#petzval

[branchflowerphoto]

The last wildflowers of spring

Effects made in-camera

[alovelydesolation]

Spent an evening designing a lens board to hold my 1850 Voigtlander & Sohn Petzval lens in my 4x5 camera. Based on caliper measurements of the lens board mount and the lens, it should hug the barrel of the lens at the back within the camera body, and have enough material to allow me to drill holes to bolt the mounting flange to.

[cyrd]

[kaelula-sungwis]

F1070022 by Sean Marc Lee Via Flickr: Lomography Taiwan let me borrow a Petzval lens to play with. Interview here. (Sorry it's in Chinese for now!)

[miyukimardon]

rocks+vine

when you haven't photographed for a while, and play with props for in preparation for a planned shoot...

[erikamastersonphotographicartist]

photoshoot with my 8x10 view camera 2023

[bohemkokusu]

Poor Things..

Petzval lens kullanımından film müziklerinin uyumuna kadar beğendiğim birçok detay var.

Sinemada izlenmeli 📽

[andreagambadoro]

Lens Test - Petzval/Cooke S8/Leica Cinescope/Sigma FF Classic from Andrea Gambadoro on Vimeo.

Testing some lenses at Shift4 using a Sony FX9 Lenses:

[lulu--inspo]

[moaan]

Flower of September by Katsuaki Shoda Via Flickr: Canon EOS 5DS R + Lomography Zenit Petzval 85mm f/2.2

[ao-fc]

The excellent camerawork in Poor Things (2023)

Antique Petzval glass.

4mm s16 lens modified for 35mm.

10mm Arri Ultra Prime

Arri / Zeiss 16.5 - 110 Master Prime.

🎥fuckinggoodmoviesT

[alovelydesolation]

Near the beginning of this year, I made an interesting discovery at a rural antique shop: an early 20th century glass slide projector. What really caught my eye though was the lens attached to the front of it.

This lens:

This was clearly not the original lens for this projector. It is, in fact a much earlier lens. A large format portrait lens from the mid-1800's. Some research on the internet revealed that it was almost certainly manufactured in between 1848 and 1851 (most likely 1850), but it is hard to find specific records from a 19th century German manufacturer.

That was going to be the end of it; a neat thing I saw in an antique shop, but didn't buy. Then, a strange confluence of events: a close friend who works a a second hand and salvage shop let me know that they'd just received a pair of large format cameras (sans lenses or film holders). And I could have one for the princely sum of $25US.

So I picked one up - a 4x5 view camera with intact bellows and ground glass. So then I need to find a lens for it. Like, I dunno, a mid-19th century portrait lens. So my wonderful partner decides to contact the antique shop to see if the projector is still available, and arranges to buy it.

So now I have a long term project of rehabilitating a large format camera and restoring a very early photographic lens.

The projector turns out not to be in super great condition. It has some neat parts intact, but the bellows and the lamp housing are in pretty rough shape.

The lens has one major modification likely made in the early 20th century (perhaps when it was being mounted to the projector); the original focusing mechanism was disabled and the lens barrel was cut to enable a crude twist-to-focus action. Apart from that, it seems to be in ripe condition for a clean up and restoration.

I've got the glass cleaned up now, and still need to clean up the brass and reassemble it, then figure out how to 3d print some parts to mount the lens to the camera and create a film holder to do some photography with it.

[projectart2]

Production Processes (Supporting Post)

For the rural scenes there were physical challenges and risks mainly with equipment moving. For the entire piece my main camera was a BlackMagic design, Pocket Cinema Camera 6k Pro. Whilst being a compact form-factor camera, hiking equipment up rural hills became physically difficult due to weight distribution when combined with lenses and a tripod. The weight and size of the kit caused challenge and risk with getting up and down the locations I wanted during daylight hours as to prevent any risks associated with limited light. These risks were thankfully further mitigated where I was able to get help to securely transport myself and kit by car to these locations which always ensured safety of myself and the kit. 

For the urban scenes I used London as my backdrop due to its ease of access from Kent and Leeds as well as for its stark iconography. For the first 2 filming days in London, I used a compact rig of the 6k Pro, taking minimal equipment, with no tripod and fewer lenses. This was to mitigate risk associated with equipment safety like theft as well as weight risks. This meant that I had to be careful in my lens choice and limited the type of shots I could get from the lack of a tripod. I ended up opting for a 58mm Petzval Lomography lens which provided the rounded depth of field bokeh control in the two shots below that made the final cut. Secondarily I used a 24-105mm zoom lens which provided greater versatility and produced most of the footage from those dates. On the third London filming date I only took a DSLR camera with no video function which is where I took all the ‘frame by frame’ sequences of the final project using 100s of photos. These three days were well planned and involved exact routes and lists of the types of edits I wanted. This helped time factors and made the production workflow more efficient. 

The shoots at home in Kent filled in all the gaps of footage I needed and provided many of the more conventionally narrative sequences of the project. I used my living room as the backdrop for the shots below, which proved to be smooth filming sessions with minimal risks and complications where I had a controlled and private location. For these scenes I had unlimited amounts of time to experiment with the angles, lens choices, mise-en scene and lighting. For the ‘Sofa Shot’ I framed the shot with as many plants I could find which created a delicately, natural contrasted mise-en-scene. I was also able to film this scene with only natural light by positioning the curtains in a specific way to shape the way the light entered the scene. 

[kadenca]

Emil Busch 212mm (8 3/8 in) f/4 Portrait Petzval No.2 I

Images by Ben Lockett

[rodsager]

Vintage Meyer-Optik Görlitz Primoplan

The Primoplan 58mm f/1.9 is a classic bokeh monster from the early post war era. It features delicious swirly style bokeh that has a petzval like look very similar to the Zeiss Biotar 58/2 and the Russian Helios 58/2 lenses of similar vintage. The Primoplan is notably sharper than the Helios and similar to the Biotar. They are commonly found in either M42 screw mount or Exakta mount both easily…

[erikamastersonphotographicartist]

"Apple Tree" by Erika Masterson

Apple tree This image was photographed in the Southern Appalachian Mountains of North Carolina. I used a large format 8x10 view camera with an 1800’s brass Petzval lens. I hand developed the black and white film in my darkroom. I call this camera “Sally”. This image to me speaks of innocence and raw beauty. What do you see? If you’d like to see and read more about my work please join my email list through my website! Link in bio ❤️🕊🙏🏻 #unchartedterritories2023 #erikamastersonfineartimagery #propheticart #christianart #christianbusinesswomen #christiancreative #artdaily #madeinusa #lionandthelamb #artofinstagram #Brand #Artsy#Miami #Florida #Lifestyle #designer #interiordesign #interiors #artformywalls #collecteurs #contemporaryartcollector#holyspirit #createdtocreate #christianity #jesusfollower #artistinthestudio