dan kowalsky

I think!, there for it's Art!

I understand from previous posts that the TC 14b 1.4 is the best

choice for a 500mm f4p lens because the chip in the lens permits

matrix metering. So if I were using a N 90s Nikon body and placed a

newer TC 14E II 1.4(AF)on the 500mm f4p lens, would I be gaining or

losing any metering capabilities compared to the TC 14b.

Correction... I met to say " As Erik mentioned above", not Ed.

Hi Dan,

Just thought I'd jump on the Crown Graphic bandwagon also. I have

many LF camera's in an array of formats. Just to give you a little

incentive of the neat little things you can do with this camera, here

is what I did. I removed the top mounted Graflex range finder and

mounted a two way bubble level on the top left of the frame. Also

removed the shutters built-in cable release, and rear mounted sport

finder peep hole. Now simular to what Ed mentioned above, I removed

the front standard bracket only and slid it off it's tracks and

reversed it and reconnected it to the front standard. You now have

foward "slightly" off axis tilt. You do not need all that much tilt

in the field anyway. On a Crown Graphic you have front shift by

depressing the little silver tab at the center bottom base of the

front standard. It will end up facing to the rear when you reverse

your front standard brackets. You now have a stripped down, light

weight 4x5 field camera. I use a two lens combo, a Schneider 121

Super Angulon and a Rodenstock 210 Sironar-N. The rear element of the

121 SA just barely fits through the front standard opening. I do not

have to drop the bed when using the 121SA. Price wise Dan, I paid

about 400.00 when I purchased my Crown, but it came as a complete

kit. Came with 127 lens , 7 4x5 film holders, old light meter and

case. Hope this helps.

Artie,

Also to Dan from the previous post. I do not have any camera

designing url's on hand. I would like to mention the fact that if

you want to design a view camera, the design and way to do it is in

your head. When it comes to large format view cameras you can do what

ever you please as long as you follow a few basic facts. Keep it

practical, rigid, proportional, square, and if all possible, keep it

light. That last fact I mentioned is what makes the professional

builders like Phillips, Canham, Wisner etc. seperate from the rest. I

am definitely not in that group. I am currently building an ultra

large format camera. It is a modified C1 green Calument. Why the

green one? Because it is light. (Magnesium). The format is 11x14 and

is reversible (Horizontal and verticle format). The wood is Zebra

wood, an African medium hardwood. I once made a sporting rifle custom

stock from this wood and it is a light colored and beautifully

grained wood. See photo's- http://dan/evergladesgall/photo.htm- I had

the idea that the C1, 3 series Calumets are actually overbuilt with

strength, so for this reason a larger format rear standard would be

to the advantage. If you remove the rise and fall adjusting knob of

the front standard it will continue to rise. The reason for that is

you need to make up the difference of front and rear standard

centering position. My point is the larger the format, the more ideas

you get. In the long run when you finish your project camera and it

shoots images as well as the $5000.00 ones your ego inflates twice.

One for the camera you fabricated and one for the image it creates.

Good Luck on your project.

Thanks for all your help. From the answers of Micah,Dave and Geoffrey

I came to the conclusion my three lenes I mentioned will not cover

11x14. Dave, thanks loads for the lens url. Micah, I need a wheel

barrel to carry around my 165 s/a and the 210 s/a is a beautiful 100

degree w/a like the 165 but with 500mm of i/c yet its twice the size.

I will be looking for an older barrel lens or a copy lens like a 355

G Clairon. I am looking to go into an 11x14 format for contact

printing only in the alternative process, palladium and platinum.

I have two questions about the 11x14 format. First,what is the minimum amount of image cirlce to cover this format with little movement. And which of these len's would be able to cover this format with moderate movements if stopped down to f45 or f64? Caltar-S II 300mm f5.6, Rodenstock 480 mm Ronar,and Rodenstock Roagon 360mm f6.8(enlarging lens). I could not find information in the previous threads. Thanks for any feed back you can help me with.

Hi Martin,

 

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Doremus hit it right on the nail. In a general and non detailed

explanation, this is how I approuch the ZS. First let me say that

I am A self taught landscape photographer. From the moment I see a

vista in front of me , to the moment I look at the final print, every

thing in between is tied together.

 

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As a starting point , I try to land close to my film's density

threshold by simply reducing the manufactures (iso) rating in half.

Secondly, I find max black of the paper I will be print on. This BTW,

is the glue that binds the whole process together. The Proof. I place

my unexposed and developed negative (B+F), in the neg. carrier. I

project the light to the same print size I will be using.

 

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I first burn a maxium black guide print. I mark the enlarger hieght

and begin exposing independent time sequences. Another words if I

want a 3,6,9,12,15 I expose each one at a time. I take these test

prints and give them a couple of minutes in the microwave. I want

that first shade of dark that matches my maxium black test print.

 

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Now, I expose a negative at zone 1 at the 50% rating iso I mentioned

above. I place in the enlarger and give it the numbers that gave me

max black, minmun time. What I am looking for now is the first shade

of black going the other way toward a lighter shade. If it is , then

I keep that iso film speed, if not I tweek the iso one way our the

other. Remember what I said about everythig in between. What I did

here is place (sinc'd)my film's threhold along side my papers.

 

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Lastly, for the real World zone 8. Using your same film and iso as

before go out side, meter on a big fluffly white cloud (the way you

visualise a be white fluffly cloud should) and expose it in zone 8. I

expose about 4 or 5 negatives the same zone 8. I then develope each

one at different times before and after the recommended time. I place

these negatives in the enlarger using the same proof time I just

created. Now when I turn on the lights and see the one that gives me

my big fluffy white clouds.

 

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Then Presto! I now have my normal Negative always using my same

processing,paper size,film ect. What ever you point that 1 degree on

you will feel confident that what you visualise is that zone , will

be that way on the final print. Did I ever mention the word

densitometer even once?

I have a Sironar S 240mm which I use with my 8x10. It has an image

cirlce of 372mm. More coverage than the N. This is my most used lens.

It's also more compact then a S/A.

Hi David,

I cannot answer your question on the G-Claron. I must tell you

though, there is no need to get into ROCKET SCIENCE over the minute

differences over a Rodagon Rodenstock enlarging lens and process

lens performances. What I can tell you is that there is a Nikor 260mm

f10 process lens hanging proudly from my Omega F 10x10 enlarger. And

it's lighting up the South Florida Everglades on paper. I used to

have a f=360mm 1:6.8 Rodenstock Rodagon hanging in it's place, but no

more. Why? cause I only have an eight foot ceiling. I like large

prints.

Now the Rodagon is in a lens board and shoots from my Master view,

which in turn , joins my other lenses, and makes the images for the

Nikor process to print on paper. Yes, I shoot Black & White and my

point is that it is how it all ends up looking on paper to you, not

the size of your wallet.

So I can take all my exposed film into my dark room and screw it all

up, then ask all you guys and gals for help!

Seriously, I make "artistic" landscape photographs because it's the

best way I know how to express to others what I see in front of me

without saying a word.

This one has me stumped again. My question is about using my electronic flash (Sunpak 4000 AF)on my 8x10 HOBO as fill flash. The mounted lens is a Schneider S/A 121 f8 (black version). My exposure for my test shot calls for 1/30th @ f22. I am placing my flash on FULL manual . Remember that I am only concerned with flash within the flash's capability. About a 10 foot range.

The lens has a Synchro-Compur, a sync post, but no markings to indicate which shutter speed is the sync. This is an outdoor sunny day exposure. I am exposing one sheet of film with, and the other without flash. After developing the negatives and letting them dry,I cannot identify the one that was exposed with the flash. Yes, I made sure the flash went off . So!, my question to all the large format gurus' that have been there and done that is:

1-Is my flash not powerful enough?

2-Is it because of my f stop (f22)

3-What f stop if not all is the sync one?

:and just for information sake this home made hobo was designed for street shooting, and f22 is a necessity to cover the complete

8X10 format corner to corner.

Thank you for any information you can give me.

I also ordered a 100 sheet box of grade 3 Azo on the 9th from

Freestyle and it is suppose to arrive tomorrow. The stock # was 142-

0983. Now I am eager to see what shows up at the front door.

Hi Kevin,

You may have any number of problems affecting your focus. First of

all, the 480mm Ronar is a 19 inch lens. How long is your bellows

draw? If you have an older Kodak D2, the bellows might have been

replaced. If you are just a tad on the short side of 19 inches, this

might well be what is happening to you. Wide open focusing will be

blurred, yet close enough to your focal length to render an image at

a smaller f-stop like f32 and beyond. I have an APO 480 f9 also, in

barrel. I have no problem with focusing at f9. There are some of the

best lens experts in this forum, I am sure one of them will detail

your problem better than I. So Kevin, first check your bellows draw.

Hope I helped a little, Dan.

...Forgot to mention. The lens in the H/M HOBO for now is a Kodak 127

ektar

Thanks for the spec's Geoffrey. The Gran landscape is one of the

reasons for the wide coverage of this lens on the 8x10 format. I also

think this would be a great street shooting lens on my Home made

HOBO. I assume focus is from 4 feet to infinity at f22 or smaller.

Check it out.(www.dankowalsky.com/Equipment.htm)

Hello every one,

I have a question about the 121mm Super Angulon lens I purchased and has not yet arrived. This lens has an image circle of 290mm @ f22. That is about an 11.6 inch circle. When I measure diagonally across the 8x10 negative it measures just under 12.5 inches. That would leave about 3/4 inch in the corners that will be vignetted. If I stop down to f32,f45,or f64 would I be able to cover this entire 8x10 negative with no movements? This lens would be used as an ultra wide for my Master view 8x10 and as a full coverage for my home made Hobo, also 8x10. Thanks in advance for any comments.

Hello to all,

 

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I have a Rodenstock Rodagon 360mm 1:6.8 /45. It is an enlarging lens that I stopped using for enlarging because of it's "too long a focal length"for my needs. My question is, can I mount this on a lens board for my 8x10 Master View and use it as a normal lens in barrel? What quality effects + or - would I expect at different shooting positions ? I do not have a focal length lens in this area and it would fill the gap. If any of you have tried this I would appreciate your help.

Thank you for your time,

Dan