bob_moulton7

The problem may be with development. Some daylight tanks require

that you pour the chemistry in through a tube, some other such

device. That almost guarantees the density problem you indicate.

You might try creating a totally blackout situation, removing the

top, and pouring in the chemistry, starting the clock and replacing

the top.

While a hassle, you may find it a sucessful and inexpensive

alternative.

<p>

Bob

Type 55 p/n will work well for Zone system within certain limits.

George DeWolfe published a guide for testing Type 55 p/n in an issue

of View Camera within the past year. The View Camera website offers

an index to back issues, and you may be able to acquire a copy of the

article.

Time/temperature variations such as thos commonly used by Zone

systems practitioners do not apply as extensively with type 55 p/n.

I have used the film and like it, but you may find its use narrows

your style a bit.

<p>

That being said, the film produces a lovely negative that prints and

scans well.

Bob

You might try purchasing the camera in the USA. Badger Graphics--

http://www.badgergraphic.com/-- is listed on the web. Their service

is excellent. You may find that USA price plus shipping plus duty

would be competitive.

If you must have the field camera that is a way to go.

If you are not backpacking the camera a lot--do not have to have a

small package--then the classic 4x5 or even the 4x5 metric might be a

easy to find alternative.

Bob

I subscribe to View Camera, Camera Arts, Lenswork. Each has something

to offer.

Bob

William Fox's View Finder, treating Mark Klett, Photography and Landscape makes for entertaining and very informative reading. He treats Klett's development since the Rephotographic Project, but weaves that development into a revision of landscape and photography.Fox is not selling Klett's vision as THE vision, but showing that it deserves recognition as a viable alternative to the sublime landscape images of other image makers.

<p>

Jack Dykinga's Large Format Nature Photography envelops the reader in Dykinga's beautiful images, his working technique, his preferences and esthetic.While the text seems only to be a tools/technique book, it also reveals how Dykinga has developed his esthetic to match his vision of the land he has chosen to examine.

<p>

Both books show us the very different roads taken by two of the best landscape photographers working today who have consistently produced excellent and thought provoking work, but who let the work speak for itself They make good reading.

Bob

I would appreciate some help/ I am going to switch from field cameras--wisners-- to either the Arca Swiss or the Linhof technikardan. i have read many reviews/anaklyses of the cameras, their distributors, etc. both on this site and elsewhere. So I have read about alleged problems with folding/unfolding the Linhof, the rail system with the Arca swiss, etc.

My question is simple: Which camera is better suited to non-studio photography? I work a lot in landscapes, but long hiking trips are rare. I do some architecture, and so need the ability to use wide angle lenses as effortlessly as is feasible and affordable. I use lenses from the 72mm XL to the fuji 450mm, so i realize that a pair of bellows is a necessity. generally i use either a backpack, a large F64 or a smaller Tenba, and have but rarely use a Tamrac wheeled case.

Another way to ak this which replacement will fit into my working system better?

<p>

thanks in advance.

<p>

Bob

I have processed Technical Pan in the Kodak POTA developer with

little hitch. I prefer to use Edwal FG-7, 1:15 in a 9% sodium sulfite

solution, because the Edwal chemistry is so much easier to mix up.

<p>

BTW, should you ever run into a circumstance where the meter needle

barely moves between important highlight and shadow value, try rating

tech pan at ISO 100, place the shadow on Zone IV/V and process it as

you would for Tmax 100 at N-1. result is a +++ negative that prints

rather easily.

Bob

Barely and yes. At infinity coverage it depends upon how close you

can get the lens to the film. If your camera lacks bag bellows and

you cannot tilt the lens board back and then starighten the lens to

perpendicular, then you may be in for some problems, unless you opt

for a recessed lensboard. But for interiors the coverage is better,

at least for me, since you are extending lens from film plane. review

of the lens in Shutterbug last year was illustrated with an interior

shot that displayed crisp acrosss the frame iamge made with 8x10.

Bob

Any recommendations concerning the Schneider Tele-Xenar HM 5.6 400mm compact lens. I would use it on 4x5 field cameras, either a Wisner or a TK45s Use would be landscape, some limited architectural details and portraiture. I have a Fujinon 450 mm lens but find bellows extension plus wind factors that I cannot wrestle with predictably.

I know the Schneider is heavy and in a #3 shutter, but since I used a Schneider 300mm Xenar in a similar shutter for years weight alone, unless the cameras cannot bear it, is not a major consideration.

Image circle and filter size I am uncertain of and Schneider's website was unavailable for some reason.

Thanks in advance,

<p>

Bob

Reseraching the Linhof Technikas, I ahve a question I could not find answered in the manufacturer's brochures or in the postings here. If one opts for either the Master Technika or the Linhof 2000, can one use a 72mm Schneider XL on either body?

If the lens will operate on either body, on the Master Technika with the WA focusing device or on the Linhof 2000 with maybe a special board, how severely limited is the lens movement?

More generally, for the landscape and sometime architectural photographer, how limited is either camera for use with WA lenses (72mm-135mm)?

<p>

Thanks,

<p>

Bob

A few years ago I experienced a similar situation. A friend/workshop

teacher suggested I contact a local restaurant supply company and

look for a used but not too abused steel sink or contact a local

metal fabricator company about having one built. I print up to 16x20s

process 35-4x5 in a Jobo/Uniroller combination. I decided I wanted an

8 footx2-3 foot by 8-10 inches deep sink.

Ultimately I found that his suggestions produced better prices than

I could get if I opted for a sink from a darkroom specialist--B&H,

Calumet,etc. Leedal in Chicago often has seconds that are priced

competitively, but they were still a bit high. The local restaurant

supply house had nothing AT THAT TIME that I wanted. A local

fabricator made the sink to my specifications, and I had a stand

built for it.

<p>

So i would suggest you at least investigate thaqt possibility. You

might be pleasantly surprised.

A # 15 orange, a # 25 red, A #12 Yellow, a # 8 yellow. If I can add

one more it would be a polarizer. If not I would delete the # 8

yellow.

<p>

I would use gel filters in the calumet cardboard frames and the kalt

holder.

Bob