eugene_singer

Read it again , Michael. I did not make a "blanket" statement that a 6X17 back will not fit on a 4X5 camera under any conditions. I merely asked Carlo if he was referring to a 6X12 back. The 6X17 width is wider than the back on a standard 4X5 camera. Can you, at least, agree with that fact? The original wooden version of the Canham camera was designed to be a 5X7 camera. It can be purchased with a 5X7 back and/or a smaller 4X5 back. A 6X17 rollfilm back will fit on the 5X7 version. So there is, at least, one exception to the rule that I am aware of. Carlo has a Toyo 45A (camera with which I am very familiar). I am quite certain that it cannot be adapted to accept a 6X17 rollfilm back, even the Art Panorama. However, it will accept 6X12 rollfilm backs made by other manufacturers. Toyo only makes 6X7 and 6X9 backs.

Michael, I suggest that you re-read the original posting on this thread. Carlo wanted to use a 6X17 back on a 4X5 camera. Generically speaking, a 6X17 back is too wide for the average 4X5 camera. I never said that an Art Panoramic back cannot be used. In fact, I wouldn't know an Art Panoramic back if it leaped up and bit me on the nose. Carlo did not specify that he was looking at an Art Panoramic back until I asked him for more information.

Michael, I suggest that you re-read the original posting on this thread. Carlo wanted to use a 6X17 back on a 4X5 camera. Generically speaking, a 6X17 back is too wide for the average 4X5 camera. I never said that an Art Panoramic back cannot be used. In fact, I wouldn't know an Art Panoramic back if it leaped up and bit me on the nose. Carlo did not specify that he was looking at an Art Panoramic back until I asked him for clarafication.

Shane, since there is an extremely limited ability to control the development of color transparancy film, the Zone System is practically useless to use with that type of material. However, it is important to be able to identify Zone V (18% medium grey) and understand what your exposure meter is telling you. Contrast variations depend on the speed, or brand, of film you choose for your subject matter.

Carlo, I have been informed by my dealer that the Horseman foldable reflex viewer can be adapted to the Toyo A cameras. However, I prefer the genuine Toyo binocular reflex viewer. It seems to be made better. Although it doesn't have the folding feature, it has a swing-away design and it is easy to quickly remove it from the camera. Are you referring to a 6X12 back? A 6x17 back is too wide to fit on a 4x5 camera. It needs a 5x7 camera.

Ric, the Fujinon 240 f9 A is a very small lens mounted in a Copal 0 shutter. It has a 336mm image circle and will cover 8X10 with some movement capability. Midwest Photo Exchange (mpex.com) has new and used ones in stock.

Martin, the Ilford Tech. sheet for HP-5+ (downloadable at ilford.com) says that HP-5+, inadvertantly exposed at 100, can be saved by developing it in stock Perceptol for 9 minutes at 68F. The quality will suffer, but the negs. should be printable.

Matt, the answer to your question is yes. If you want a brighter image, you will need a brighter focusing screen (or a faster lens). Most inexpensive LF cameras do not include a Fresnel as standard equipment. Toyo makes a fine quality Fresnel brightening screen for the 45CX. It's an optional accessory.

Douglas, the developer for Polaroid 55 P/N film uses sodium hydroxide as it's accelerator. A very powerful alkali. Using an acid fixer (with, or without a hardener) can cause an acid-base reaction that will blister the emulsion on the negative and create a mess. Polaroid does not recommend using an acid fixer, containing a hardener, until after the residual developing chemicals are washed off of the film. Sodium sulfide is alkaline. Hypo clearing agents are, essentially, sodium sulfide. Polaroid recommends using an 18% solution of sodium sulfide. Permawash, Orbit Bath, Kodak HCA, etc. are less concentrated solutions. They can be used, but take longer to do the job. With careful handling, there is no need to use a hardener. I carry an HP-Combi-Plan tank, containing an 18% sodium sulfite solution, and immediately place the negatives into the film rack. They can be cleared, washed, and Photo Floed in the tank. No need to handle the film until it is hung to dry. Since I am only concerned about the negative. I rate Type 55P/N at ISO 32 and allow the film to develope for at least a full minute. The developing action is self-limiting, so it doesn't just keep on going. The goop in the pod also contains the fixer, and the chemical residue needs to be cleaned off of the film surface after it has completed it's action.

Carlo, you should have no trouble getting a solid two years out of the Shen Hao HZX 45A-II camera. However, the Schneider Tele Xenar would probably be over doing it. It is mounted in a large Copal 3 shutter, and it would require every inch of the Shen Hao's bellows draw just to focus it at infinity. The Fujinon 400T would be a better choice. It is mounted in a Copal 1 shutter and has a slightly shorter flange-to-film length than the Schneider. The Fuji 300T was the longest lens we used on our Shen Hao. It is mounted in a Copal 0 shutter.It has a slightly smaller image circle, which limits it's movement capability. As far as a binocular reflex viewer for that camera is concerned, it may be possible to adapt the Horseman foldable one. The Shen Hao has graflok sliders that might useable for the purpose.

Philip, it's obvious that the yellow stain in PMK negatives will absorb enough of the blue light to effect the contrast of VC papers. Similar to adding additional green light to reduce the contrast and soften the appearance of the print. This is only one of the reasons why I don't use Pyro developers. To paraphrase your conclusion: "Googbye PMK for my VC papers"!

Leonard, the Cincinatti area has some scenic hillside areas along the Ohio River, East, and West of the city. Paddle wheel river boats and scenic old bridges in the downtown area. Most of the interesting scenery is along the river, on both sides. Except for my ex-wife. She lives somewhere in Cincinatti, and she's quite a sight.

Terence, the only thing to do now is change to a different paper and see if the problem disappears. It is possible that you have a defective batch of paper.

Terence, Multigrade IV and Multigrade Warmtone fiber base papers are excellent products. The quality seems to be improving as time goes by. Are you using Ilford's recommended chemicals and processing procedure? For example: The surface blisters that you describe could be caused by using a developer that is high in carbonate and plunging the newly developed print into a highly acidic stop bath. Incomplete development could be the reason for the bland blacks. Ilford does not recommend using a hardener with their papers. Etc. The Tech. sheets for Ilford B&W products can easily be downloaded from the Ilford website - www.ilford.com

George, new Toyo double sheet film holders have a very effective light trap. They usually don't leak after the darkslide is pulled all the way out. Of course, in extremely bright sunlight conditions, it is a good idea to keep a darkcloth over the slot, after the darkslide is removed, just to play it safe. Are these light strips at the light trap end, or the flap end of the holder? That may give you a clue as to the cause of the problem.

Gene, don't switch film. Switch developer. Anchell and Troop have some excellent information on Rodinal in their "Film Developing Cookbook". It uses sodium hydroxide as it's accelerator. It has high accutance and low solvency, thus emphasizing the grain pattern. For 4X5 HP-5+ film, I have found that Ilford Microphen 1:1, and the liquid version, Ilfotec DD-X, give an increase in film speed, yet still maintain high accutance. Grain is minimal in my 16X20 enlargements. Also, grain clumping can be caused by improper temperature maintainance. Try to keep the temperatures of all the processing solutions as close as possible to 68F, including the final wash.

Ron. there have been many discussions about the merits of one type of darkcloth over another type. The archives here are filled with comments. In the long run. a darkcloth is nothing more than a piece of opaque cloth that covers over the head and the focusing screen of the camera to exclude the outside light. 3 feet by 4 feet is about the ideal size for a 4X5 camera. Choice of material is extensive. Nice to have a white reflective surface on the outside for the cooling effect and dull black on the inside for maximum darkness. Think about the folded size and weight to fit your pack. Make your own. As Steve Simmons says. "It's not rocket science".

Jeff, now that you have elaborated, I understand which distance you were inquiring about. Post your clarified question on the LF forum and be prepared to learn about hyperfocal distance and circles of confusion.

Jeff, are you asking about the distance between back edge of the mount for the rear element and the film? I don't know if there is a formula for that measurement. It depends on the individual lens design. The nodal point of lens (approximately where iris diaphram is located) to film distance is usually equal to the focal length of the lens, except on tele designs. Perhaps you should post your question on the Large Format forum. You can probably get the answer you are looking for. That's where the LF lens formula experts hang out.

David, I understand where you're coming from. I just wanted to warn my friend, Gene that the 210 f6.8 Caltar II-E is a low priced lens to begin with. I didn't want him to think he was getting a rare bargain. If you're happy with your lens, that's great. However, I believe he can do better, if he keeps on looking.

David, thanks again for your patronage. Gene and I are off-forum buddies. We have exchanged ideas by direct E-mail. We both use Toyo 45 A's. I'm quite sure that he does have aspirations of becoming a fine art photographer. The Rodenstock Geronar series lenses were designed to be entry level, low budget lenses, primarily for student usage. I was not condemming Tessars, or any other type of lens design (by the way, the Nikon 300M is a four element lens,not a triplet). I liked my 300M. I wish the Toyo 45A's had the bellows to comfortably handle that focal length without resorting to the rear extender attachment. The Fuji 240A or the Schneider 270 G-Claron seem to be the longest lenses that the Toyo A's can handle without using the extender or getting into the tele.design lenses. I stand by my recommendation for Gene, and I'm still wearing my fireproof underwear.

Gary, are you asking about chromogenic films that are developed in color chenicals? If so, probably. If not, no way.

John, the classifieds here in photo.net is a good place to advertise equipment for sale. List the individual pieces and their prices. Then, offer a lower package price if the buyer takes the entire outfit. Shipping is usually paid by the buyer. But, again, that is negotiable depending on the total amount of the deal. It won't be difficult to sell an Ebony. Don't price it so high that it exceeds the market value. Be prepared to show pictures of your items on the website. Good luck.

Gene, Geronar = geriatric = old technology. I'm sure you know what I'm driving at, here. You will probably find the 210 to be the most useful focal length for the type of work you do. You'll use it a lot. Get a higher quality one. It's not that much more of an investment to buy a good used modern plasmat, like the Nikon or Fujinon 210 W's. Yes, guys, I'm wearing my fireproof underwear for this one.

Michael, I believe that anyone who has used Steve's services will agree with you. He has integrity. Difficult to find these days.

 

By the way, thank you for the favorible remark regarding my article on largeformatphotography.info I certainly appreciate it.