david4

Which to choose, the 135 or 150, is objectively unanswerable. It is as

if you were asking which is better, popcorn with or without butter.

However, I do think it is easier to make useful comparisons of lenses

at one focal length, say 135. Michael Davies posted a comparison chart

at this web site for 4 x 5 lenses. The chart shows that Rodenstock

makes a 135 Sironar N that receives 40.5 mm size filters, while the

Apo-Sironar S uses 49 mm filters. I understand that filters in the

latter size are far more likely to be in stock. Moreover, step down

rings from 82, 67, etc to 49 mm are more readily available. I am

uncertain but I believe that the Rodenstock Apo-Sironar S has slightly

more coverage than all or most of the other 135 mm brand lenses. See

Davies chart. I believe that the Apo Sironar S has the reputation of

being the sharpest lens that Rodenstock makes, although it is one of

the least costly compared to other Apo Sironar S lenses. Only the 135,

not the 150, is considered a wide normal. Used with a roll film 6 x 7

or 6 x 9 back, the 135 can serve as a normal lens and allow tremendous

shift capability. You can get further specifics from the distributor

rep, Bob Salomon, at Salomon.hpmarketing.com or something like

that..................................................................

.......................................

The latest issue of Black & White shows Philip Hyde using a Technika.

The picture was taken years ago....................................

I was in error. The www.betterlight.com website says

the Super8K-2 has a maximum resolution of 12,000 x 15,990 pixels (549

MB 24-bit RGB, or 1.1 GB 48-bit RGB file) Super6K-2�. The Super6K-2

captures up to 9,000 x 12,000 pixels (309 MB 24-bit RGB, or 618 MB

48-bit RGB file). ..............................................

Johnson was not using the latest super model version of the Better

Light 4 x 5 insert that increases the file size from 140 MB to over

300 MB. According to an ad in the Nov/Dec 2001 View camera magazine

the manufacturer Better Light claims that the clarity and detail of

the current digital image supermodel back surpasses that captured with

8 x 10 film. At its website, www.betterlight.com, the manufacturer

describes the new supermodel allows images with up to 9000 x 15,000

pixels. The Sinar HR-Sinarcam was also discussed in the Nov/Dec 2001

issue of View Camera. It can provide 450 MB files with 75,000,00�

pixels. The author states that the digital back enhances his

productivity. ........... ...........................................

I hope that you get the picture.........................

I eliminated this recurring problem of two negatives ending up in the

same slot by using the slotted separator and clipping it into place

after all of the negatives have been inserted. Without the separator

and clip, agitation tends to dislodge the negatives resulting in the

problem you encountered. To speed up outflow, I do just what Baxter

describes. When he refers to loosening the threaded cap on the funnel

on the upended tank, he means only part way, so that no light leakage

occurs............................................

Years ago I read of Land demonstrating color images with two black and

white transparencies projected simutaneously on the screen, each

transparency taken from the same camera in the same location, no

chanmges made other than switching filters, one projector with the

same color filter mounted on the lens as was used when taking the

original transparency placed in that projector, and the other

projector without the color filter used to take that image. So much

time has gone by that pehaps I am mistaken exactly how he did it. As I

recall, it did not matter which two color filters were used, so long

as they were of distinct colors....................................

Perhaps he or his company Polaroid patented

Contemporary creativity can be found in images that are notable for

the unexpected composition, hues, light or shadow -- be it a Monet or

a representation of what a person sees who is high on methamphetamine.

Ansel, Edward, Brett, Eliot, Sexton, Muench, Dykinga, and Walker are

notable for their exploitation of composition, light and shadows.

Creative artists make something out of nothing. They show something

surprising in the very ordinary. They might choose, for example, the

textured surface of a painted concrete wall with saturated blue hues,

a large intensely red stone among a bed of dull gray pebbles, or

yellow markings conspicuously located on a very black asphalt concrete

pavement, as was done by Ron Lussier's wonderful work at

www.lens

John Sexton has several books. He shoots Technikardan 45 and some

recent version of the Technika (Master Technika 2000?).

"I pray thee cease thy counsel,

Which falls into my ears as profitless

As water in a seive." - S

$20-35 for a lens cap.

That is what steve grimes charges for a lens cap.

He says manufacturing cost can be up to $18 for the plastic alone.

His web page illustrates steps involved.

www.skgrimes.com

xxx

xxx

Robert White UL webpage shows the Fuji Quickchange. It is claimed that

the design overcomes the problems of jamming associated with the

Graphmatic. It accepts standard 4 x 5 films, not Quickload or

Readyload. I would appreciate any comments you have about this

accessory. xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Andrew: Please read Using the View Camera Author: Steve Simmons

Binding: Hardcover, 144 pages Publisher:

Watson-Guptill Publications, Incorporated Published Date: 10/01/1992.

I think it is the ideal book for your purposes. Best of luc

Bob says the Technikardan. He did not give the nod to the more

expensive Master Technika or its predecessors. This serves no stinking

self-interest. So how is it that Bob genuinely sees the Technikardan

faster or easier than the MT? Let me speculate. The MT weighs slightly

less, is more compact, is more readily folded and unfolded, has a

clamshell built in protector for the bellows, can be folded with a 135

mm lens in place that lies protected within the folded shell,travels

better in a backpack, and is favored by many landscape photographers.

Bob must have seen something in the Technikardan that outweighs these

advantages. With the Technikardan, but not the MT, you have to change

to a bellows bag to use wide angle lens, but you are not bothered by

the flat bed that has to be dropped to ensure an unimpeded angle of

view. With the Technikardan, you have independent controls for lens

tilt and shift; very few flatbed cameras offer the same ease of use. I

do not know whether the MT has this feature. With the Technikardan,

you have a much longer bellows than the MT, easing infinity and

closeup focusing with double agent 210 and 300 process lenses. The

Technikardan provides center axis focusing, without the base tilt

available with the MT. A lot of photographers find center axis

focusing easier than base tilt; others prefer base tilt. Sure there

are much lighter wooden cameras--some less than 4 lbs, but how many

are as stable, have an extension of about 19.5 inches for long lenses,

and provide as much ease of use with wide angle lenses, as does the

Technikardan. Both TK and MT cameras can be easily equipped with lens

compendiums (shades) supported by the camera body. The small size

Technika/Wista lens boards are great for backpacking. Bob's preference

is not isolated. Take a look at prior reviews of the Technikardan at

this website, The majority of contributors (especially those with

architectural interests) have given the nod to the Technikardan over

the MT. I understand that former Ansel Adams assistant John Sexton

owns and uses both and has written a published review highly praisng

the Technikardan. A recent article in View camera magazine a few years

ago -- I forget the author -- highly praised the MT. Several

photography books by famed photographers David Muench and John Fielder

mention their preference for the Linhof flat bed cameras for field

photography. When ease of use encompasses scaling up to 5 x 7 or 8 x

10 through use of adapters, then Canham, Sinar and Arca Swiss, and

several other full system camera manufacturers, have an advantage, by

selling larger format adapters. The adapters are quite expensive; the

chief advantage is economizing space, especially when traveling.

Bwfore committing to Linhof, I recommend that you look at Sinar,

Canh

The vast majority of View Camera issues are superbly laid out. I hope

that you continue with this high level of performance. Am I in error

to say that yours is the only magazine that includes portfolios and

interviews of large format women photographers? Certainly your

magazine deserves commendation for the even-handedness with which it

features women photographers. I notice that several women responded to

your question on this webpage, which is almost unheard of at this

website. I like the fact that you do discuss the photographers

attitudes and the problem solving required to take the images

displayed in the magazine, and I hope this practice continues. You

invariably do this when you write articles for the pubication. It is

the interplay between image and text that made Ansel's books on

photography so helpful. I am of the impression that your magazine is

largely devoted to American photographers. It would be satisfying to

me if more were disclosed about the portfolios and commentary of the

European or Asia large format landscape photographers. If there was

any area in which your magazine has a shortcoming, it would be the

unimaginative, strike that, awful advertisements by a few of the

equipment manufacturers, in obvious need of input from a graphic

artist. Overall I am content with your magazine as is but see no

copellig reason why should not experiment

Combine any wide angle (e.g. 75 mm lens, using center gradient

filter) with lens shift; the wider the lens, the greater the lens

shift, and the closer you position the camera to the ground, the

greater the foreground emphasis (and elongation) and the greater the

lens axis or film plane tilt needed to bring near and far into focus.

Linhof has an instruction book that illustrates these techniques.

Take a look at David Muench or Jack Dykinga webpages to see how these

techniques are used by masters of far/near composition.

One way to meet others with similar large format landscape interests

would be set up or attend a weekend seminar, with instruction provided

by a professional photographer. The seminars could be held near a

location particularly appealing to the instructor. Lodging might be

provided at a youth hostel. Attendees could be provided lists of

lodging available in the area, with each attendee responsible for

obtaining his or her own lodging. By searchig the web you can numerous

workshops

No one has made a strong or compelling case regarding the value of the

changes in the TK45S. The owners of the older version uniformly praise

it as being lighter and more compact. One contributor said that the

TK45 has slightly longer extension than its successor TK45S, a comment

that I suspect is a case of bellows envy. Some contributors mentioned

experiencing the older version slipping out of adjustment when

weighted down by the Polaroid back, but presented no evidence that

this was due to the TK45 design or widespread. I have to acknowledge

that I have experienced the same problem of slippage, especially when

inserting a Polarid back. I thought it might be due to same grime or

other lubricant accumulating between the surfaces that are pressed

together to inhibit movement after I have set the levers. Alternately

I suspect that maybe some spring had weakened with time -- the camera

is nearly 12 years old and shows wear and tear. Bob implied that the

event was rare, unexpected, likely easily remedied, and not a

recognized design flaw. I am curious to know what is the corrective

action that needs to be taken with the TK45 that has a slippage

problem. I find it difficult to understand how the average user would

find the indents on the TK45S preferable to degree markings, but as an

expert, Linhof probably did verify this. I would assume that Linhof

designed enhanced crashproof resistance of the TK45S to deformation in

a quest for engineerng perfection. Our readership can reveal whether

deformation of the TK45 has been a common problem. I experienced this

deformation after my camera crashed to the ground off a cliff. I sent

it to Marflex, Marflex fixed the problem, and I remain a happy camper.

I would appreciate some contribution by Bob as to what is the nature

of the problem and how it arises, that led to enhanced strengthening

of the standards on the TK45S and decision to put in

indents.................................................Regards,

David.....

I erred in saying that if you buy the TK 45, all you have is the 4 x 5

format. I forgot about the fact that Arca and TK 4 x 5 cameras can be

used with roll film backs, allowing 6 x 12, 6 x 7, 6 x 6, and 6 x 4.5

formats, and Polaroid 545 & 545i film holders, with Polaroid films'

unique dimensions. When lens shifts are used with these smaller

formats, you will encounter more situations where you will not see any

light dropoff, that otherwise might occur with the 4 x 5 film format.

Thus, you will more frequently not have to use the center filters that

will involve a loss of 2 f-stops. I do not know how much lens shift is

required before any light dropoff is noticeable with the XL 110

lens--the wider the coverage of the lens, the less likely you will see

light drop with lens shifts. Light drop off is very noticeable for 4 x

5 format with shifting of the Rodenstock 115 mm lens. Have you checked

the price for the Rodenstock 82 mm center filter for that lens?

Similarly, if you adopt the strategy of bying the Arca Swiss with

lenses that barely cover 5 x 7 or 8 x 10, for later upgrade of you

camera to that format, you will encounter the problem of light drop

off with lens shi

The current model is the Technikardan 45S, successor to the TK45. You

may want to compare the T45S with the TK45--the changes are barely

noticeable. Whether you buy the Arca or TK, you cannot go wrong--both

are great cameras. On a calm day you likely will never experience any

problem with lens shake with either camera fully extended. TK45's

small lens board is advantageous when you have to store several lens

in a camera bag or pack. Arca Swiss larger bellows opening accomodates

lenses with larger rear elements, the type of lenses you might buy if

you want the lens to cover both 4 x 5 and 8 x 10 formats. Most field

photographers avoid the 8 x 10 format lenses because they cost too

much, weigh too much, are too bulky, and the filters are

extraordinarily expensive. With TK 45 you have only the 4x 5 format

camera. It folds up to the size of a textbook. It is extremely easy to

focus with whatever focsl lenght lens. With some of the 4 x 5 Arca

Swiss models (not all), you can buy a kit to upgrade the camera to 8 x

10. Field photographer Jack Dykinga has a website showing landscapes

taken with the 4 x 5 Arca-Swiss F Compact. Arca Swiss offers an Orbix

that allows geared axis tilt, but I am unsure whether the Orbix is

available for the F Compact, or is available only with the M-series.

The geared axis tilt is overkill for landscapes--you do not need it

and it adds weight. People have different preferences regarding center

lense tilt vs base lens tilt. I prefer the center axis tilt of the TK

st

In choosing which Wisner, take a look at Wisner's webpage. This August

Wisner came out with a 3 lb+ 4 x 5 camera.

..............................

K & S in Palo Alto has or had a mint Linhof 8 x 10 GTL for sale for

about $4000. With lens, lens hood, tripod, ballhead, and film plate I

would guess this combination would weigh about 45

lbs......................

Dear Dan:

<p>

Check Robert White in UK, Badger Graphic, and B&H Photo Video in US

for prices on top quality new field cameras. They all have websites.

Over the years they have maintained a good reputation. You may also

want to consider buying a mint condition used camera. For example,

Keeble and Schuchat in Palo Alto, CA, has about a half dozen used mint

4 x 5 Technikas, with asking prices in the $2500-$3200 range, all

predecessors to the current MT2000 model. View Camera magazine usually

has numerous ads for used mint Technikas and Technikardans. Asking

price on a mint TK45 (predecessor to TK45S) usually lies in the range

of $1500-$2000. The TK45S has a slightly sturdier upright standards

and weighs a few ounces more. You may also want to consider buying a

less than mint condition camera and have it rebuilt or refinished.

Replacement of bellows on some 4 x 5 cameras can cost you more

There are only two things about Bob Salomon of which I am certain.

First, he has never been to prison. Second, I dont know why. Once

again he has stolen my dignity. I dont need anyone's help to make me

look like a fo

None of these cameras have the geared movements of the Arca-Swiss or

Sinar-P. Longer bellows of TK allows use of 210 mm lens at double

focal length to attain 1:1 image while Technika limits user to 180 mm

lens at double focal length for 1:1 image (absent use of Wista

extender). You use the lightweight compact 210 mm Schneider G-Claron

f9 process lens at both infinity focus of landscapes and for closeups

of flowers. The longer bellows extension of TK is better adapted for

use of 300 mm lens for closeups and portraits. Then TK has

indents/markings that ensure precise transfer of front lens tilt to

back plate glass more readily with indents/markings. Technika has an

advantage in that no change of bellows is needed when choosing wide

and long focal length lenses. Be aware that with either camera, the

tapered bellows will limit the maximum accommodated diameter of rear

element of the lens. However, the small lens board (96 x 99 mm) will

ease storing lenses in ba

In selecting a camera you may want to consider how readily you can get

help from the camera manufacturer or distributor. Some contribute to

this forum; others never make any contributio