I was pretty happy with this image considering the circumstances that surrounded getting it.  I used the Eastman 7X11 camera and Wollensak 18" Verito lens.  The wind was blowing that camera with that big lens around like a leaf.  We waited for a lull.  #5 studio shutter just like your big Pinkham J.  1/5th out in bright sun wide open was about 5 stops overexposed.  The Pyrocatechol compensating developer saves my bacon on this stuff.  That and a big pull on the development always gives me very usable negs.  I may never get the chance to shoot this guy again but I think he's wonderful material. 

Nicolas is reclining against a 1927 La Salle that once belonged to the Tonopah Mining Co.  Read more about it here:

Hallo!

Here are two new ones I have just finished. These are contact prints from 8x10" negatives on AZO-paper developed in Amidol.

Dallmeyer 4D

Voigtländer Universal Heliar 360 mm

I am wishing all of you happy eastern and all the best from Berlin.

stefan d 

I feel this picture has something special.  Maybe I'm dreaming.  The light and the tones are complex and I was amazed how well this old lens handled it.  What do you think.  Don't answer too fast, give it some thought.  If you don't see something other than ordinary, say so. 

I'm probably nuts but of the 5 I did, this one has haunted me all week. 

I'm not uploading this to 'fish for compliments', but to serve up a better looking j-peg which'll give a better sense of what the Turner Reich can do.  Understand the tiff version of this shot looks several times as good as the J-peg, and the print looks a lot better than the tiff. 

After doing the shot which I originally uploaded here, I left the set-up in place, and put my camera up, and then decided to shoot some slightly different angles, and to shoot some versions w/Ilford FP4 which I'll get from the lab early next week.  If the FP4 serves up a quantum jump in transfering the values and nuances of the TR, then I'll try to upload those shots.  But bottom line, j-pegs just don't do justice to what this lens can do.  

I keep talking about this lens because of how good it is, and we're talking if memory serves me right about we're talking about $75.00 and change,  so it definitely re-affirms the great fun I've had, anybody can have, coming up with a lens like this, MADE BETTER by Jim Galli.  

I've spend some money on more famous lenses, don't regret it, and I'm happy I've got those lenses, and I know I'm preaching to the 'choir', but I gotta say, classic lenses are the best thing to ever happen to me as a photographer.  The best thing about it is the fact that how much the lens is worth, has absolutely NOTHING to do with what these lenses are capable of,  and this lens is capable of a lot. 

I want to thank you Jim, for what you did for me with this lens, and thank you for all your adventures, and experiments, which all of us should appreciate, particularly since you do all the work, while we get to sit back, and watch all these tests.

OK I'm done..........for a while, with this Turner Reich.  This is the last shot of 4 which I'll be putting on my personal website.   I'll be giving this lens and myself a rest.  I wonder if anybody else out there is like me, I get excited about a lens, work up a sweat doing shots over several days, even weeks, and then if I get close to what I want, I pause, and then realize that I'm mentally exhausted.  I just got through spending 4 hours doing this shot/trying to get it right, and I have a headache.

I love playing around w/this magnifier and bulb, and felt I hadn't done them justice yet, and decided to try a very oblique angle in shooting them and with the bulb on top for a change.  I've always been intrigued how light bounces off and through glass, and this magnifier has always represented a lens element to me, and the use of the Turner Reich just does it for me in conveying the elegance and mystery of glass.

This lens has style/panache.