marcel_perez_calisto

Hello Rainer:

I use the Broncolor fcm2 with the probe (similar to the booster but with the Broncolor meter). I shoot exclusively studio and macro setups and after using groud glass metering I am addicted to it. It is FABULOUS! I like the simplicity of no calculations, what you meter is what you get. Extremely precise. I use it on a p2 that came with the metering back, if your camera does not have it (has opening on the side and locking lever) you will have to get one. Hope this helps.

Thanks everyone for the feedback. After going over every step and assuming it is not a lens defect (I have heard of many people doing exactly the same thing without problems, and the focused part of the image is GORGEOUS!) I came up with a theory. Could it be developer splashing the film as I pour the pyro in the tank? I use a Jobo 2551and 1500cc's of chemistry so it takes a while to pour (I pre-soak the film for 1 min.). I also thought about sudsing and maybe using Edwal LFN. Any thoughts? Again, thanks in advance.

 

P.S. I forgot to mention that I got the same faults using a macro digitar 80. So is it just a problem of coverage or am I missing something about lens design and engeneering? In other words, if I get enough coverage, shouldn't the whole image fall within certain parameters?... (I understand about loss of definition at the edges)

Michael:

Thank you for your feedback. I forgot to mention that this problem occurs in various areas of the negative, not the edges. I am sure that I have enough coverage, at least visually through the cut corners of the ground glass, also there is no obvious sign of vignetting. Is that the kind of coverage you were refering to (size of image circle) or something to do with aberrations at the edge of the coverage?

Thanks again...

Hello:

I am experincing a very unusual (?) problem in my 4x5 negatives: the

out of focus sections have irregular areas (small) of lighter density

(almost clear). It looks like dust or lint during loading, but I am

99% sure it is not that. For one, this areas are not clearly defined

or sharp as with dust/lint etc., and also they are exclusive to out

out focus areas and vary in density. Here is my system: vaccum film

holders and load film in bathroom after running hot water for a

while. Develop in pyro PMK using Jobo drum and motorized base (fix

and wash normal). I use delta 100 at asa 50 or fp4 at 64 with

reversed rodenstock apo 50mm enlarger lens with 400 to 700mm bellows

extension. Could this be lens related? I read the portion of the book

of pyro that deals with problems in the negative but could not find

an answer.

Thank's in advace for the valuable feedback!

 

marcel

Hello. I have been using an airbrush compressor with a water trap in the hose for the past ten years with no problems. If you go to ebay you may find one for under $80 very easily and a water trap should not be more than 10 or 20 dollars (art supply stores all carry this filter).

Hello. My 2 cents; I was looking for a new tripod head and was undecided between the Ries and the Sinar pan/tilt. I got the Sinar used, still amazed at how sturdy (totally ROCK solid) and LIGHT it is. I use it for a P2 with a bunch of stuff (really heavy) and love it. Previosly I tried the Bogen 3263 gear head and the Gitzo 1570M (I still have them and use them for medium format), and imho the Sinar is by far the most solid (and even lighter than the Gitzo M). You can usually find a good used one in ebay for around 2 to 3 hundred. Hope this helps.

Ok, I have to begin by apologizing: since I am no expert some of the

information on previous posts regarding this subject just flew over

my head like an F16 (not the F stop!!:) So here it goes...at the risk

of re-asking a question alredy posted:

I need a short focal macro lens in the 80mm range to do 2:1 to 4:1

magnifications. So the question is will the 80mm macro Digitar cover

4x5 at this ratios? Any experiences with the non digital 80mm from

Schneider? and finally, any alternative suggestions?

As always, thanks in advance for the valuable feedback.

Thanks for all the feedback!

Hello everyone. Just wondering, how do you pronounce the "s" word? I

have heard at least 3 different takes on Schimpflug and would like to

know if there is a correct one.

Thanks in advance for your valuable feedback.

 

marcel

Hello. I use Calumet Photographic - no problems so far. Very serious

and specially courteous and polite, something I can't say about B&H.

I use a Sinar P2, FP4, PMK, process and print all my negs.

Check Calumet and B&H used sections. Last time I chequed, Calumet had

a UBS e cambo stand. Good luck.

My basic question: is there a significant difference in camera stability between a tripod and a studio stand? I am currently using a bogen 3046 with 3263 gearhead, the camera is a Sinar P2 (Rollei Shutter) and I shoot mostly between 60-80 degree(camera inclination) closeups with long bellows ext.(20+ in.).The problem I am having revolves aroud the fact that the more the camera angle increases the more the stability decreases. Will a studio stand help??? I am aware of the fact that the price range is huge, but I was thinking along the lines of a mid-high end Cambo or a mid level Foba or Linhof.

Thanks to everybody that contributes in this forum and thanks in advance for the always valuable feedback.

Helle. I had a similar situation when I moved into my new darkroom.

Most tables I had considered seem very inadequate to support my 4x5

enlarger. They were simply not sturdy enough. Finally I went to Home

Depot and bought a RIDGID power tool table. They are rated for up to

200 pounds if I remember correctly. The size was perfect, I can

adjust height (when installing, so get yourself a good level) and it

is very, very sturdy. The price was around 60 bucks, very cheap

considering that some dedicated to enlarging can go for over 300.

Hope this helps.

Hello. I am buying a 4x5 system. It is my first large format camera, and don't know what lenses to buy to use with the horseman iss electronic shutter. Do only " barrel" lenses work? The reason I ask is that there seems to be very little selection of that type of lens. Any experiences with this shutter? Thanks in advance.

Tim, thanks for the tip. But that's the way I work anyway. If you

check 8 or 9 posts back you can read some of the results I got on

Acros film. But I have a question. My range was not 2 stops but 1 1/2

and shot three pairs (6 rolls total) at different EIs. After

processing at different times per pair I got 3 very good rolls (diff.

EI). I just went back and checked and re-printed some shots from the

three and still the lowest rated is the best. I use pyro and that

masks a lot of the grain but can't honestly say I notice a difference

in sharpness. Should the results be very obvious? I chequed thruogh a

8x loupe, and under the enlarger thruogh a peak grain focuser (6x7

negs). I made 8x10's and 20x24's (durst laborator + multigraph head

and Scneider HM lens). I believe what you say is totally true, my

question is when do you start loosing sharpness as a result of

overexposure. Thanks.

Well Tim, I guess that all the many many many photographers over the

many many many years that have discovered that the manufacturers EI

is not always accurate (marketing???) and who constantly strive to

sqeeze the most out of the emulsion are all WRONG. And I guess they

should stop experimenting and sharing the results in forums like this

because they are not following the manufacturers recomendations which

are always RIGHT. Having said that, I am grateful that there is an

avenue like this where we can exchange info, even if not in

agreement, and hopefully improve as photographers...

"Overexposing silver image B&W film increases grain and reduces

sharpness."

Care to explain? Any scientific data to back this? How about pyro

developers that basically force you to overexpose? Thanks.

Last time i checked, Calumet had plenty of Acros 120 film. No idea

about 35mm.

Sorry, forgot to put time of dev: 6 1/2 min at 70F. Wash for 20 min,

no hypo clear.

Hello. I have tried a number of combinations and what works perfecly

for me is the following: asa 32, 2 1/2 min water pre-soak, develop in

pmk double strngth (for one roll of 120 film: 12 ml solution A, 24 ml

sol. B, 600 ml water) agitate first 30 sec continuously and then two

full inversions every 30 sec, and fix in alkaline fixer (2 1/2 grams

sodium metaborate, 160 ml amonium thiosulfate 60%, 540 ml water. No

sulfite to maximize stain, but use as "one shot fixer"). Stunning

results! Very, very cool film.

Hope this helps.

Hello. I have used PMK for tech pan as follows: 1 1/2ml A, 24 ml B

and 600 ml water. this is for one 120 roll. 8 min. @ 69 f. It is the

closest to good results with tech pan. But I have been using PMK for

a number of years and if necessary will try different dilutions, it

is a very flexible formula.

Hope this helps.