Polaroid 545 back, Fuji PA-45, Polaroid 405 and the fuji instant film back…
At position 10 o clock, we have the 545 pro back (4×5 format). this back takes the Polaroid type 55PN film and other 4×5 sheet films from Polaroid.
for a sampling of Polaroid 55PN pls click on this link 4×5 polaroid 55PN examples
top right is the venerable Fuji Quickload 4×5 film back. this back takes a special proprietary quickload system from Fuji with emulsions like Velvia 50, Provia 100 and Quickload FUji Pro 160 color negative and even Neopan quickoad 4×5 sheets. the beauty of this back is the ability to load and shoot film without a dark bag.
to the right of the 545 back is the Polaroid 405 back that takes 3×4-inch film like Polaroid Type 665 which features a 3×4 print and negative.
flickr’s moominsean has a wonderful collection of 665 images.
link to moominsean’s 665 images
bottom left, is a Fuji PA-45 back that takes 4×5 instant packfilm in 10 shot magazine that is loaded into the back and has 10 sheets of film. Fuji’s FP-100C 4×5 film is the culprit here below. this back usually just right onto the 4×5 graflok type back on most 4×5 cameras.
last but not least, bottom right of the original photo is a regular 4×5 film holder. takes two pieces of film, one on each side. this type of film back needs to be loaded in dark room or in a light proof changing bag. more on this later !
here’s a giant instant film camera originally at the Boston Museum of Fine Arts, now in NYC.
Starting the weekend right.
perspectives or point of view/s.
what is it ? how do you use it in photography ? first, for the photographer it can be crawling on the ground or offering a bird’s eye view by climbing to the top of the highest building. two different vantage points with different psychological and visual differences. besides getting down and dirty, changing the view, via camera perspective show’s you the photographer are ‘working it’. sometimes it works, sometimes it doesn’t. the important part is the effort or efforts.
in the above photograph, a fisheye lens is used to ‘force’ the foreshortened perspective, holding the camera above on a monopod gives a slight aerial view and a clear view of the rest of the subjects. so in this case, various lenses can create a super wide feeling or an isolated feeling via a macro (closeup lens).
macro view. below, freelensed macro view of pink flowers. (lens handheld in front of camera). the isolated view point, condenses the viewers and concentrates her/him into a perspective that oftentimes would be overlooked. detail images is what many photographers sometimes forget to ‘see’, they see the big picture and miss the little ones.
as you know, you can’t go back to the situation after the job is finished.
also when editing a final product of a bunch of images, having different views of an assignment sometimes lends itself to tell the story in a different and creative way.
another variation on the theme with perspective is the illusion of 3-dimensionality on a 2-dimensional surface. a genius of this was escher. huh ? 3d on 2d ? once you learn a bit about lighting, playing in the studio and learning more of the phenomena of light, you can start playing. breaking the rules too.
what rules ?
now the fun begins.
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