The Empire State is an early wooden, folding field camera that was produced from 1893 to 1914 by both the Rochester Optical Company and later by Eastman Kodak (after they purchased the company). It can be found in a number of sizes, including 5x7 inches, 6.5x8.5 inches and 8x10 inches. Made from polished mahogany wood with lacquered brass parts, the Empire State was a high end camera for its era and it remains very beautiful to this day. The camera is surprisingly lightweight and compact, especially given its large size. Despite being an early version of this category of camera, it still has several useful features, including a few important movements: front rise/fall, rear tilt (in both directions), rear swing (in both directions). The camera also features a removable ground glass/film holder and a double extension focusing bed.
There isn't much more to say about this camera but, then again, some cameras don't ask you to say much about them. They just go out and steadfastly do the jobs they were designed to do. Trust us when we say that the Empire State camera certainly does its job well. It won't blow you away with a swanky list of features, but if you need a solid and portable large format field camera, the Empire State is a prime candidate.
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Field Test of Empire State 8x10
Among our staff, Arthur Ruckle is the one drawn to all the 19th and early 20th century wooden large format cameras we bring in. He loves taking these beautiful machines out for field testing. Such was the case when we got this Empire State 8x10 in for sale. He volunteered to give this camera a once over by making a couple of frames down in Oregon City.
His film of choice for the outing? Why 8x10 glass dry plates, of course! If you are going to spend a weekend with a century-old camera, you might as well use film that is somewhat period appropriate. In truth, glass dry plates pre-date even this camera. They rose in popularity in the 1870s as an evolution over the previous glass wet plates, which required on-site darkrooms and prompt developing.
Jason Lane, of Pictoriographica, has been coating and selling his own brand of dry glass plates for a couple of years now. Initially, he offered them as an ASA 2 "normal" sensitivity plate. This meant that the emulsion was sensitive only to UV and blue light. But not long ago, he introduced a "speed" plate that extends its sensitivity up to the green portion of the spectrum, making his plates orthochromatic, as well as a much faster ASA 25. The third image in our carousel here is one of Arthur's shots from that weekend using a J.Lane ASA 25 Speed Plate.
Dry glass plates were common for several decades until Kodak introduced a celluloid base for their emulsions, ushering in what we now recognize as film. By the 1920s, the use of dry glass plates in cameras had all but disappeared from popular use. But now, thanks to the work of Jason Lane, you can produce your own glass negatives.