eugene_singer

David, a new film holder will be light tight under most conditions. However, bright direct sunlight will sometimes shine through the light trap and fog the film in a new holder that is in excellent condition. Inside of the slot where the darkslide goes is a felt-like material that produces the light trap. Over a period of time, the felt-like material compresses and flattens out. It looses it's ability to spring back and seal the light trap as the slide is being pulled out. It is difficult, if not impossible, to replace the felt in the light trap of a plastic filmholder. One solution, as you already know, is to keep a darkcloth covering over the end of the filmholder while pulling the slide. Another solution is to pull the slide, but not all the way out of the holder. Make a scratch mark on the slide where it is pulled far enough to clear the film inside of the holder. Stop pulling when you see the mark, and leave the slide sticking out of the holder while making the exposure. Then push the slide back in, never giving the light an opportunity to enter the light trap. The final solution is to replace those old holders with new ones.

Peter, sometimes I ask myself the same question. I'm sitting here in the bedroom that serves as my office. My computer is on the desk where I am now sitting, and the walls of the room are lined with many of the mounted and framed 16X20 prints that I have created. The bathroom connected to this room was designed to be used as a darkroom. When we built the house two years ago, we had the builder eliminate the windows. I do not have a scanner. I have access to one, but it does not handle 16X20 prints. I don't want to make smaller prints just to show them on the internet. Perhaps if I were selling my prints or my photo services, I would have my own website and find a way to scan them onto the screen. Looking at large toned B&W prints on a computer screen does not do them justice.

 

I lurked on the LF websites for two years before realizing that I also had something to contribute. When I see someone struggling to solve the same problem that I experienced with a piece of equipment, or trying to handle a film or paper processing procedure that I have mastered, I try to help them. I only chime in when I have actual hands-on experience with the subject. By doing so, I also learn. I have discovered that I learn something new about photography from this forum every day.

 

If you want to see my prints, I would be pleased to have you come to my house to look at them.

Christopher, the flange focal length of the Fuji 400T is 253mm at infinity. I use mine on a Toyo 45AII that has approx. 300mm of bellows to work with. The Osaka is a four element lens. The Nikon is quite a bit more expensive. Check with Jim, at Midwest Photo (mpex.com). He has new Fuji 400T's in stock, as well as a selection of used Nikon teles, at the present time.

Albert, if the camera has not been dropped or abused, it probably just needs a simple cleaning, lube, and adjustment. If you cannot do it yourself, take it to the nearest Samy's Camera shop in your part of the world. They have access to knowledgeable repair people.

The expiration dates that you are mentioning are not very old. All of these films should be useable, providing they have not been opened or exposed to extremly warm temperatures. You may experience minor color changes with the color films, but the B&W films should O.K.

Perhaps there is a legitimate reason for Schneider and Rodenstock to create those new, extremely expensive, high resolution digital lenses. And I thought it was just hype.

Mike, your question asked if an older 100mm enlarging lens would be useable as a taking lens for the 4X5 format. Of course, it would be useable. Some people like like round images on rectangular film. Whoever made that lens for Vivitar (Vivitar doesn't actually manufacture. They import and market the products that bear their name), made a pretty good enlarging lens for the price. Nobody is criticizing the Vivitar brand. You asked if you should bother to test it on a camera. However, you, admit that it would be a silly idea to spend time and money testing that lens. I stand by my original comment. Darn it! I really tried to give a short, concise answer to your query.

Mike, yes. By all means, sell it. (this is the shortest answer I have ever given on a question on this forum).

Erik, I'm venturing a guess, here, but it sounds like your Aristo cold light unit was originally designed for use in a Besseler enlarger, and you adapted it to use in your Omega D2. The extra collar is probably the adapter for using the Aristo light with a Besseler enlarger. Just re-install the condensers in the proper manner and re-attach the condenser lamphouse. I am assuming that there must be a reason for going back to the condensers for your 35mm printing. If your Aristo has the old W45 tube, and you are printing with VC paper, you have a legitimate point. I had a real hassle trying to print VC with that old Aristo tube. However, the Aristo cold light is a great light source for 35mm printing. It really reduces the surface imperfections on smaller negatives. It may prove more advantageous to print those 35mm negatives on graded paper and keep the Aristo on the enlarger.

Pete, P.S. If the weight of the camera is one of your deciding factors, consider the 4X5 Tachihara. Look at the Midwest Photo website (mpex.com) under large format-Tachihara Specs. It is less expensive than the Toyo 45CF, about the same weight, and uses the less expensive Linhof Tech-type lensboards.

Pete, the Toyo 45CF does not have direct rear tilt. Indirect rear tilt can be obtained by tilting the camera backwards with the tripod head and dropping the bed. You should seriously consider the Shen Hao HZX 45A II. It's a few more dollars than the Toyo 45CF, but a lot more camera for the money. The Toyo is waranteed, but you will waste shipping expense and time waiting for the distributor to correct the problem.

Andrew, from Steve Anchell's "The Darkroom Cookbook"---

 

 

Sodium Sulfite (anhydrous)-- 200.0 grams

 

 

Water---1.0 liter

 

 

Optional: add 50.0 grams of Sodium bisulfite to lower the pH, in order to prevent softening of the film emulsion. Not necessary for paper, however.

 

 

This book is a must have for the darkroom chemist, as well as Anchell and Troop's book "The Film Developing Cookbook".

Grey Wolf, after using Kodak's 35mm and 120 roll film, in both color and B&W, for more than thirty years, I made the commitment to do B&W LF, exclusively, around 1980. At that time I was following Ansel's recommendation using Tri-X film, developed in HC 110. I was printing on Kodak's FB papers and developing the prints in Dektol. On the recommendation of a trusted photographer friend, I began trying Ilford products. After comparing films and papers over the next few years, and attempting to tame the highlights in the Kodak tabular grained T-Max films, as well as the Ilford Delta films, I finally settled on using Ilford HP-5 plus film, developed in Ilford Microphen 1:1. Ilford's Multigrade IV and Warmtone FB papers, developed in Ilford's Bromophen developer, eventually proved to be the ideal papers for my way of working. That's what I use, today. I try the new Ilford products when they are released, and continue to up-grade my materials. I believe that Ilford is on the cutting edge of B&W photographic material research and development. I still use some Kodak darkroom products (Photo Flo and Selenium Toner), but, for the most part, I'm an Ilford user because I like their products..

Tim, is there some reason that you cannot send it to Steve Grimes? It needs to be milled, and he's the best. You could mail it to him in a Jiffy Bag. Just a suggestion.

John Sutherland, the maximum bellows extension with the Toyo 45CF is 14 inches. There is a 4 inch (100mm) metal rear extension box available as an optional accessory, but it retails for more than the price of the camera, and it is quite heavy . Look up the comments made about this camera in the archives. There have been many remarks from people who have actually handled the camera. I have no doubt that the 45CF will function as a photographic tool. My first camera was a Kodak Boy Scout Baby Brownie that I received for my thirteenth birthday, in 1943. It, too, was made out of plastic. It worked great, as far as I was concerned, at that time.

Dennis, the problems with the Toyo 45CF are not due to the fact that the camera is constructed with a carbon fiber body. Carbon fiber is a material for reinforcing plastic to add strength, similar to using fiberglass as a reinforcement for the plastic resin used in boat building. Polycarbonate and resin are merely alternate names for plastic. My dealer has already needed to return several of these cameras to the distributor, MAC. He advised me not to purchase the camera. I trusted his knowledge, and followed his advice. The problems encountered with the 45CF camera seem to be due to the metal-plastic interface. The metal parts are stamped out of relatively thin material. They are becoming unfastened from their connections with the plastic body. The fasteners are not holding up. The focusing rails are flexible, where they should be very stiff. They are bending and loosing their alignment. Toyo (Saki Special Camera Mfg.Co.) made a camera that could be produced and sold for a price well below the competition. The owner of Saki passed away, leaving his widow in charge of the company. In an act of desperation, and with bad advice, she made the wrong decision. She has now passed the management responsibilities on to her son. I hope it is not too late for him to rectify the mistake. I would hate to see Toyo go out of business. I hope you have better luck with your Toyo 45CF than many of the other people who have purchased the camera.

Julio, I always assumed that there is a difference in quality between ED glass and "plain, ordinary" glass for lens making. Nikon does a lot of promotion for the ED glass in their 35mm zoom lenses. The one thing that has not been mentioned here is the size of the image circle. The Fuji 400T has a 220mm image circle, according to the specs. Does the Nikon 360T have a larger image circle? Also, I purchased a Fuji 300T as well as the 400T. The total price for both was less than the cost of the Nikon 360 tele. The Fuji 300T is mounted in a Copal 0 shutter. It's smaller and lighter weight than most telephoto-type lenses, and it has a 213mm image circle.

From Dallas, Texas, USA- peace, love, and happiness for the new year!

 

Sincerely, Eugene

Bill, the way I read your question is what is the lightest weight 8X10 camera that has a reversible, horizontal/vertical, back. The Phillips Explorer and the new Canham lightweight 8X10 metal camera require that the camera to be tilted sideways using the tripod head, in order to obtain the vertical format. The Gowland lightweight monorail also requires tipping sideways to use the vertical dimension. The Tachihara double extension is probably the lightest weight 8X10 that is equipped with a fully reversible back. It weighs just under eleven pounds. By eliminating the heavier reversible back, the manufacturer saves weight. That's the trade off.

Paul, do you know where APX 400 can be obtained in the 4X5 sheet film size? It doesn't seem to be available in the US.

Ian, I have a Fuji 400 tele. Although I have only used it a few times, I can tell you that it is a fine lens. I have never actually compared it to the other choices in tele lenses in that focal length, but I am speculating that the Nikon is probably slightly sharper and certainly more functional, with it's ED glass and ability to change focal lengths by exchanging rear elements. The Nikon is also more expensive. The Osaka 400 tele, marketed by Bromwell (I assume it is the same as the Congo), is a four-element lens, slightly less expensive than the Fuji five-element lens, and it is rated lower than the Nikon and Fuji. I purchase my Fuji lenses from Midwest Photo Exchange (mpex.com). If you call and talk to Jim (and only Jim), you can obtain availibility and pricing info. He frequently has good used Fuji 400 tele lenses in stock.

Peter, the website that Bill Proud is talking about is probably largeformatphotography.info. Look under lenses for 4X5- Kerry Thalmann's future classics. Bill, I doubt that you are older than me (72 years old). Some of the finest lenses for landscape photography - light weight, compact size, large image circles, and extremely sharp, are the so-called flat field process-type lenses. These include the Schneider G-Claron, Rodenstock Apo-Ronar, Nikon "M" series, and the Fujinon "A" series. These lenses have relatively slow maximum speeds of f8, or f9, and yet, they are easy to compose and focus with, even at the crack of dawn, or the last rays of sunset.

Marcy, the choices in 4X5 ISO 400 films are Forte Fortepan 400, Arista 400(same as Ilford HP-5+, from Freestyle Sales), Ilford HP-5 +, and Kodak T-Max 400. There are also some other European films, similar to Forte film. Kodak Tri-X professional is an ISO 320 film. Whether, or not, these films have similar tonality/properties to Fuji Neopan 400, in the smaller format, would probably be a subjective judgement. T-Max 400 is the only tabular grained film available in the 4X5 format. The others are conventional grained films. There seems to be a wider choice of ISO 100 films for the 4X5 format.

Peter, you state that you will be doing mostly landscape work. This requires compact, light weight lenses that have good covering ability. They don't need to be fast, because GG composing and focusing will be done in bright daylight. It would be adventageous if they were coated, to reduce flare and improve contrast. Price is always an object. Why pay two thousand dollars for a lens that will be dragged to the top of a mountain or carried to the bottom of the Grand Canyon in a backpack, if the job can be done by a much less expensive lens? There are fine lenses made by all of the major lens manufacturers that will meet your requirements. Don't limit yourself to one brand of lenses. Study your own personal requirements, then select the lenses that will best fill those requirements, from among all of the available brands. A legendary lens is like a fine bottle of wine. There are outstanding examples among all of the vintages.

Ben, these airport security problems seem to depend on the airline, the airport, the day and time of the flight, and which supervisor is on duty to see if the inspectors are doing their job properly. You were fortunate. Some people have had horrible experiences when passing through the airport security check points. By the way, how did you transport the tripod?