Toyo Field 45 AII (Analog) 4x5' Largeformat Camera

One camera that has almost completely gone out of my mind, is the largeformat camera, TOYO FIELD 45 AII-L with the large negatives. I have to re-learn the whole thing, in order to get back into the workflow. Mainly because I never truly learned how to use it, and I used to far too rarely.

Speaking of the Toyo Field 45 AII, I re-evaluated some of the color negatives I had made with that camera, since I still had some RAW files left, I was able to use the Negative Lab Pro plug-in with it (which interprets and analyses the color balance of a color negative). It worked well, I must say. A notch better than other ways.

The film I used was originally an (E-6) Fujicolor Duplicating film, with super low ISO (around ISO 6 I believe), developed in C-41 color negative chemicals - where I used it with slightly reduced developing time in order to tame the contrast.

That in itself can introduce some color shifts, making it slightly different in the look. I used that road, because color negative film in 4x5' format is extreme expensive (something like 160 € for 10 sheets) today, which is beyond nuts.

While the Fujicolor slide duplicating film, was something like 0.20 € a sheet when I bought it.

 

Is it worth to use a 4x5' Large format Camera today

I cannot answer that. For those people who are into traditional largeformat photography - it is a special way of photography, unlike any other. I never got into it, really. Those few negatives i shot, despite it's huge size, ain't look that much different from a digital camera when you look at the above photo, which landed into my diary. I am not printing on color paper at all anymore - so in essence using a large format camera, is almost a waste - for me. (I lost the curiosity and inner feeling, of how to take images with a large format camera).

I would have to re-ignite that special inner magic, wanting to take images with that type of camera... It is totally different from anything that digital photography has to offer today. It is also extremely slow photography... but there is something magic to it. I can now almost feel it (again). As I am writing about large format photography - we are sliding into the bright time of the year - with lots of sunshine... it seems to activate a curiosity in me... Will it be enough, for me to dig out the Toto Field 45 AII again ?

Gosh, it would be really interesting, digging deeper again.

Ever since I bought the Toyo Field 45 AII large format camera back in 2013, I have only made a few negatives, really. And a handful only with color negative film ! So, it would be about time to enhance my skills a notch... after a whopping 9 years. *rolling my eyes*

 

The Photo of Sal on the Balcony

The main image on this page - looks like having been taken with a digital full frame camera, with a 24mm wide angle lens at aperture ƒ2.0 at ISO 100.

In reality I used a 75mm f 5.6 lens on 4x5' Fuji duplicating film.

 

Oh, now I remember

The images I took of Sal in 2017, were made with 4x5 Fuji Duplicating film which was still left inside the filmholders for an unknown time. Likely since 2013 in room temperature. I had no idea in what conditions the film was - and didn't find the heart to just throw it away. Therefore I used Sal with his permission, to make a few images with that Toyo Field 45AII camera. I also remember, that I had lost most of my knowledge how to deal with a large format camera (and in 2017 I already needed glasses... in other to see at near rage, fiddling with the camera settings and movements)

So, I shot those frames "as it is". In a few, there were light leaks. If those occurred because I didn't handle the filmholder correctly, or for others reasons, I don't know.

 

 

Different interpretations (below photos)

The original color negative was scanned with a digital camera. However, the interpretations turned out quite different over time. The first image shows you how "Negative Lab Pro" worked (with my low level skills this far), which turned out being off in the colors. There you cam see that the middle tones shift towards green-cyan for example.

The older interpretation was totally manually, shown in the photo No 2 - showing overall better colors - bt not perfect, either.

 

Both images show errors

In the second photo - the red's are far too dark (actually, originally dark red on both, but in the first photo, i tried to make the red brighter and more saturated) I remember that the red channel of the film was underdeveloped right from the beginning.

Likely because I used a 30% reduced color developer film - which affected the reds that way, turning out much darker than normal. This i remember from my time with Daniel in 2013, that the red's already back then, were unusual dark.

 

No standards left in this case !

But never mind - it doesn't matter in this case: • Because the film was not only old, but stored in room temperature for years. • Second, the film wasn't a real color negative film. • Third; the developer time was reduced by 30%.

So, I went off all standards - plus that the "interpretation" of the color balance in post processing, is a rich source for many errors. In the end, none turns out perfect - but it is fun to experiment, tinker and test things out. But ultimately, I would like to find a road, with more reliable results, of course.

 

Negative Lab Pro

Since I only understand the basics with this plug-in, my skills are low-level when it comes to enhancing the interpretation of that plug-in. So, I still don't know exactly how to change parameters in such a way, which enhances the color balance even further. Therefore, the results I get from this app, relies mainly on what the app does "on automatic", not what I do. It's like a Dodo driving a car... That's me, as of now.

Hopefully I learn more about how to deal with Negative Lab Pro v2.4 - by studying the manual in finer detail !

 


Color correction with Negative Lab Pro v2.4

 


Fully manual color correction


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