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  1. #1
    jimgalli's Avatar
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    A MOST productive afternoon in Tonopah (more fuzzy pics)

    We had a spectacular afternoon shooting at the old foundry in Tonopah.

    I used 3 lenses I haven't discussed much yet. Wollensak Velostigmat Series II 12", Hermagis Eidoscop #2, and a Dallmeyer 3A Petzval

    You know the drill, go have a look see and tell me what you like...

    or don't. Not looking for showers of praise, rather honest critiques.

    http://tonopahpictures.0catch.com/Ca...Campbells.html
    He is no fool who gives what he cannot keep..to gain that which he cannot lose. Jim Elliot, 1949

    http://tonopahpictures.0catch.com

  2. #2

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    I really like the second in the series. In addition to the gorgeous tonalities, it illustrates something I've always wondered about (and maybe as a lens guru, Jim, you could comment): why do out of focus areas sometimes have such abrupt transitions in the high ranges? Look at those windows in the background -- no question they're out of focus, yet where the frame meets the glass you have these sharply defined edges ...the exact opposite of what you'd expect.

    Why's that... huh? huh?

  3. #3
    roteague's Avatar
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    Good to see you had a productive day, and it is good to see that Kev and Steve made it over your way. I'll be off shooting with Steve next month in the Outback.
    Robert M. Teague
    www.visionlandscapes.com
    www.apug.org/forums/portfolios.php?u=2235

    "A man who works with his hands is a laborer; a man who works with his hands and his brain is a craftsman; a man who works with his hands and his brain and his heart is an artist" -- Louis Nizer

  4. #4
    Jim Noel's Avatar
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    I fully agree - you had a most productive day.
    I am especillay interested in the work with the Wolly - does it happen to be variable soft focus? I have both a variable and one which is not and am just beginning to experiment with both.

    I always enjoy looking at your images and reading the comments. They have been highly instructional to me as I build up my inventory of soft lenses.

    Thank you for always sharing.
    Jim.
    [FONT=Comic Sans MS]Films NOT Dead - Just getting fixed![/FONT]

  5. #5
    jimgalli's Avatar
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    Quote Originally Posted by Poco View Post
    I really like the second in the series. In addition to the gorgeous tonalities, it illustrates something I've always wondered about (and maybe as a lens guru, Jim, you could comment): why do out of focus areas sometimes have such abrupt transitions in the high ranges? Look at those windows in the background -- no question they're out of focus, yet where the frame meets the glass you have these sharply defined edges ...the exact opposite of what you'd expect.

    Why's that... huh? huh?

    Here's what happens: Though the photograph is 'full of light', it really is a cave inside the building. The light outside is bright daylight, maybe 10 stops different than inside. Since I've exposed for the interior the gross over-exposure in the windows causes something called "point transfer". The grains in the blasted out film are actually exposing the grains next to them and so on. In this case the transfer goes quite a way out into the black rebate on the film edge. So the soft detail of the edge of the window is actually lost and what you're seeing is where the point transfer finally quit.

    Jim, this Wolly doesn't have the de-focus ring.
    He is no fool who gives what he cannot keep..to gain that which he cannot lose. Jim Elliot, 1949

    http://tonopahpictures.0catch.com

  6. #6
    BradS's Avatar
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    Nice work Jim. The velostigmat seems familiar somehow.

  7. #7
    MenacingTourist's Avatar
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    Love the look of the Eidoscop #2 wide open. Stopped down it just looks ordinary. Not that there's anything wrong with ordinary. I guess when it's right it's right either way.

    How is your Wolly Velostigmat II 12" different from a Velostigmat IV 12" besides the II being f4.5 while the IV is f6.3?

  8. #8
    jimgalli's Avatar
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    Quote Originally Posted by MenacingTourist View Post
    Love the look of the Eidoscop #2 wide open. Stopped down it just looks ordinary. Not that there's anything wrong with ordinary. I guess when it's right it's right either way.

    How is your Wolly Velostigmat II 12" different from a Velostigmat IV 12" besides the II being f4.5 while the IV is f6.3?
    The II is a tessar type. 6 reflective uncoated surfaces. The IV is a dialyte. 8 uncoated reflective surfaces. Plus the extra stop makes all the difference in the DOF in a shot like the 1st in the series. jg
    He is no fool who gives what he cannot keep..to gain that which he cannot lose. Jim Elliot, 1949

    http://tonopahpictures.0catch.com

  9. #9
    Charles Webb's Avatar
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    Jim,
    Again great images, I appreciate you sharing with us. I have several old lathe images I might try to locate and post, also done with Velosticmats etc.
    mine are not 8x10, but are still somewhat interesting.

    All of the images in my opinion are above and beyond, keep em coming!


    Charlie.......................................

  10. #10

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    I really enjoyed the shots taken with the wolly.

    My 1st lens that came with my 1st LF camera---an anny speed graphic---was a wolly velostigmat series 2. The camera belonged to the photography prof at Fresno State back in the 30's and 40's and her own work was heavily into portraiture---from your photos I can imagine why the Velostigmat was her choice! Thanks for sharing such beautiful photos!

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