britt_leckman3

I have been a long time user of the Galvin 2x3. I think one of the main advantages of this camera over some of the other 2x3's mentioned is that the camera accepts both Graphlex and Mamiya RB roll film holders without removing the ground glass. Roll film holders just slip under the ground glass like a sheet film holder, the spring "balen" is very large and designed to do this. It was one of the main reasons I bought the Galvin in the first place. The camera is not as well made as a baby Cambo, Linhof or even some of the press cameras. The knobs are prone to slip, and are hard to turn in the cold. I replaced the knobs on my Galvin with large wing nuts. The Galvin is a very simple camera, hence adaptable. Lensboards are easy and inexpensive to make. My Galvin serves dual duty in the field, filling my needs for functional 6x7 view camera and as a compendium lens shade for my 4x10 view. I even have a back for my Galvin that allows me to use it with my 35mm nikons for studio work which is to be scanned to computer as soon as the slides are processed.

Zone six makes a fine wooden tripod. Pricey though, around $300.00, legs only. You can also adapt a wooden surveyor's tripod, this is the one I like the best. The draw back is that it does not colapse into small sections. Collapsed its still almost four feet long. Graflex also made good wooden tripods in the past, they are available at photoshows and in the used market. You are probably best off to keep your eye out for a good used set of legs. I switch my Bogen Ball Head from tripod to tripod. Since you are shooting with a large camera, you need to make sure that the tripod is strong enough to support the camera. Most wood tripods are quite able to fit that bill.

 

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BKL

I own an older digital Soligor Spot meter and have found it to be a very good meter. However, I have also found that I prefer a non-digital meter for Zone System work, which I do 70% of the time. I like to see displayed by dial the whole range of possible exposure combinations on one place rather than having to figure in my head other combinations based on a given single digital exposure from the Soligor. For field work, I have been using a Gossen Luna-Pro SBC with the 3 degree spot attachment, and this works very well. I have modified the Gossen to show me the ten Zone steps in relation to an indicated exposure.

The Soligor that I have also has a flash meter which I find invaluable for studio work whan I can't reach through a set to take an incident flash reading with an other meter.

 

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BKL

I own both wooden and metal tripods, but by far the tripods that get the most use in the field are my wooden tripods. They are lighter than the metal ones, and will transmit less vibration to the head than metal. Example- I shoot a lot of streams, most of the time the tripod is in the water, moving water. The vibration of the water moving against the legs of the tripod is much less noticible with the wood tripod. Metal legs seem to telegraph the vibration to the head, and the camera. This is very noticible with long exposures, rocks along the stream bed are not as sharp with the metal tripod.

I am waiting, however, to try the Carbon Fiber "Mountaineer" tripods from Gitzo. They cost a lot, but are about 2/3 the weight of my favorite wood tripod of the same size.

 

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BKL

I am on the look out for 7x17 banquet camera holders. I have heard a rumor that somebody was making them again. Does anybody have any ideas?

I believe that Sinar, or a third party manufacture makes a back that you write your info on special strip of acetate, which is then slipped into a channel in the camera back, this puts your info onto the negative corner when the exposure is made. Two drawbacks of this back that I can see are, first if the density of your corner area is low, or you are shooting at night there won't be enough light to expose the data, second if your hand writing is poor, well......

 

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For the cost of something digital to do this, you could probably buy a second Sinar....

 

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If you were to make the device yourself, the shielding and baffling of the LCD to protect the film from blooming would have to be pretty precise. Edmund Scientific sells the raw LCD devices in a variety of sizes, and voltages....

 

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Good Luck

If you don't want to pay the $100.00 plus for a new Omega glass carrier, and are handy with a glass cutter, you can make one without much trouble. The main thing you are going to need is Anti-Newton glass. Regular window glass will create rings and swirls when pressed against your negative. This glass can be very expensive, however, if you can find an old overhead projector with clean glass (try you local school district), or can buy a piece of replacement overhead projector glass, then you have your Anti-Newton glass. You need the top piece of glass, not the fresnel screen nearest to the bulb. Cut the glass into 2 6x6 inch pieces, then mask the 4x5 area with metal tape (from your home center) spray paint the tape black (mask off the negative area)be carefull not to scratch the surface of the glass (this goes for the Omega carrier too). I store my glass carriers in Ilford anti-static cloth. Remember!!!When you use glass carriers, you have 4 more surfaces for dust to gather on! If you already have a problem with dust, then you might want to try a Zone Six 4x5 stretch carrier which pulls the negative taught using spring action. Zone Six carriers can be adapted for Omega without much trouble.

If you have questions, drop me a line.

The Super Speed Graphic (SSG) could be a great LF camera to start off with, however you need to look at the type of LF photography you are interested in. The SSG does not have full movements, especially in the back. These movements are important if you are going to be working in the studio, macro close-ups, or shooting architectural subjects. However, it is wonderfull to be able to carry a 4x5, 10 holders, a light meter, cloth and 2 lenses in one camera bag! This would be difficult to do with the traditional mono-rail view camera. So if you want to shoot in the field, and occasionaly in the studio, the Super Speed Graphic, or one of the many of the other metal field cameras should be a great start.

Terry,

Many older shutters such as those you have will begin to "stick". This is a process that takes place over time, first affecting the slower speeds then the faster ones. You may not event be able to tell that the shutter blades are sticking at the slow speeds, but they may be off by quite a bit. After a while it become quite evident, and there will no question that the blades are sticking. This sticking is caused as the shutter's lubrication oils thicken with age, gumming up the works so to speak. You can sometimes bring a shutter back to speed by "exersicing" it, triping the shutter at every speed 20 times or so might do the trick, might not, might seize the shutter altogether. Your lenses were probably made in the 1950's. You could send them out to be cleaned which would most likely solve the problem, or invest the money it would cost to clean them on a newer lens with a more modern shutter. I have several lenses from the same period,2 which stick. I use these lenses them only at speeds longer than two seconds, where I can time the exposure using "bulb" and a cable release.

 

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Good Luck....

The 400 series cameras are very basic view cameras from the 60's and 70's. The 405 is usually black, with a revolving back (which is nice) the long bellows mean a really long and combersome rail to carry around. I bought a second rail for my camera which I cut down to 12", I carry this rail into the field with me. Nice thing about the 400's is that the parts from a 400 usually fit a 404, which fit a 401, which fit a 403, ect... Calumet marketed so many of these cameras that you can usually find parts. These cameras are built very well, though they lack the refinements of newer view cameras, but what the hey, it's the glass that makes the picture, the body is just the delivery system. You will find a lot of these cameras in schools, and they are very good cameras to learn on. As for pricing, KEH is listing a 403 (short bellows) for 399.00, this seems a bit high. I usually see the 403/405 cameras for between 250.00 and 300.00 for the body, at trade shows, and in the newspaper. If you get lucky you might get a decent lens thrown in for around 500.00. The older grey 400 cameras (basicly the same camera a few added refinements and cosmetics) can be had for under 200.00, body.

Overall the 400 series are good cameras, very basic, a pain to carry in the field, good availablity of parts and accesories, and built to last.

Wayne,

Convertng an 8x10 to 4x10 is no problem, if you have some basic woodworking skills. Especially if your bellows are in good shape.

A while back, I converted an old Kodak 8x10 flatbed camera to both 4"x10" and 6x17cm formats by building a set of new ground glass backs. I am currently converting a pair of Calumet "405" 4x5 view cameras to 4"x10" and 7"x17" panoramics, with full movements. The trickiest part of the project is the film holders. You can buy new 4x10 holders from KB Canham, but I understand that they are really expensive. I have found that I can convert certain wooden graflex 8x10 holders to 4x10 by spliting them down the middle then trimming and glueing. Same thing goes for converting 5x7 holders (easier to find, less $$) to 6x17cm which uses cut lengths of 120 roll film, or split 5x7 sheet film.

I'd be happy to give you a hand in you project. I find both 4x10 and 6x17 quite exciting formats to work with.

 

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Regards

Hello,

 

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I shoot with two Grafmatic film holders. I have not noticed any loss of sharpness in general. However, if the septums (film holders) become bent they can jam the slider, and produce slight fuzzyness at the corner that is bent. I most often shoot at f22 or smaller, so I have never really concerned myself with optimal sharpness when shooting wide open. I will tell you, it is a lot more pleasant to carry two Grafmatics than six double sided holders! One other thing, dust is a big problem with the Grafmatic! Make sure you blow them out each time, and it's not a bad idea to neutralize the static cling on the holders also. One last thing, the holders can get a bit stiff shifting the septums when really cold. I generally don't use my Grafmatics when the temperature is below freezing.

 

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Regards!

I have had a slight problem with the controls freezing up on my Kodak 8x10 Wood Field when working in cold climate conditions. However this seems not to be a fault of the wooden aspect of the camera, but rather the condsenation of my breath freezing on the controls and the brass to wood surfaces. The condensation freezes naturaly much faster on the brass. Most of the condensation comes while focusing (I spend a lot of time back there)under the cloth.

I have more trouble in the summer with my wooden cameras when it gets so hot that the wood swells and the varnish becomes somewhat tacky.

Might I suggest a Gossen Luna Pro, these can often be picked up used at a reasonable price. They are very sensitive, giving reading up to 8 hours. I use mine for determining the exposure at night for star trails and pre-dawn exposures.

The Calumet SC (CAMBO SC) was discontinued from production about two years or so ago. The Cambo cameras, are of excellent quality. The SC is an upper middle of the road view camera, very modular in design, and accepts a very large range of accessories from Cambo, Calumet and third party sources. Calumet does not have a web site yet (that I know of) but you can call them at 800-225-8638 for a current catalog. Many of the accessories for the current Cambo cameras will fit the SC.

KEH (www.keh.com) will often have Cambo cameras and accessories available used.

 

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The SC is a very good camera, especially to learn on....

Jeff,

Rob Rothman was correct, View Camera Magazine did print a how-to article on bellows making. It was in the July/Aug 1996 issue. If you cant find a copy at your local library, you can down load the article from the magazine for a fee. www.viewcamera.com

I used this article to make my first bellows to replace the worn bellows on my 8x10. The article is fairly easy to understand, but you might have to interpolate a little, as I did. It is worth looking at. My first bellows took me about a week of evenings to finish, it was well worth it!

Let me know if you need help, or get stuck

 

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Regards..

Thomas,

I had a brief encounter with a New Vu a while back. The camera has 2 rails and weighs a ton! The movements are not ample, but would suit most people. The camera is built like a tank, but not a field camera by any means. The red bellows are a nice touch, but on a camera that old, they will often need to be replaced. I have seen them at camera shows occasionaly for around $100.00, no lens, in good condition. If you are not wed to this camera and are looking for a mono-rail view camera at a decent value , might I suggest a Calumet (Orbit) 400 series camera popular in the 60's. They can be had for not much more than the New Vu at half the weight.

 

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Regards..

Sorry Chris, I ment to say that KEH has several Busch cameras under $200.00

Chris,

I recomend that you check out the Graphlex web site www.graphlex.org, they have answers to most any graphlex question. This said, however, my personal favorite 4x5 press camera of the Graflex era is the "Busch Pressman, Model D". The camera is made of nicely finished aircraft aluminium. The finish is much cleaner than the Graphic's,and the Busch tends to be more rugged that the wooden Graphic (late Model Speed Graphics are also metal, for a price!) Calumet has several used Busch Pressman for under $200.00. The both Graphic and Busch usually come with 135mm Optar lens (OK quality) that is linked to the Kalart rangefinder. Personally I would replace this lens with a more recent optical design, especally if you are shooting chromes! I also remove the side mounted rangefinder so that the camera fits easily into my Domke camera bag. I prefer a lens a little wider (135mm)than what is considered normal in 4x5 (210mm) when shooting landscapes. The 135mm gives me just a little more sweep at the horizon, without looking forced as with a 90mm or a 65mm.

 

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Good Luck!

Mike,

You could use a 300mm enlarging lens on a 5x7 view camera, but finding a shutter that you could mount the lens into might be a problem. Most of the 300mm enlarging lenses that I have seen use a flange to mount to the enlarger, not a threaded base as with the smaller lenses. Occasionaly you can find a used "Packard" shutter which mounts in front of, or behind the lens. This shutter opens and closes via an air bulb, no fast shutter speeds, only "b".

 

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If you need a lens to cover 5x7, a normal 210mm lens, like a Schneider Symmar, Rodenstock Sironar or Calumet Caltar will cover quite well, not huge movements, but they cover edge to edge and then some.

 

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For 5x7 you need a minimum of 219mm of image circle to cover. 210mm lenses average about 305mm of image circle.

I have used this lens regularly in the past on 4x5, and I have always found it to be one of my favorite lenses. However, it will just barely cover 4x5 full frame. You will have very little in the way of movements. If you dont mind croping a bit when you print, then the lens should be fine. What is a problem though, is the light fall off from the center to the edges. This is especially true of the older Angulons. You can get a center graduated filter to match the lens, but this will cost as much, or a little more than the quoted cost of the lens. Additionaly, depending on what camera you are going to put the lens on, you are probably going to need a recessed lens board, and it can get mighty tight to manipulate the lens/shutter controls.

 

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As I said, I loved this lens, and will recommend it highly, you just have to forgive some of it's quirks and let it grow on you.

 

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Regards,

Sheldon,

I am making the asupmtion that you are speaking of a 4x5 Super Speed Graphic. To get the equivalent of a 24mm lens in 4x5 you would need something like a 65mm Schneider Angulon or a Rodnstock Grandagon. However, with a Speed Graphic, or any "press camera" when a 65mm lens is focused to infinity you will get a portion of the camera's focusing bed in the picture. Even dropping the bed and using the front rise movement to recenter the lens on axis will still not solve the problem. I have a friend who loves his 65mm lens and also uses a press camera his solution to the problem was chop off the front 3 inches of his focusing bed! This is pretty dramatic action which also limits his ability to focus on objects much closer than infinity. I would recomend that you look into a perhaps 90mm wide angle lens which is equivalent to about a 28mm lens in 35mm. It's not as wide as the 65mm, but there are more of them available used, they give you move movement, and you don't have to worry about light fall off to the edges of your image.

 

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Best of Luck.....

Pete,

I shoot a lot of 6x17, and have switched from a 90mm to a 135mm lens for the very reason that you are asking about. You can use a center graduated filter with a 90mm, this will help a lot, but it won't eliminate the problem. You are asking the 90mm lens to cover about 2 inches more than it was designed to optimally cover, movements not withstanding. The sweep of the sky in a landscape image can easily shift one to three stops depending on the postion of the sun relative to your composition. I also opted for the 135mm lens, because I found that the cost of the filter was more than the cost of a decent used lens. If you go the filter route, be prepared to pay about $500.00 for a new filter, or $250.00 for a used one. Make sure that you get the filter matched for your 90mm lens; different manufacturer's lens's have different fall off paterns!

 

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Good Luck,

 

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Britt Leckman

George Mason University