes. I hope you’ll find it interesting.

Links to my books, still available at Amazon!

October 12, 2023

Paper Negatives

When I first posted this blog entry I wrote: One of these days I have to look in my files for paper negatives I made on Kodak Ad Type paper back in the 1980s on Sherman Way near my old studio: Fiat Lux. As I’ll probably be adding to this post, the old negatives might appear some time.

Well this is that day. I found a couple of the paper negatives I made back in the early 1980s, so this is from a 40 year old negative. I made this on Kodak Ad Type paper. This was such thin paper that you coule actually put it into an enlarger and make a regular print on silver bromide paper. Of course the exposures required very long exposures, generally a couple of minutes. As I remember the print, the enlarged paper texture was pretty interesting. Anyway this from a scan of the paper negative. The negative is much darker than I would make today, so it prints pretty flat. it does have that old time feel? Well I hope so.

I made this image with Kodak Ad Type Paper back in the 1980s. The first time I worked with paper negatives.

The first stable negatives were made by William Henry Fox Talbot in the late 1830s. There had been people who noticed and tried to use the fact that Silver Nitrate turns black to make images before this, but the effect would disappear in white light. Fox Talbot figured out a way to stabilize the reaction with salt. This method of making images was released to the public about the same time the Daguerreotype process was introduced. Daguerreotypes are direct positives, but because of this you can’t make a bunch of them from a single negative and Daguerreotypes made from other daguerreotypes degrade quickly. So, paper negatives have a long and storied history in photography.

My original 11×14 Camera. The Perrin #001. I learned a lot from this camera.

About 8 years, maybe, ago I got an 11×14 camera. I really didn’t think about all the aspects of making pictures with this camera when I bought it. And, so it goes… I decided that the best way to actually work with this camera would be to use paper negatives. The material is much cheaper: one sheet of Ilford Multigrade in 11×14 is about $2.60, and 1 sheet of Ilford Delta 100 film is about $15.20. Paper is easier to process, the process is quicker and you can use safelight. There is a lot of information about the project with the 11X14 camera on my blog. Start with this link: https://siskinphoto.com/blog/?p=4397. The title of this project is Courting Chaos. Not all of this work is “work safe.”

Curt #5. Part of the Courting Chaos Project. You can see the effects of Solarizartion in this image. The large negatives allow for considerable experimentation

As I have recently begun using paper negatives again, I’ve received a few technical questions about my experience with paper negatives. First, I most often use Ilford Multigrade, because it’s probably the easiest product to get. I have also used Arista from Freestyle, without noticing any big difference. I recently tested some very old Kodak Polycontrast III paper. Unfortunately, this paper was fogged, that is it’s so old that it acts like it’s partially exposed, even before I use it in the camera. Still, it has an interesting look, so I’ll probably play with it some. I use resin coated (RC) glossy paper. There are a couple of reasons for this: first it’s much easier and quicker to process than a fiber base paper. Second, because it dries flat it is really easy to scan. I feel it is much easier to scan than film negatives are.

Jim I. This image was made with fresh Ilford Multigrade paper.

Jim I. This image was made on old Kodak Polycontrast paper. The fog affected the contrast and color of the paper. An interesting look.

I used Ilford Multigrade Paper Developer for most of the Courting Chaos, in part because Roberts Camera was a few blocks from my studio in Indianapolis, and Roberts had the Ilford product in stock. I now use Clayton P-20 Plus, because I like it better for regular printing. I haven’t noticed a significant difference between the developers when working with paper negatives. I did use some very concentrated versions of the Ilford developer when I re-exposed the negatives to light and painted on a second developer. This was part of the Solarization process I was using in the Courting Chaos project. So, you might want to look at the link above for more information on that part of the process.

Aspen Trees at Ski Santa Fe. Shot with my 8×20 inch camera on Ilford Multigrade Paper. I had some fogging from the film holder, so this isn’t the whole negative

By far, and you’ll wonder why I didn’t lead with this, the most asked question is how light sensitive are your paper negatives. Either I get asked “what are you rating your negatives at?” or “how long are your exposures?” With respect the first question should be “how are you lighting your subjects?” The reason for this is that paper negatives respond very differently to different light sources. Film has this effect to a lesser degree: it’s referred to as reciprocity. We most often run into this when we expose film for very long times and/or when we use light with less blue to expose film. Paper is designed for very long exposures and for light with much less blue than we would use for film. Since I use strobe light to expose my paper negatives it might be expected that this very fast light and very blue light would cause the paper to become more sensitive to light than it would be for normal printing. This is exactly what I’ve found. When using strobes, in the studio, I find my paper has an ISO of about 80. This is about 8 times more sensitive than I’ve used for outdoor exposure in shadowed areas (ISO 10?) and for regular daylight I might get ISO 32 if the exposure is less than a second. As with regular film reciprocity, the longer the exposure is the less sensitive the film or paper is. Since our expectations of paper are usually based on very long exposures with a 100-watt bulb, we often find that the sensitivity of paper to strobe light is unexpectedly high.

Myself. Photograph by my wife. Used the Bausch & Lomb Petzval lens and Ilford Multigrade paper. 8X10 negative

Several other points about how I work with paper negatives:

In the studio I have a sodium vapor safelight. This is just about the brightest safelight anyone ever made. It makes it much easier to shoot under just safelight illumination. I find this helpful because most of the lenses I’ve used with paper negatives don’t have shutters. I just leave the lens open and trigger the strobes to make my exposure. I do have a bright focusing light on a foot switch which makes it possible to focus accurately and frame the shot.

Wiggy & Me. This is an early test with the 11×14 camera with paper. I’m looking for information about contrast and color rendition. Wiggy & I have been through a lot together.

I usually end up using between 1200 and 4000 watt seconds (joules) of strobe light to make my exposures, depending on the camera lens and lighting design. This is a lot of strobe light. I am using a very large camera and some slow lenses, so this is to be expected. Also, there is a lot of bellows extension in what I do, which also eats up light. I use Norman strobes; I’ve used Norman gear since the 1980s.

Rubella #10. From Courting Chaos Project. The open lens allows for considerable variation and experimentation with lighting. Here a double exposure offers a second view of the face

I have a processing line set up when I work with paper negatives in the studio. This enables me to see my exposure and light design, albeit in a negative way, as I am shooting. Since most of images I’ve made with paper negatives are portraits, I’ve also found that processing as I shoot really engages the subjects in the process. It’s somewhat like shooting very large Polaroid images.

Woddy S. #5. I used 8×10 Ilford Multigrade. The lens is a Bausch & Lomb Petzval from the 19th century

I use several different ways to find a beginning exposure when starting with a new set up. I can use a digital camera to shoot the subject. If I shoot at about ISO 100 and f32, a somewhat over exposed digital capture might be a good indication of exposure, but this is affected by the lens I choose and bellows extension. A better way is to make a test strip, as you might do under an enlarger. I choose a low level of strobe, and pop multiple times while pulling the darkslide a little further from the holder with each strobe pop. Of course, I may just run a test exposure, based on what I did last time. I haven’t found that an actual light meter is much help.

Jim I. #5

One more important point about shooting a paper negative, color effects exposure. Paper is not set up to record all colors in the same way. Because the paper has two emulsions, in order to allow you to change the contrast in a regular print, colors don’t always record in an intuitive way. In addition, since the paper is designed to NOT be exposed by the safelight, amber light has little effect on the negative. While this can take some getting used to, the effect is much less difficult to work with than the blue only sensitivity of wet plate negatives. I’m attaching some color samples I’ve made which might help to understand how color is recorded.

The top is the way Ilford Multigrade interprets the colors on the bottom. Note how dark the red is.

I really enjoy being able to learn by experimentation. With large format film cameras this can be very expensive, so working with paper negatives can be a real luxury. I hope you’ll take this post as an invitation to experiment!

Aspen Trees at Ski Santa Fe. Shot with my 8×20 inch camera on Ilford Multigrade Paper. I had some fogging from the film holder, so this isn’t the whole negative. You can see a little of the fogging on the edges. Used an ISO of about 12.

 

Here are a couple more images I’ve done recently with paper negatives. Thanks for your attention

Woody S. Shot on 8×10 Ilford Multigrade paper

R J #2 shot on arista paper

R J #7 shot on arista paper

R J #4 shot on arista paper

A few links

Siskinphoto.Home

Introduction Page

Monument Valley

Taos Pueblo

Night Sky

Flowers

Monastery Road

Petroglyphs

Rock

Ice and Snow

Tsankawi

I did a large show when I was still in Indianapolis called Courting Chaos. The link will take you to the pages which describe the work and its evolution. These images are, well, chaotic and many of them are nudes. I hope you’ll find it interesting.

Links to my books, still available at Amazon!

September 9, 2023

Around Navajo Lake

I thought I might start grouping some of the pictures from my trips here. Not a lot of organization here, but these are my favorites from my trip up to Navajo Lake. Didn’t actually see much off the lake, but I did get to Aztec Ruins, Bisti Badlands and Cottonwood Loop campground, so the shots grouped into these three areas. As Always, thanks for your attention

As you might imagine I’d prefer that these pages don’t get filled with a great deal of text. If you’d like information about a specific image, please e-mail me at john@siskinphoto.com and I’ll let you know what I know. Of course, if you have specific requests about an image you’d like to purchase please use the same address. If you’d like to go ahead and purchase an image, just contact me by e-mail.

Aztec Ruins. All of these shots were made with the 8×10 Toyo Field

Aztec 3

Aztec 5

Aztec 6

Aztec 7

Aztec 8

Aztec

Bisti Bad Lands. These images wer made with my Mamiya Press camera and a panorama camera I built that uses Mamiya Lenses

Bisti 7

Bisiti 2

Bisti 24

Bisti 28

Bisti 4

Bisti 9

And a few more around the campground and traveling. Used the Nikon D-850 for the night time work

On HWY 25-1

On Hwy 25-2

Cottonwood Loop Night #1

Cottonwood Loop Night #2

Cottonwood Loop Night #3

Cottonwood Loop Night #4

Cottonwood Loop Night #5

Cottonwood Loop Night #6

Cottonwood Loop #15

Cottonwood Loop #16

Cottonwood Loop #18

Cottonwood Loop #19

Cottonwood Loop #20

A few links

Siskinphoto.Home

Introduction Page

Monument Valley

Taos Pueblo

Night Sky

Flowers

Monastery Road

Petroglyphs

Rock

Ice and Snow

Tsankawi

I did a large show when I was still in Indianapolis called Courting Chaos. The link will take you to the pages which describe the work and its evolution. These images are, well, chaotic and many of them are nudes. I hope you’ll find it interesting.

Links to my books, still available at Amazon!

August 18, 2023

Heron Lake

Filed under: Fine Art,Fine Art Portfolio,Landscape Photography — John Siskin @ 7:58 am

I thought I might start grouping some of the pictures from my trips here. Not a lot of organization here, but these are my favorites from my trip up to Heron Lake. As Always, thanks for your attention

As you might imagine I’d prefer that these pages don’t get filled with a great deal of text. If you’d like information about a specific image, please e-mail me at john@siskinphoto.com and I’ll let you know what I know. Of course, if you have specific requests about an image you’d like to purchase please use the same address. If you’d like to go ahead and purchase an image, just contact me by e-mail.

 

 

 

    

 

 

A few links

Siskinphoto.Home

Introduction Page

Monument Valley

Taos Pueblo

Night Sky

Flowers

Monastery Road

Petroglyphs

Rock

Ice and Snow

Tsankawi

I did a large show when I was still in Indianapolis called Courting Chaos. The link will take you to the pages which describe the work and its evolution. These images are, well, chaotic and many of them are nudes. I hope you’ll find it interesting.

Links to my books, still available at Amazon!

August 17, 2023

Shooting a Bausch & Lomb Petzval Lens

I’m going to try to explain a project that I’m trying to work on. Unfortunately, for explanation, it’s a complex explanation with many threads; the good news, for me anyway, is that the complexity makes the project more interesting. You see one of my problems, as an image maker, is that I get bored with the simple things. Anyway, I’ve often heard that writing should begin at the beginning.

I

Photography was introduced in 1839. There were two competing methods of capturing an image with a chemical process. One was a direct positive image process called Daguerreotype, this is one of the threads which I hope to come back to. The more interesting process, to me anyway, was introduced by William Henry Fox Talbot. This process called photogenic drawing, involved making a negative, usually with a camera. The negative was dark where the original scene was bright and light where the scene was dark, a reversal of the original tones. Then the negative is put in contact with a second piece of sensitized paper and exposing this second piece of paper through the original paper negative. This produced a positive image, and you could make multiple positive prints. In terms of my project, it’s important to point out that he was using paper to make his negatives. There was no flexible film, which was invented by George Eastman. It would be quite a while before anyone found a process of making a photographically sensitive material that would stick to glass. Fox Talbot did the first book which explained how to do photography and was illustrated with actual photographs. You can see a good reproduction of the book Pencil Of Nature at this link: https://www.gutenberg.org/ebooks/33447

Very early in the practice of making photographs the martial used to make the negative, exposed in the camera, diverged from the materials used to make prints intended for display. The negative needed to be as light sensitive as possible, it needed to be on a translucent or, preferably, transparent material. The actual look of the negative was less important than the way it recorded information, since no one was really intending to look at negatives. In addition to being as sensitive to light as possible, it was a continuing challenge to make negatives that recorded color in ways that seemed intuitively right. For instance, the sensitive material, usually called emulsion, was unable to record red properly until the early years of the 20th century. Before that red, say red lips, were reproduced as black on prints. This panchromatic film and plate material was important to making negatives, but it made no difference for making prints. In fact, using an emulsion which was only sensitive to blue light made darkroom work much easier since you could work under red or amber light, called safelight. Many different ways of making photographic prints were introduced from the beginning of photography. Early methods included cyanotypes, platinotypes and kallitypes. By the middle of the 20th century the standard print was called a silver gelatin print. I’ll mention little more about working with direct positive materials at the end of this essay. I’ll want to mention are the introduction of color film, particularly Kodachrome, which was a direct positive material.

The positive black and white silver gelatin print was how most people experienced actual photographs for a long time. Of course, people experienced more images that were reproduced in ink, as newspapers, books and so on, but this essay is following photographic print making, rather than photomechanical printing. At the same time this was the dominant mode there were many creative photographers making images in unusual ways. For a long time, people continued to use film that wasn’t red sensitive, called orthochromatic film. In fact, Ilford still produces this sort of film. This made it possible to develop film by inspecting it during processing, rather developing film in total darkness which is necessary with panchromatic film. Kodak used to suggest using orthochromatic film for making portraits of European skin tones that had a reddish “ruddy” hue. I have no first-hand information about this technique. I am not sure when people started using silver gelatin paper in cameras instead of film. It was very popular with pin hole cameras because paper is cheaper than film and much easier to process. Kodak used to make a very thin paper, Ad Type, which was considered to be particularly good for making paper negatives, since it was more transparent that usual paper.

If you are currently making, or interested in making, paper negatives the situation is quite good. In the 1970s photo paper on a vinyl base, rather than paper, was introduced. This stuff is easy and quick to process. It dries flat. It scans very well. It is much cheaper than large film; 25 sheets of 8×10 Ilford HP-5 is over $200 and Ilford Multigrade paper is about $130 for 100 sheets ($8 per exposure vs. $1.30). The paper is sensitive to colors excepting amber and red, more than the original papers were. In addition, current photo paper, such as Ilford Multigrade RC is hugely more sensitive to light than 19th century materials. My tests tell me that the Ilford paper is something like 64 times more sensitive than tintype (an early and popular direct print) material was. Translated into modern film speeds I find that Ilford Multigrade RC can be exposed at ISO 64 with strobe (electronic flash) illumination. With daylight the ISO might be as low as 25.

 

II

Cassie #14 from Courting Chaos

I am writing this as I begin a second project with paper negatives. The first project, Courting Chaos, began with an 11×14 camera and a desire to experiment with solarizing negative. Much of the inspiration came from Man Ray. You can see a lot of this project by starting with this link: https://siskinphoto.com/blog/?p=4397 (some of this project is not “work safe”). Whatever I’m doing now began when a friend sent me a Bausch & Lomb Rapid Portrait lens a couple of months ago. I am very fortunate. The lens is a Petzval design and built in the 1890s, about 135 years ago. For a long time, these sorts of lenses were the big deal portrait lenses. They are incredibly sharp in the center, almost three dimensional. Sharpness degrades quickly at you move out from the center. In addition, they were very fast lenses, especially for large format cameras, so they had almost no depth of field. They create a very compelling portrait. Often people don’t consider that the lens can do a lot more than just a neutral rendition of the subject.

The Bausch & Lomb Rapid Portrait Lens

The Petzval was designed in 1840, just after Daguerre and Fox Talbot introduced methods of making photographs. Cameras existed before photographic materials. They were used as drawing aids. Of course, they had lenses, but, since an image for drawing could be re-focused and shifted, the lenses for these cameras weren’t suitable for making photographs where good focus had to cover most of the photographic plate. The Petzval was the first lens designed by mathematical computation rather than experience and experiment. Joseph Petzval was loaned several mathematicians by Archduke Louis of Austria, commander of artillery. The artillery was one of the few places where there were any people who could do the trigonometric calculations necessary for lens design. In addition to being incredibly sharp in the center of the image, theses lenses also had extremely high light transmission; they were “fast.” Even today this is one of the fastest lenses, for large format cameras, I have ever owned. I have owned a whole lot of lenses.

I should point out that there are some modern lenses, primarily from a company called Lomography, which are inspired by Petzval’s design. Of course, Petzval never made lenses designed to cover the small formats of today’s digital cameras; all of the original lenses were designed for cameras which shot plates that were quite large: a whole plate was 6.5×8.5 inches. Thus, these modern lenses are more inspired by than copies. Petzval lenses were not made for cameras much after 1900, but they were used for projecting images: movies and slides. Because they are fast lenses, and projection lenses are longer than shooting lenses this old formula worked well for this application.

These old lenses are quite prized by modern photographers making portraits with large format cameras. Also, modern photographers who make tintype and other wet plate images, the techniques used between the 1850s and the 1880s, are always looking for Petzval lenses. I am very fortunate to have been given this lens.

 

III

In order for any camera, modern digital or old large format, it needs to accomplish several things. It must focus light, which can be achieved with something as simple as a pinhole or with a complex modern zoom lens. While a pinhole doesn’t have to be in a particular position to achieve good focus, more complex lenses must be positioned quite precisely. A camera must hold the sensitive material in a the right position as well, or the focus will be degraded. A camera must control the amount of light which hits the sensitive material. This is achieved by controlling how much light comes through the lens and by how long the lens is open. The amount of light coming through the lens is controlled by a diaphragm in the middle of the lens. This control is usually measured in “f-stops.” These numbers are often confusing to new photographers. The amount of time the film or sensor is exposed to light is usually controlled by the aptly named “shutter.” When photography was beginning, since the sensitive materials were not very sensitive a lens cap could easily manage the exposure time. Modern cameras will generally have shutter speeds between several seconds and something as short as 1/4000th of a second. A camera must also block any stray light, light which doesn’t come through the lens, from exposing the film.

The Petzval mounted on my 8×10 Toyo. This is a camera from the 1980s

A camera from the 19th century generally had a ground glass back to focus the lens. The plate was in a holder which went the ground glass had been. The camera often had bellows between the film holding section, back standard, and the front standard, where the lens was mounted. Either the front or back, or both, could be moved to achieve correct focus. The diaphragm was most often in the middle of the lens, as a part of the lens. Sometimes a flat brass plate with a hole was used instead of a variable diaphragm. And the photographer might use his or her hat as a shutter. By the end of the 20th century all lenses designed for shooting had, in addition to a diaphragm, a leaf shutter. This shutter usually had speeds from 1 second to about 1/500th of a second. Photographers needed these shutters because, as mentioned, film is at least 50 times more light sensitive than the wet plate materials photographers were using when my Petzval was made. While I might make a 1 hour exposure, it was unusual to make an exposure longer than ¼ of a second.

IV

Perhaps all writing of done so far will make the problem clear to some readers. Certainly a few readers simply haven’t made it this far. The problem is how to actually make a picture with the Bausch Rapid Portrait lens. Often, I’ll read someone’s explanation of how to do a thing and it sounds as though they new exactly how to do a thing before even trying. I wish it was like that for me. First, I have to understand the problem then I begin to work through solutions.

A first test shooting the Petzval. Note that this is the negative

Problem #1
Getting the lens onto a camera. I actually have considerable experience with this one. I use Toyo 6.25×6.25-inch lens boards for large lenses. I’ve done a blog post which describes one way of cutting a large hole for a large lens: https://siskinphoto.com/blog/?p=3662. There are other ways to cut lens boards, but this is about the only way I can cut very large holes, such as I need for the Bausch & Lomb lens. This lens did not come with a retaining ring, which is a threaded piece which holds the lens onto the board. When you don’t have the retaining ring, you can find a really good machinist to cut you one. Expensive. An alternative is the hose clamp method I’ve used here. It’s not elegant, but it does work. In addition to the clamp, I used some rubber as a sleeve which makes the lens more secure. I also used Permatex 82180 Ultra Black Maximum Oil Resistance RTV Silicone Gasket Maker. I’ve used this with a number of camera hacks, it’s really good stuff. Keep in mind you really, really don’t want the lens to fall off, really.

The lens held to the board with a hose clamp

Close up of the hose clamp mount

Problem #2
Controlling the exposure time. Since the lens is very fast, about f4 and I’m using modern material this is a heck of a problem. If I was going
to shoot this lens outdoors in full daylight, I’d need a shutter speed of about 1/1000th of a second. I could shut the diaphragm down block most of the light, but this would remove the Petzval effect: extremely sharp center and diffused sides of the frame. I could use a very dark neutral density filter, but this adds another step between focusing and shooting. If your subject moves you picture could be ruined. Still if I could find an 8 stop neutral density filter that was about 5 inches across it might work.

I have not solved the shutter problem. If you are interested in shutter hack, please check out this link: https://siskinphoto.com/blog/?p=3695. Unfortunately, I don’t currently have any shutter large enough for this lens. I have found a work around.

Studio set up for testing. Note the ground glass back on the camera

This is the method I’ve used to shoot with this lens without a shutter. I’ve blocked out all the windows in my shooting area. I know that many people prefer what is called a daylight studio, but since I’ve written a couple of books about shooting with strobes (available at Amazon). I have a sodium vapor safelight set up in the studio. This is a relatively bright light that won’t expose modern photo papers, such as Ilford Multigrade. You could use other safelights, but it’s very helpful to have a bright safelight. You will be evaluating the moment to make your picture under just the safelight illumination.
I usually begin a portrait session with 3 lights set up. While I might use more gear as a session goes on, I find if I have a bunch of extra lights out the subject will often want me to explain why I’m not using them. For anyone whose know me for a long time, yes, I am still using Norman LH2000 lights and power packs. These days I’ll have one light with a 5-inch reflector and barn doors, a second with a stove pipe snoot and the third will start as bare bulb. The bare bulb light will be behind the subject to light the background and to give edge light to the subject. In addition, I’ll have a light panel with a silver reflector and a second panel with rip stop nylon. All the lights are strobes, once the modeling lights are turned off, they make no light until triggered. Then they make A LOT of light for about 1/1000th of a second. While I could imagine trying to do this with continuous lights, on some sort of short timer, I think it would be very difficult. Particularly since you can set the amount of light an individual strobe will put out, which would be more difficult with continuous lights. I’ve done several magazine articles about portrait photography which might be helpful. You can see them at this link https://www.siskinphoto.com/magazinearticles.php which includes most of my magazine work. I’ll start with 5 film holders. Each holder has two sides, so I’ll have 10 pieces of Ilford Multigrade or other photo paper loaded. Just like I start with a limited number of lights out, I start with a limited number of exposures. When I had an assistant, I would start with more film loaded.

I do have one continuous white light set up on a foot switch I use this to help focus, frame and direct the shot.

Once I have the shot arranged, I’ll turn off the white light. I have to get the subject to stay still. This is ALWAYS a problem with large format portraiture. People have the expectation that I can somehow correct the exposure even after the film holder is in the back of the camera. It’s not more difficult with this set up, except you have even less depth of field than you might have in a normal large format portrait session.


The greatest advantage of this method of working is that you can develop the images as you go. The first reason you’ll want to do this is that it makes it much easier to evaluate exposure and lighting. Since the processing time on modern paper is about 60 seconds this is almost as fast as Polaroid used to be in my 4×5 camera. Also, this tends to really impress the subject, who has likely never seen a print develop in a tray. The process helps to keep the subject engaged and motivated.

Thread 1

Direct positive photography was a very important part of commercial photography. Both of the early color photographic processes, Lumierre Autochrome and Kodak Kodachrome, were direct positive processes. The film you shot in the camera was put through several chemical baths and the product was positive color transparency or slide. This was particularly important for commercial color work because transparencies were easier to make color separations from for ink printing. Of course, Polaroid was a direct positive process as well and so were all those Super-8 movies. It was possible to use direct positive color paper, which was used for making color prints from transparencies and slides in the camera. Basically, the process was as described above but there was no safelight. So, in the moment you were making the shot, you were in the dark. This was interesting. Processing color paper is somewhat more difficult than processing black and white paper, but it wasn’t beyond what an amateur could do. Unfortunately, I can’t find anyone supplying direct positive color paper anymore. So it goes.

This shot was made by shooting Cibachrome print material in the camera. I did this shot more than 30 years ago. The print still looks fresh

A few links: Siskinphoto.Home

Introduction Page

Monument Valley

Taos Pueblo

Night Sky

Flowers

Monastery Road

Petroglyphs

Rock

Ice and Snow

Tsankawi

I did a large show when I was still in Indianapolis called Courting Chaos. The link will take you to the pages which describe the work and its evolution. These images are, well, chaotic and many of them are nudes. I hope you’ll find it interesting.

Links to my books, still available at Amazon!

November 29, 2022

Tsankawi

Filed under: Fine Art,Fine Art Portfolio,Landscape Photography,Other — John Siskin @ 12:22 pm

Tsankawi was home for indigenous peoples in 15th and 16th centuries. Today the site is one of my favorites to explore, because it has less infrastructure from the forest service than a site like Bandolier. I’ve been to this place several times with a variety of gear and always been rewarded with interesting images. I’ve also been grateful that few people actually stop here. There are multiple caves that were used as dwellings and for storage. There are also petroglyphs and other signs of former inhabitants.

I’ve used a variety of cameras at this site including my Mamiya Technika, Mamiya Universal Press and Nikon D-850. As you’ll notice in these images, I’ve also played around with post-processing techniques on these images. If you are interested in a specific image, please contact me at the e-mail address below. As always, thanks for your attention.

Thanks for visiting this page. I would always appreciate feedback and you can send your comments to me at john@siskinphoto.com

If you’d like to purchase a print please use the link below and give me the browser link to the image and your shipping address.




I am also trying a couple of things that will give people an opportunity to support this work. While I am fortunate to have enough money to continue to do this work, some things are pretty expensive. For instance 11×14 film is hard to get and costs about $300 for just 25 shots and a 120 roll of Ilford Delta 400 is close to $9.

A few links

Siskinphoto.Home

Introduction Page

Monument Valley

Taos Pueblo

Night Sky

Flowers

Monastery Road

Petroglyphs

Rock

Ice and Snow

Tsankawi

Sugarite Campground

Churchs

 

I did a large show when I was still in Indianapolis called Courting Chaos. The link will take you to the pages which describe the work and its evolution. These images are, well, chaotic and many of them are nudes. I hope you’ll find it interesting.

 

Links to my books, still available at Amazon!

November 13, 2022

Ice and Snow

At 32º Fahrenheit (0º Celsius) something magical happens to water: it crystalizes. Of course, we often don’t’ see the individual crystals; we just see snow, ice, hail and wintery mix-and it’s often annoying. However, if you look closely, it’s beautiful. One of my favorite things to do with cameras is to look closely, very closely. With winter about to set in here I thought I’d share some snow and ice on this page.

I have a lot of really strange gear for looking closely. The most normal lens I use is a Nikkor 60mm f2.8 micro. The others include a Vivitar 90-180 Series 1 flat field lens, a Medical Nikkor, two Zeiss Luminars (the 25mm and the 63mm) and a bunch of microscope lenses. I also have bellows, extension tubes and a pile of adapters, so I have the tools to look at the very small. I used to use large format cameras to do this work, but new digital cameras, particularly the Nikon D-850 make the work easier and better! If you’re interested you can find an article I did, some years ago, on photo microscopy using this link: www.siskinphoto.com/magazine/zpdf/microscope.pdf. I really enjoy the challenges of using this gear and hope that will enjoy the images I’ve found.

As you might imagine I’d prefer that these pages don’t get filled with a great deal of text. If you’d like information about a specific image, please e-mail me at john@siskinphoto.com and I’ll let you know what I know. Of course, if you have specific requests about an image you’d like to purchase please use the same address. If you’d like to go ahead and purchase an image, please use the Paypal link below and give me the browser link to the image and your shipping address.




I am also trying a couple of things that will give people an opportunity to support this work. While I am fortunate to have enough money to continue to do this work, some things are pretty expensive. For instance 11×14 film is hard to get and costs about $300 for just 25 shots and a 120 roll of Ilford Delta 400 is close to $9.

A few links

Siskinphoto.Home

Introduction Page

Monument Valley

Taos Pueblo

Night Sky

Flowers

Monastery Road

Petroglyphs

Rock

Ice and Snow

Tsankawi

Sugarite Campground

Churchs

I did a large show when I was still in Indianapolis called Courting Chaos. The link will take you to the pages which describe the work and its evolution. These images are, well, chaotic and many of them are nudes. I hope you’ll find it interesting.

Links to my books, still available at Amazon!

November 6, 2022

Churches

Filed under: Architecture,Architecture,Fine Art,Fine Art Portfolio — John Siskin @ 11:21 am

The Spanish first came to New Mexico, bringing the Roman Catholic Church with them in 1540. That is 80 years before the Pilgrims landed at Plymouth Rock. So much of the European History of New Mexico is bound up with the Catholic Church. From my point of view, as a photographer, the Churches out here are fascinating subjects. Many have been used for incredibly long times, like Cathedral of Santa Fe, which is built on the site of a church erected in 1626. The church has a good deal of influence on the life of this state.

Since I’ve been out here many of the churches have been shuttered because of Covid and other reasons. So, most of the pictures collected here are exteriors. I expect to explore more of the interiors as they become more accessible. Of course, those images will be added to this group as the work progresses.

As you might imagine I’d prefer that these pages don’t get filled with a great deal of text. If you’d like information about a specific image, please e-mail me at john@siskinphoto.com and I’ll let you know what I know. Of course, if you have specific requests about an image you’d like to purchase please use the same address. If you’d like to go ahead and purchase an image, please use the Paypal link below and give me the browser link to the image and your shipping address.

I am also trying a couple of things that will give people an opportunity to support this work. While I am fortunate to have enough money to continue to do this work, some things are pretty expensive. For instance 11×14 film is hard to get and costs about $300 for just 25 shots and a 120 roll of Ilford Delta 400 is close to $9.

A few links

Siskinphoto.Home

Introduction Page

Monument Valley

Taos Pueblo

Night Sky

Flowers

Monastery Road

Petroglyphs

Rock

Ice and Snow

Tsankawi

Sugarite Campground

Churchs

 

I did a large show when I was still in Indianapolis called Courting Chaos. The link will take you to the pages which describe the work and its evolution. These images are, well, chaotic and many of them are nudes. I hope you’ll find it interesting.

Links to my books, still available at Amazon!

October 30, 2022

Rock

Filed under: Fine Art,Fine Art Portfolio,Landscape Photography — John Siskin @ 12:40 pm

Abiquiu Rock

I am always interested in shape and texture. This is one reason I shoot so many black and white images. This may be, probably is, why I find myself shooting rocks so often. I could try to differentiate between shoot an actual rock and a cliff or a rock wall, but for the purposes of this page, these are pictures which are about shapes and textures. These images are not about specific rocks, but are about the abstract form. I return to these subjects repeatedly, they inspire and fascinate me. A lot of the less abstract images are on other pages including the Petroglyph images and, soon, images from Bandelier and Tsankawi. Please check out my other pages below.

I often do things which make shape and texture more powerful in my images. Perhaps the first important thing for me is to get really close to the subject and use a wide-angle lenses. I also distort shape and contrast in post. So, these images are not meant to be recordings, but are interpretations. I hope you will find them as fascinating and inspirational as I do./span>

As you might imagine I’d prefer that these pages don’t get filled with a great deal of text. If you’d like information about a specific image, please e-mail me at john@siskinphoto.com and I’ll let you know what I know. Of course, if you have specific requests about an image you’d like to purchase please use the same address. If you’d like to go ahead and purchase an image, please use the Paypal link below and give me the browser link to the image and your shipping address.




I am also trying a couple of things that will give people an opportunity to support this work. While I am fortunate to have enough money to continue to do this work, some things are pretty expensive. For instance 11×14 film is hard to get and costs about $300 for just 25 shots and a 120 roll of Ilford Delta 400 is close to $9.


 

 

A few links

Siskinphoto.Home

Introduction Page

Monument Valley

Taos Pueblo

Night Sky

Flowers

Monastery Road

Petroglyphs

Rock

Ice and Snow

Tsankawi

Sugarite Campground

Churchs

 

I did a large show when I was still in Indianapolis called Courting Chaos. The link will take you to the pages which describe the work and its evolution. These images are, well, chaotic and many of them are nudes. I hope you’ll find it interesting.

Links to my books, still available at Amazon!

October 23, 2022

Petroglyphs

Filed under: Fine Art,Fine Art Portfolio,Other — John Siskin @ 12:16 pm

Monument Valley Petroglyph

I’ve really enjoyed exploring and photographing New Mexico. I’m sure all the images I’ve done in the last couple of years make that clear. One of the most interesting aspects of this area is the long human history. One of the most compelling and oldest human behavior is leaving our marks in stone and wood. Whether in Lascaux Cave in France, the Leang Tedongnge cave in Indonesia or the New York Subway, humans have been writing on the wall for a long time. In this area the marks were carved into the rocks, which means we can still see them today. Of course, depending on the type of rock, some marks are much easier to photograph than others. There is a dark coating on some rock in the desert that is possible to chip off, which makes some of the pictures easy to see.

I’ve photographed petroglyphs at several places, La Cieneguilla, Tsankawi, Canyon De Chelly, Bandelier and Rinconada Canyon. I don’t know what these marks mean or how they relate to the cultures of the indigenous people who left these marks; but I do think that they are fascinating to photograph. I hope you will enjoy these images.

As you might imagine I’d prefer that these pages don’t get filled with a great deal of text. If you’d like information about a specific image, please e-mail me at john@siskinphoto.com and I’ll let you know what I know. Of course, if you have specific requests about an image you’d like to purchase please use the same address. If you’d like to go ahead and purchase an image, please use the Paypal link below and give me the browser link to the image and your shipping address.

I am also trying a couple of things that will give people an opportunity to support this work. While I am fortunate to have enough money to continue to do this work, some things are pretty expensive. For instance 11×14 film is hard to get and costs about $300 for just 25 shots and a 120 roll of Ilford Delta 400 is close to $9.




A few links

Siskinphoto.Home

Introduction Page

Monument Valley

Taos Pueblo

Night Sky

Flowers

Monastery Road

Petroglyphs

Rock

Ice and Snow

Tsankawi

Sugarite Campground

Churchs

 

I did a large show when I was still in Indianapolis called Courting Chaos. The link will take you to the pages which describe the work and its evolution. These images are, well, chaotic and many of them are nudes. I hope you’ll find it interesting.

Links to my books, still available at Amazon!

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