dan_fromm2

John, you've forgotten that I'm an ignorant barbarian insensitive to the fine points. I've taken the course, passed the exam and have the certificate. With that in mind, for my money all recent lenses of the same focal length and speed from, in alphabetical order, Fuji, Nikon, Schneider and Rodenstock are functionally equivalent. There's no point agonizing over which is best -- some claim the latest Rodenstock lenses beat the others -- since all are better than good enough. About the Fujinons. The first post in this Where to look for information on LF (mainly) lenses discussion has a link to a list of links to information on, among other things. LF lenses. Use it to find out how the incomprehensibly named and variably engraved Fujinons differ. While you're at it, switch your allegiance to www.largeformatphotography.info/forum. Photo.net isn't the best place to go to for info on LF techniques and gear. Short answer to y'r Fuji question, I don't know. Joe McGloin, who compiled the best, IMO, Fujinon list thinks that jes' plain Ws and W Ss are the same.

They are the same design type but not the same design. You can swap cells between lenses of the same design, e.g., between jes' plain 135/5.6 Symmars, but not between lenses of different designs, e.g., a 135/5.6 Symmar and a 135/5.6 Symmar-S. That said, if you do the swap the resulting lens will pass light and form an image. Whether the image is good enough for your purposes is another thing entirely. The only way to find out is to do the swap and test the lens.

Interesting discussion. I've read every post and found no reports of thefts and the consequences. I may have missed them. In 1986 my camera bag full of Nikons and lenses and exposed film disappeared while I was doing fieldwork in Haiti. I filed a claim on my homeowner's policy. After some discussions -- the insurance company initially wanted to pay depreciated purchase price, I held out for replacing used equipment with equivalent used equipment at current market price -- we settled for enough, as it turned out, to replace everything. I got market prices for used gear from the back pages of Modern Photography and Popular Photography. If I suffer a similar loss again, I'll get values for the common stuff from the great auction site, values from the rare stuff from specialists such as Westlicht. The settlement shouldn't have made me quite whole, but when I went shopping for lenses Nikon AG has just dumped a warehouse full of lenses Germans weren't buying via grey market vendors in the US. New MicroNikkors (55/2.8, 105/2.8 and 200/4, all AIS) were selling for less than used ones. Rare opportunity, probably not repeatable.

, Cowboy, using a Cambo SC 1 (2x3) front standard with a Cambo SC 2 (4x5) rear standard requires a tapered bellows. Square bellows, Cambo SF-76, or bag bellows, Cambo SF-322. Neither is inexpensive. I've combined an SC 1 front standard with an SC 2 rear standard to be able to shoot 6x12. Few others will have my reasons for not starting from a 4x5 camera, Cambo or other, to shoot 6x12 with movements. Using a 4x5 camera or a dedicated 6x12er to shoot 6x12 is the better approach for nearly everyone. You're right, SC 1 bits are very uncommon. All SCs use 1" x 1" square rails and all use the same tripod mounting block. For people thinking about square rails for Cambo SCs, the inexpensive alternative to real ones from Cambo is 1"x1" 80/20 t-slotted aluminum extrusion. I buy it via amazon.com. Works well, but it lacks the little locks that save users from inadvertently running a standard off the end of the rail.

Approximately from top to bottom, sheet film holder standard bellows lens board with flange for a relatively large lens front standard lens cap hiding a lens ground glass, ruled tripod mounting block Measure to be sure, but I think the bits are from a 2x3 Cambo, model SC 1. If I'm right the lens board is 123 mm x 123 mm.

Be careful when you close y'r camera. Its easy to pinch the body release cable behind the inner rails when you rack the rail in before closing the box. This is hard on the cable, will eventually destroy it. And if the bed rails aren't all the way back before the box is closed closing it will damage the links between inner and outer rails.

Cowboy, it seems that Graflex made RHs to fit 2x3, 3x4 and 4x5 Graflok backs, also spring backs with an adapter. See Graflex Graphic Accessories. The RH catalog on cameraeccentric.com isn't clear about this, but it is certain that older roll holders were made to fit all three sizes of camera. Pacemaker Graphics -- the Crown Graphic is a Pacemaker -- have what Graflex called a body release built into the lower right hand corner of the camera. See Camera Eccentric: Info, in particular p. 12. The body release operates the lens' shutter, if there is one, by a cable that runs from the release to the front standard, where there's a linkage and a paddle that engages the shutter's release lever. The body release has nothing to do with the lens' shutter's cable release socket.

Um, JDM, the Corfield Periflex and derivatives used lenses in Leica thread mount. The Corfield 66 used lenses in a proprietary breech-lock mount. According to Corfield Cameras Corfield offered a 240/4.5 Lumar and a 400/4.5 Tele-Lumax, both for the Periflex. As far as I know Corfield sourced their lenses from German, not Japanese, makers.

Tom, there are many ~ 100 mm lenses that will cover 2x3. Its the normal focal length for the format. But ~ 100 mm lenses that cover and are faster than f/4.5 or so are scarce. Look into lenses for the Graphic XL system, 95/2.8 Heligon and 95/3.5 Ysarex were offered for it. The lenses you mentioned are all in shutter. It isn't clear that any can be made to work on a Convertible's focusing mount. Have you thought about this? I've used aerial camera lenses in barrel on a 2x3 Speed Graphic. 4"/2.0 TTH, scarce and expensive these days. 100/2.5 Uran-27, uncommon and less expensive but not cheap. Neither can be put in shutter so neither will do for you. Both are uncomfortably heavy on a 2x3 Pacemaker Speed Graphic. There's a 120/2 S.F.O.M. used on the S.F.O.M. 680 and 681 cameras (I hope I remembered the designations correctly, may not have) and a 125/2 Xenon for the Volk Handkammer. Hens' teeth. There are very few f/2 or f/2.8 lenses longer than around 100 mm. If f/3.5 will do for you, look for f/3.5 (in alphabetical order), Skopars, Tessars and Xenars.

Murray, thanks for the pictures. Reflex viewer? Probably not. All the thing has in common with the reflex viewers I've (Cambo, monocular and binocular; Horseman monocular for 2x3; Sinar binocular) is a mirror. The reflex viewers I've see are light tight, have more-or-less fixed mirrors and ocular lenses. See MF & LF Reflex Finders I have no idea what your monster is

Hmm. Stanhopes, anyone?

About state sales taxes, B&H has a warehouse in New Jersey, charges NJ customers NJ sales tax. Until things finish changing, this gives, for example. Samys, an advantage for NJ buyers for purchases of expensive items.

Image circle > 300 mm! Are you sure? That's not what my catalogs say or what my lenses for 4x5 do.

Ron, I have a couple of Cambos (2x3, 4x5) and have both Cambo reflex viewers for the 4x5 and a Horseman reflex viewer for the 2x3. None of this is any help to you 'cos all attach to the backs. But some makers of 4x5 cameras offer reflex viewers with a hinge at one end so that the viewer can be swing out of the way. If you look around you should find pictures, instructions, ... And then steal the idea.

Congratulations! You have just replied to an eleven year old post.

You don' need no steekin' dedicated center filter. You do need a center filter. Recommendations here: 6x9 lens by Dan Fromm (1)

Since this thread had drifted from the long to the short, there's no need to get an SWC to enjoy a 38/4.5 Biogon. I use one on my humble 2x3 Century Graphic. I extracted the lens from an AGI F.135 aerial camera, had the late Steve Grimes remount it in a Copal #0. The lens absolutely positively doesn't cover 2x3, the sharpness dies 42 mm off- axis and the light stops 43 mm off-axis. With a 2x3 roll holder it offers interesting cropping opportunities, including 24x82 (with a bit more than 1 mm of the corners missing). Who needs an SWC? Who needs an XPan? Who needs an Alpa? Arthur, to get back on topic, I've read that some versions of the 350 TeleTessar, in particular the one sold for the Agiflite, have noticeable chromatic aberration. How's yours?

I forget to mention that binocular viewing hoods have a drawback. They're heavy and will pull the focusing panel out of position. My Cambo 4x5er does this, so does my friend's 6x9 Sinar. I have a Cambo 4x5 monocular reflex viewer, also one of their 4x5 in-line viewers, one of their 2x3 in-line viewers and a Horseman 6x9 monocular reflex viewer. All but the Horseman attach to the focusing panel, none pulls it back. The Horseman replaces the viewing panel, is quite dim. It was a gift, stays home.

Dark cloths are old technology. There are also in-line and reflex viewing hoods (monocular and binocular). Sinar's binocular viewing hood for their 6x9 cameras is a joy to use, as is, e.g., Cambo's for their 4x5 cameras. That said, a loupe, power to suit the user, can be used to focus under a dark cloth but can't be used with a viewing hood. My Cambo 4x5er has 2x lenses which aren't always quite powerful enough. The usual loupe recommendation -- users' preferences are sometimes quite different -- is around 4x.

Jochen, are you sure? I ask because my humble Century Graphic and my nearly as humble 2x3 Crown Graphics will focus my 35/4.5 ApoGrandagon to infinity, also my 38/4.5 Biogon, 47/5.6 Super Angulon and of course longer lenses too. All on flat boards, recessed boards are impossible with these cameras. And all with the built-in focusing mechanism, no trick devices as some small Linhofs use are needed. Front rise is possible with all of these lenses, but as I pointed out in post #6 above practically speaking these cameras have no useful movements. About a lot of bellows, well, 2x3 Graphics will go to around 1:1 with a 100 mm lens, i.e., with a normal lens for 2x3. The longest non-telephoto focal length that can be focused, and not comfortably, to infinity on a Century Graphic is around 200 mm. The longest tele lens I know of that will work comfortably on a 2x3 Speed Graphic is the 12"/4 TTH Telephoto as made for Vinten F.95, Williamson F.134, and AGI F.139 cameras. It makes infinity with the standard inside the box. In barrel, too big to go into a leaf shutter so useless on a camera that lacks a focal plane shutter. I also have 2x3 and 4x5 Cambo SCs. They are all larger, heavier and more cumbersome than my little Graphics. My hybrid Cambo (2x3 front so it can use my lenses on 2x3 Graphic boards as can my 2x3 Cambo, 4x5 rear so that I can shoot 6x12) will focus all of the lenses my Graphics will, all on flat boards except for my 60/14 Perigraphe, which goes on a 2x3 Cambo recessed board with an adapter to accept a 2x3 Pacemaker Graphic board. Full movements with everything but the 35 and 60.

If you want an inexpensive 4x5 monorail camera, look for a Cambo SC. Oh, and by the way, not to denigrate photo.net but it isn't the best site for getting advice about LF gear and using it. The US LF site largeformatphotography.info is the best anglophone LF site. To my taste the French LF site galerie-photo.info is better but its mainly for francophones. If you go to to the US LF site, make sure to use all of its resources including Where to look for information on LF (mainly) lenses, which is about much more than lenses.

Sergio, I've used 2x3 Graphics for decades. I'm sorry, but you're mistaken about their movements. The only movement that's generally usable with a 2x3 Pacemaker Graphic is front rise. 19 mm, and no fall. Shift, 10 mm if I recall correctly, is usable only with lenses that focus with the front standard in front of the bed struts. When shift can be used, it is easy to get unintended swing as well. Swing? No, sir. Backward tilt only, not what's usually needed. If you think you need movements, get a GX and be prepared to swallow the loss if it doesn't work out or get a 2x3 view camera. I have a couple of 2x3 Cambos. I've never played with a GX but I think the Cambos are somewhat more cumbersome than the GX. About lenses, Ben, go shopping. The GX has a wonderful complement of outstanding lenses and they're relatively inexpensive these days because they're very hard to repurpose. About lensboards, Ben. 2x3 Pacemaker Graphic boards and Miniature Speed Graphic boards are 2.5" x 2.5". The largest shutter that fits comfortably on a 2x3 Graphic board is probably the Ilex #3. I have and use one.

170781? Per P-H Pont's chronology, a little before 1920.

You'll be ok with them as long as you don't keep them under your pillow or carry them in a pants pocket. Dr. Briggs was quite explicit about that. But Apotals and Repro-Clarons aren't the only process lenses. Stick with coated Apo-Artars, symmetrical Apo-Nikkors and Apo-Ronars. Don't forget Apo-Saphirs and, if the focal length suits, Konica Hexanon GR IIs.

e-mail sent. You should post a link to your site. I think people would enjoy your work. Cheers, Dan