Renovation Finds - still life!

[Tony Miller]

I saw Martin's "....4x5 large format camera, table top photography" video the other day and as his work area is about the same size as mine, I thought I would have a go at some table top still life.
Setup was 10x8 Intrepid with 5x4 reducing back, Symmar 150/5.6 lens (still not 100% sure about this lens!) I used a continuous light through a reflector. I'm pleased with it but more practise needed. Takes a lot of setting up and one kick to the table and the lot falls over....start again!

Renovation Finds by Tony Miller, on Flickr

 

[Ian Grant]

Interesting shot Tony, a bit more light on the left would help,. What are you unsure about with the Symmar ? They are excellent lenses, but like all LF lenses sharpness at the edges and corners is not great at full aperture and improves with stopping down, and LF lenses are generally optimised to give their best results at f22.

It is really a case of getting to know a particular lens performs at wider apertures. I know from using a 135mm Tessar 2006/7 that edge sharpness was excellent at f22, just acceptable at f16 and fell of fast f11 and wider. I replaced it with a 135mm Caltar-S II, a re-badged Symmar S, edge sharpness is a stop better as you open up>

Over the years I've used many early Symmar (pre S) lenses and they are as good as later versions, it's the same with Super Angulons. So it maybe you need to see what is the optimal widest aperture for images like this.

Ian

 

[Alan Clark]

Hi Tony, not sure if you have quite nailed this ........ ( sorry, couldn't resist!...) I'm wondering if the light through the reflector isn't just a bit diffuse and that a more direct light might have produced more contrast and texture. I'm trying to think which direction your studio window faces - I assume you took it in there. North light is known to work well ( I'm thinking of Irving Penn and his Worlds in a small room. )

Alan

 

[Tony Miller]

Thanks Ian - have to say you've hit the proverbial on the head. I'm not sure why I used it at the aperture I did tbh. (f8 or f11 as I recall). I think I'd spent all afternoon setting up and just wanted to get the exposure done. I do appreciate your feedback, thanks.

Interesting shot Tony, a bit more light on the left would help,. What are you unsure about with the Symmar ? They are excellent lenses, but like all LF lenses sharpness at the edges and corners is not great at full aperture and improves with stopping down, and LF lenses are generally optimised to give their best results at f22.

It is really a case of getting to know a particular lens performs at wider apertures. I know from using a 135mm Tessar 2006/7 that edge sharpness was excellent at f22, just acceptable at f16 and fell of fast f11 and wider. I replaced it with a 135mm Caltar-S II, a re-badged Symmar S, edge sharpness is a stop better as you open up>

Over the years I've used many early Symmar (pre S) lenses and they are as good as later versions, it's the same with Super Angulons. So it maybe you need to see what is the optimal widest aperture for images like this.

Ian

 

[Tony Miller]

Thanks Alan, I actually did it in the darkroom so the light was only from the reflector. I can see what you mean re contrast etc. I'll have a look at Penn. Thanks for the feedback (and for the rubbish joke.... )
Tony

Hi Tony, not sure if you have quite nailed this ........ ( sorry, couldn't resist!...) I'm wondering if the light through the reflector isn't just a bit diffuse and that a more direct light might have produced more contrast and texture. I'm trying to think which direction your studio window faces - I assume you took it in there. North light is known to work well ( I'm thinking of Irving Penn and his Worlds in a small room. )

Alan

 

[thronobulax]

Interesting shot Tony, a bit more light on the left would help,. What are you unsure about with the Symmar ? They are excellent lenses, but like all LF lenses sharpness at the edges and corners is not great at full aperture and improves with stopping down, and LF lenses are generally optimised to give their best results at f22.

It is really a case of getting to know a particular lens performs at wider apertures. I know from using a 135mm Tessar 2006/7 that edge sharpness was excellent at f22, just acceptable at f16 and fell of fast f11 and wider. I replaced it with a 135mm Caltar-S II, a re-badged Symmar S, edge sharpness is a stop better as you open up>

Over the years I've used many early Symmar (pre S) lenses and they are as good as later versions, it's the same with Super Angulons. So it maybe you need to see what is the optimal widest aperture for images like this.

Ian

I concur. I have a 150mm f/5.6 APO-Symmar (which I realize is a different design than the OP's) but it's been a terrific piece of glass.

 

[Alan Clark]

Tony, with eight objects you are faced with an infinite number of arrangements and compositions, and I imagine you could play around for a long time to come up with a satisfactory composition. I have to say that I really like one you have come up with.

Alan