Post by brass on Feb 15, 2011 18:09:05 GMT -5
Fellows,
It’s been a bit quiet here lately so I thought I’d post info about my period wetplate set-up. It isn’t directly related to buffalo hunting but is perhaps an interesting bit of Victorian culture worth posting. Back in the day many people of even minimal means likely stood or sat before such a camera pictured below, so seeing this stuff can’t hurt.
To keep costs down I did most of the work in building &/or restoration of what is pictured below. I did, however, buy the repro wetplate holder adaptor box and field tripod. On an aside, as far as interesting and outright cool period hobbies go I have to say that wetplate photography has taken first prize in my book. It is a joy to be able to create wetplate photographs where I’m in control of what goes in them. It is my goal to make it very difficult to tell if my photos are period originals. Many wetplaters make compromises as wetplate photography is a source of income for them. For me it is just a hobby so I can really enjoy what I do with it.
Late Victorian Ansco Camera Company studio camera (adapted to wetplate) with c1870s Darlot “No. 4 Hemispherique Rapide” camera lens. Tripod and wetplate conversion box are reproductions by Star Camera Company
Rear view of Ansco studio camera on a Century 3A studio stand showing ground glass view pane
Lenses on boards from left: 1st is radial-drive late 1850s “Holmes, Booth, & Haydens, New York” portrait lens mounted on a recessed lens board; 2nd is tangent-drive c1883-1890 “Bausch & Lomb Optical Co, Rochester, N.Y.” camera lens; 3rd is c1870s Darlot “No. 4 Hemispherique Rapide” camera lens shown with waterhouse stops; 4th is tangent-drive 1890s “A. T. Thompson & Co, Importers, Boston” magic lantern lens. Lens not mounted to a lens board is tangent-drive French 1890s era magic lantern lens
My small hand-pulled photographic wagon. The body of the wagon holds my supplies and lenses, a Victorian era ‘dark trunk’ (I converted from a period trunk) sits on top of the wagon. In traveling configuration the camera goes into the trunk and is fairly compact all things considered. The material covering of the dark trunk tent is a mustard yellow, the frame for the tent I based on the 1875 patent drawing shown below.
Brass
It’s been a bit quiet here lately so I thought I’d post info about my period wetplate set-up. It isn’t directly related to buffalo hunting but is perhaps an interesting bit of Victorian culture worth posting. Back in the day many people of even minimal means likely stood or sat before such a camera pictured below, so seeing this stuff can’t hurt.
To keep costs down I did most of the work in building &/or restoration of what is pictured below. I did, however, buy the repro wetplate holder adaptor box and field tripod. On an aside, as far as interesting and outright cool period hobbies go I have to say that wetplate photography has taken first prize in my book. It is a joy to be able to create wetplate photographs where I’m in control of what goes in them. It is my goal to make it very difficult to tell if my photos are period originals. Many wetplaters make compromises as wetplate photography is a source of income for them. For me it is just a hobby so I can really enjoy what I do with it.
Late Victorian Ansco Camera Company studio camera (adapted to wetplate) with c1870s Darlot “No. 4 Hemispherique Rapide” camera lens. Tripod and wetplate conversion box are reproductions by Star Camera Company
Rear view of Ansco studio camera on a Century 3A studio stand showing ground glass view pane
Lenses on boards from left: 1st is radial-drive late 1850s “Holmes, Booth, & Haydens, New York” portrait lens mounted on a recessed lens board; 2nd is tangent-drive c1883-1890 “Bausch & Lomb Optical Co, Rochester, N.Y.” camera lens; 3rd is c1870s Darlot “No. 4 Hemispherique Rapide” camera lens shown with waterhouse stops; 4th is tangent-drive 1890s “A. T. Thompson & Co, Importers, Boston” magic lantern lens. Lens not mounted to a lens board is tangent-drive French 1890s era magic lantern lens
My small hand-pulled photographic wagon. The body of the wagon holds my supplies and lenses, a Victorian era ‘dark trunk’ (I converted from a period trunk) sits on top of the wagon. In traveling configuration the camera goes into the trunk and is fairly compact all things considered. The material covering of the dark trunk tent is a mustard yellow, the frame for the tent I based on the 1875 patent drawing shown below.
Brass