robert_pellegrino

I concur with your comment about single sheet development for the

zone system Andy, but if you choose to bracket your exposures, roll

film makes life much easier. That�s my .01-cent comment, because you

know roll film is cheaper ha ha.

Mike if your making the transition from 35mm to a view camera, have

you considered an Arca 6x9 F-line camera. With it's compact size and

ability to use various format roll film backs you can choose a 6x9

format (basically a 1:1.5 aspect ration i.e. same as 35mm) or a 6x7

back with an aspect ratio similar to 4x5, or even a 6x6 back for a

1:1 aspect ratio. I currently use an Arca 6x9 F-Metric with 6x7

backs, this route into view cameras made the most sense "for me" as I

was transitioning from traditional medium format cameras. A 6x9

camera is also the perfect candidate for transitioning into digital

view camera photography in the future. If you haven�t explored the

world of medium format view cameras already, I would seriously

recommend that you look into their many benefits before you make your

final purchase.

I have done some work with IR filters and Ilford SFX. SFX is a near

infrared film i.e. extended red sensitivity range towards the IR.

When you use an IR filter that does not pass visible light, you'll

need to experiment with numerous levels of exposure. You will find

that most true IR films do NOT carry an ISO rating; it is a trial and

error affair at first. As I use an Arca-Swiss 6x9 with roll film,

the multiple exposure tasks are a bit more convenient than with sheet

film. You might want to give the SFX film a try without an IR filter

it is rated at 200 ISO and provides results similar to HP4 Plus.

Standard red filters for black and white film, will produce a more

intensified filter result than would be the case with standard pan

film. You can then work into using the various IR filters and compare

the results on a single subject. As I said before roll film does help

simplify this process, you can take a baseline shot on frame 1 with

no filter and normal metered exposure at ISO 200 then work into the

various filters and exposures on the same roll. I hope this helps.

You can give this a try for a starting point.

http://www.schneideroptics.com/filters/list/7/ir2.html

I too recieved a brand-new and in perfect condition (Arca-Swiss 6x9

Metric)from Robert White about 8 months ago. I'm not sure if it is of

Swiss or French manufacture, but both countries have a reputation for

high quality products. As stated before with regard to damaged or

defective "NEW" Arca products, somthing is not quite right here.

Bob P.

I would reccommend a "yellow-orange" filter to highlight the copper

while darkening the sky.

My local options for printing have drastically been reduced, since one of the two photo labs in my area went out of business. Unfortunately (but typical)the lab that closed catered more to the fine art photographers, rather than the commercial and advertising sector. This has resulted in my having far less options for photographic materials and processing methods. I must now turn to mail order photo labs to have my printing done. I can't even get a Ilfochrome or Cibachrome print done locally, a sad state indeed. My question is this, I have some Scala 6x7 transparencies that I wish to have printed to either 16x20 or 20x24 inch size. Can anyone recommend a quality mail order photo finisher that can produce high quality prints from Scala transparencies, I'd rather deal with a lab that has a good amount of experience printing high quality images from black and white positives. Any first hand experience and or recommendations for a high quality lab would be appreciated, thanks.

I too find the Horseman backs to be relieable mine are 6x7. I've

never had a frame overlap, however the spacing does vary a little bit.

To clarify my statement about reading recommended best apertures for

a given format. This information is given in the ( Rodenstock

brochure "Lenses for Large Format Cameras" dated 6/95 # 9543 5121012-

9302845 ) in the form of a table based on film format across a range

of focal lengths. I will attempt to quote the table for both 6x7 and

6x9 formats:

 

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(6x7 format / focal length lenses 35,50,60,75,100,180, and 280 best

aperture f11-16)

(6x9 format / focal length lenses 45,55,65,105,135,210, and 360 best

aperture f16)

 

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No mention of lens construction is made, FYI this same table states

f16-22 as being the best aperture range for 4x5 format. I also

recall seeing similar information from Schneider but I cannot locate

it at this time, it too was film format driven. I too would think

that lens design plays a key role in performance for a given format,

but I can only q1uete what IB�ve read. However as stated in my

earlier post IB�ve found that my f22 to negatives look very good on

the light table. Hence my question on diffraction at smaller

apertures.

 

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Bob P.

I have a question regarding minimum lens aperture on my Arca 6x9, IB�m currently using a 6x7 film back. I have seen numerous comments regarding lens diffraction while using an aperture smaller than the so-called ideal for the format. I am using two different Schneider lenses on this camera, a 58mm Super-Angulon XL and a 150mm APO-Symmar. I have read that the optimum aperture for 6x7 is f11 and f11B�f16 for 6x9. I have conducted preliminary film tests with this camera and exposed several scenes at f11, f16, and f22 each. Upon examination on the light table I have found that my 6x7 black and white negatives exposed at f22 seem to have the best overall image quality and depth of field, not that either the f11 or f16 is bad mind you. It might just be that the increased depth of field at f22 appeals to me. How will lens diffraction make its presence know? I might already be experiencing it, and just not know it. But if I am it seems a minor price to pay for the added depth of field. Thanks.

 

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Bob P.

I feel that this forum should work towards the goal of becoming an

inclusive " View-Camera Users Forum " rather than concern itself with

film format. The challenges and rewards of view camera photography,

extend well beyond mere film size. Each film format has its

advantages

and disadvantages and can be debated ad-nauseum. The common thread of

this forum should be based upon view camera technique and NOT film

size.

The view camera experience is unique unto itself, their is no

confusing

it with any fixed lens camera regardless of format. I myself chose an

Arca 6x9 view camera over a 4x5 model, will merely changing the rear

standard to a 4x5 unit fundamentally change my perspective on

photography? I think not. I find that the dialog on this forum is

far

more relevant to my photographic style, than that of any traditional

medium format forum. For those who say ?large format, for large

formats

sake?, I think that you are short changing yourselves. Inclusion into

the view camera fraternity rather than exclusion based on film size,

should be the guiding premise. For those of you that I've offended I

offer my condolences, for I believe your way of thinking is

endangered.

But I certainly do not offer an apology for holding this opinion. I

shall now set off my soap-box, thank you for you time and

consideration.

Bob P.

It's a bit out of the mainstream for a reversal film i.e. black and

white, but Agfa Scala 200 will push very well. I know that your most

likely looking for a color film, but I had to mention this very

unique film just the same.

The triangled shaped knob opens the shutter for viewing. After you

finishing focusing you shut the shutter with this same knob. At that

point you can cock the shutter mechinism with the round knob.

Bob P.

Thanks for your input, I've ordered both a +1.0 and +2.0 diopter

filters for my 150mm lens. I'll give them a try and hope for the

best, it's certainly much cheaper than buying a longer bellows.

Thanks.

Bob P.

I concure with Glen, the Arca 6x9 Metric seems to be what your really

looking for. The Arca provides the high quality and geared movements

of the Linhof, with the light wieght of the TK. It's really the best

of both worlds. Before you buy, check out the Arca 6x9 F-Line Metric

you'll be glad that you did.

Bob P.

If you want a back with a self contained film transport mechanism

you'll need to use an Arca film holder adapter 6x9 p/n 080002. This

holder will accept Arca and Horseman 6x7 and 6x9 backs as well Mamiya

RB backs, the Mamiya back does not fit as well as the others. Just so

you know Horseman makes the filmbacks for Arca, the two are the same

except for the name and price applied to the product. Another point

to consider, Arca prices are highly inflated in the U.S. You can save

considerable money by purchasing from a European dealer, such as

Robert White in the U.K. I saved over $2000 U.S. on my complete Arca

6x9 Metric outfit compared with U.S. dealers such as B&H. Before you

put you cash on the table you should REALLY comparision shop.

 

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Bob P.

I also have an Arca 6x9 for which I considered a lens in the 50-55mm

range so that I could use the original bellows. But after thinking

long and hard on it I decided to use a 47mm XL lens, and the 15cm

wide angle bellows rather than a resessed lens board. In the long

run you'd be better off with the wide bellows, and you will open up

your lens choices down to 35mm.

Bob P.

Thanks for your input, I've decided to purchase a set of 86mm filters

both UV and black and white. I will mount a single 86mm filter on

top of the center filter when, and if needed. I will will also use a

67-86mm step up ring with these same filters when the center filter

is not required. This seems, at least to me, to be the most logical

approach to the problem. Once again thanks for your input.

Bob P.

I'm just starting out in view cameras myself most of my time has been

in traditional medium format, so you can take my advice for what it's

worth. Serious table top product shots, along with certain types of

architectural photography can demand extensive movements. While most

landscape work may only require minor movements to achieve the

desired effect. I would think that if you confine your selection to

quality monorail type cameras verses a field camera you should be

fine. Arca-Swiss offers both the F-line and the Monolith series of

cameras, the latter being more of a dedicated studio camera with

greater movements. I personally chose the 6x9 F-Line Metric for

greater flexibility, and roll film convenience. If your currently

using 35mm and 6x7 format cameras, I would suggest a serious look

into the 6x9 Arca�s. I hope this helps.

 

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Bob P.

I've ordered a new Schneider 47mm XL lens and center filter for my Arca 6x9 F-line. This lens has a 67mm front tread,while the center filter has a 86mm front thread. I shoot mostly black and white film on a 6x7 format, therefore I use colored filters often. What filter arrangement or system will work with this lens and center filter without causing vingetting??? I want to be able to use both the center filter and a contrast enhancing filter at the same time. Will the standart Lee filter foundation system and resin filters work with this lens and center filter??? Can I also install a 67mm UV filter to protect the front lens element, before installing the center filter??? I would really like to order whatever filters that I'll need for this lens, some time later this week. So any relavant and constructive advice will be very much appreciated. Thanks so much.

Bob P.

I have a question regarding filter sizing for the Schneider 47mm XL lens. I've placed an order for this lens, to use on my Arca 6x9 F-line camera. I will use this lens on the 6x7 film format, my choice for filter sizing is as follows: I've decided to use this lens with a 67-77mm filter step-up ring, the intention is to avoid lens vignetting caused by multiple filters. I primarily shoot black and white film and on occasion, stack two filters. Since most wide angle filters delete the front mounting treads stacking filters is not possible. My question is this; Will my preemtive strike of stepping-up to a 77mm filter in lieu of the standard 67mm filter, prevent vignetting caused by two filters being installed on this lens??? Thanks for the input.

Bob P.

I have a several questions for those of you using the Schneider 47mm XL lens on 6x9 Arca F-Line cameras. Firstly, have you found the need to use a center filter on this lens with either 6x9 or 6x7 formats? Are you using the 20cm universal bellows with a reccesed lens board, or the 15cm wide angle bellows? For those of you using the universal bellows, do you have any problems with bellows binding with movements? Does the lens provide ample movement? How do you like this lens? Thanks a lot.

Bob P.

Many people rate Velvia at a 40 ISO speed and then process it

normally. This will reduce contrast a bit, and you will not incur

any added processing costs.

Thanks for all of you input folks. I think that I'm still leaning

towards the 110XL for a couple of reasons. 1) Because this lens has

the potential to be used with several larger film formats. I

currently only have the 6x9, but I'm not ruling out going larger in

the future.

2) I think �or at least hope� that this lens would maintain a higher

level of optical performance when movements and close focusing are

simultaneously applied. I will certainly welcome feedback on this

issue because, my �beginners view camera reasoning� could be way off

base. Thanks again.

 

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Bob P.

I am seriously considering purchasing a Schneider 110mm Super Symmar XL to use with the 6x7 or 6x9 format. My intention is to use this lens on an Arca 6x9 F-line camera. I know that the image circle is certainly over-kill for this small format, but image high resolution is my goal. I welcome constructive comments and opinions regarding this lens selection on a roll film format. Are their any pit falls other than price with this combination??? Thanks for your input.

Bob P.