A MOST productive afternoon in Tonopah (more fuzzy pics)

jimgalli · Sep 25, 2006

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/Campbells/Campbells.html

Poco · Sep 25, 2006

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?

roteague · Sep 25, 2006

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.

Jim Noel · Sep 25, 2006

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.

jimgalli · Sep 25, 2006

Poco said:
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.

BradS · Sep 25, 2006

Nice work Jim. The velostigmat seems familiar somehow.

MenacingTourist · Sep 25, 2006

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?

jimgalli · Sep 25, 2006

MenacingTourist said:
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

Charles Webb · Sep 25, 2006

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.......................................

John Kasaian · Sep 25, 2006

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!

jonw · Sep 25, 2006

Thanks Jim. Wonderful shots. I personally like the Wolly shots the best. As to the Dallymeyer Petzval 3A, what it its focal length?

MenacingTourist · Sep 25, 2006

jimgalli said:
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

As usual, school is in session Thanks for clearing that up as well as the paper neg info you shared from before. I tried it out and you're right, the almost instant results are really fun.

Alan.

epatsellis · Sep 25, 2006

Jim,
while we're on the subject of Wolly's, what are the characteristics of the series 1a's? I found a 5x7 Korona View with a 10" Triple convertible Wolly Ser 1a on it, in a betax. I keep debating on whether I need yet another camera on the shelf, but the lens intrigues me.

erie

jimgalli · Sep 26, 2006

JonW, the 3A is 16" focal length. Erie, a Wolly 1a is like a Protar VII and will act very like a Dagor but not quite as contrasty. Likely a fine lens.

epatsellis · Sep 26, 2006

gee Jim, you most likely made my wife's evening, guess I'll go in the kitchen and find a comfy corner with the dogs proactively, as I'll surely have a 5x7 before the week is out....

erie

Russ Young · Sep 26, 2006

Jim-

The Chevy in Weeds II (L'Eidoscop) is fabulous. The depth of field is precisely where it needs to be, the softness of the background is appropriate, the tones lovely. Fine work.

Russ (aka Mr. Softie)

Dave Wooten · Sep 26, 2006

Jim this is some of your best work...in my not so humble opinion...I especially like the one of the handle of the lathe, ( maybe a good one for the Shooting the West)

jimgalli · Sep 26, 2006

Dave Wooten said:
...I especially like the one of the handle of the lathe, ( maybe a good one for the Shooting the West)

That one is calling me.....Jim....print me in platinum please. I can just hear the crowd at shooting the west. 'Wunder which epson he printed that on?'

MattCarey · Sep 27, 2006

Hey Jim,

very nice stuff. Very nice indeed.

For me, the softness "bearings soft" image makes me think of layers of dust on the bearings rather than a soft-focus image. As a wreck diver, this image to me looks a lot like an engine-room image where there has been years (or decades) of dirt settling on the bearings.

Matt

Stephanie Brim · Sep 27, 2006

They make me want to go large, if that's any indication.

removed account4 · Sep 27, 2006

hi jim

beautiful!
the last picture ( chevy in the weeds ) is making me all warm
and fuzzy too - i LOVE that!

thanks for sharing these with us.
john

removed account4 · Sep 27, 2006

MenacingTourist said:
Thanks for clearing that up as well as the paper neg info you shared from before. I tried it out and you're right, the almost instant results are really fun.

Alan.

alan,

you forgot ADDICTIVE!

-john

chiller · Sep 27, 2006

Jim was the most obliging host for our trip to Tonopah, NV.

Watching Jim work with his 2D and collection [never ending ] of brass lenses was a lesson in itself. I was amazed at the physical size of the lenses. Yet the weight was less than I thought.

Jim's images look "older" than the real scene if that is possible. His images are a time machine.

My eyes saw old in the foundry, however I saw the images how I knew my lenses would record them -- and by and large they did just that. Modern, sharp and dare I say it after looking at Jim's pics -- 2 dimensional.

The Chev in the weeds is a case in point.

I shot with a 360mm barrel lens and while my image is technically good it looks like it was shot in 2006. Even with a shallow DOF my lens is sharp but the out of focus areas are too defined.

I was also amazed at the image on the GG of the 2D of the tailstock. Even on the groundglass the image was glowing.

I know I was there at Tonopah but I do believe Jim has a special time machine and can transport himself to another dimension. I think he dissappeared once or twice.

I'm convinced that Chev is NOT the one I photographed.

If you ever get to Tonopah strange things do happen and you will never be the same again.

Thanks Jim -- a very memorable day -- I'm not certain what year it was though.

Dave Wooten · Sep 27, 2006

chiller said:
Jim was the most obliging host for our trip to Tonopah, NV.

If you ever get to Tonopah strange things do happen and you will never be the same again.

Thanks Jim -- a very memorable day -- I'm not certain what year it was though.

Chiller, (so you missed Jim for a second or two?)

You are absolutely correct in this, however it is best not to discuss the facts here, It has been verified that Jim was here in Las Vegas performing in an afternoon matinee on the strip at just about the same time as you claim you were watching him working with the big lens. Of course when he was off stage here....no one could vouch for his whereabouts

Dave Wooten · Sep 27, 2006

chiller said:
Jim was the most obliging host for our trip to Tonopah, NV.

I know I was there at Tonopah but I do believe Jim has a special time machine and can transport himself to another dimension. I think he dissappeared once or twice.

quiet please

and keep the line moving forward.....the show is about to begin....

A MOST productive afternoon in Tonopah (more fuzzy pics)

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