Dawid Loubser
Member
A local workshop happened to have an above-average collection of classics in for work.
The owner called me up to photograph his workshop, where the theme is not so much the cars, bur the general environment and feel.
I decided that it would be fitting to use my 1950s Linhof Technika V, and the mostly 1950s wide-angle lenses (first series chrome Super-Angulon f/8 lenses) to photograph the matching German classics. Here are a couple of the results, printed in the darkroom on 12x16in fibre-based matt paper:
(Super-Angulon 75mm f/8, Ilford HP5+, 4x5in cropped)
(Rodenstock APO Sironar-S 360mm f/6.8, Ilford FP4+, 4x5in cropped)
(Super-Angulon 90mm f/8, Ilford HP5+, 4x5in)
(Super-Angulon 90mm f/8, Ilford HP5+, 4x5in
While digital printing has gotten extremely good - and is certainly better / more consistent at really large sizes, the tones and depth in the prints from large-format film are still something special in my opinion.
My darkroom is now 1100km away from me, but I savour the chance to visit my family (and the "family darkroom") every month or two. In the meantime, negatives like these I develop at home in the kitchen sink, and scan them to preview what they would look like printed / plan my prints.
The owner called me up to photograph his workshop, where the theme is not so much the cars, bur the general environment and feel.
I decided that it would be fitting to use my 1950s Linhof Technika V, and the mostly 1950s wide-angle lenses (first series chrome Super-Angulon f/8 lenses) to photograph the matching German classics. Here are a couple of the results, printed in the darkroom on 12x16in fibre-based matt paper:
(Super-Angulon 75mm f/8, Ilford HP5+, 4x5in cropped)
(Rodenstock APO Sironar-S 360mm f/6.8, Ilford FP4+, 4x5in cropped)
(Super-Angulon 90mm f/8, Ilford HP5+, 4x5in)
(Super-Angulon 90mm f/8, Ilford HP5+, 4x5in
While digital printing has gotten extremely good - and is certainly better / more consistent at really large sizes, the tones and depth in the prints from large-format film are still something special in my opinion.
My darkroom is now 1100km away from me, but I savour the chance to visit my family (and the "family darkroom") every month or two. In the meantime, negatives like these I develop at home in the kitchen sink, and scan them to preview what they would look like printed / plan my prints.