fw1

I can't help you with your query, but I have had a similar problem

with Arca-Swiss customer service. On the basis of some good reviews

in View Camera, I asked the company for some product brochures, etc.,

but simply got a reply stating that the information was not

available, and which managed to imply that I was rather impertinent

to ask for such information, and that I was somehow wasting their

time. That's fine - I won't bother them with my custom, either. After

all, raising an invoice is such a bore.

 

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Compare this to the superb service from Sinar - they sent me detailed

brochures and a book on LF technique, within 2-3 days of my request.

David, thanks for your answer. Looking at the Toyo catalogue, I see

that a cable release adjustment is available, which points the cable

release forward to make life easier with a recessed lenseboard.

Unfortunately the catalogue does not list a recessed graphic

lenseboard (!), hence my question above.

I recently purchased a Fujinon SWD 65mm f/5.6 ; on my early Toyo metal field, focus and tilt are both pushed to their limits by this lense - even 4 or 5 millimetres extra focus range would make a meaningful difference, I think, to getting an image that ranges from a few centimetres from the camera to infinity (i.e. extreme near/far) completely in focus. So, my question is - do recessed Graphic lenseboards (93x94mm) exist, would this help, or would it introduce a new set of problems? Where would such a board (in copal 0) be available?

I agree with the above comments. Astia is a very natural and subtle

film, and less picky than Velvia. I use both in 120/220 & Quickload.

 

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For pushing, I have just tried MS100/1000, and it is pretty good at

400ASA

Greg - you're right. The daylight version is certainly available in

Quickload in Japan, I'm not sure about the tungsten. In case it's

helpful, you can refer to ;

 

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http://home.fujifilm.com/products/datasheet/index.html

Fuji NPL - 160ASA - works well in 4x5 format, and can be pushed one

stop with reasonable results. It's also available in Quickload, which

may be important in reducing exposure to dust etc. given the kind of

environment you describe. Does the "vog" affect everywhere?

 

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Anyway, I am visiting Hawaii for the first time in December - mainly

Volcano National Park (3 days), Haleakala and upcountry Maui (4

days), and I'll be bringing my 4x5 Toyo. Any suggestions on lesser

known locations etc?

Fuji Velvia (vivid) and Astia (natural) are good choices, and I use

them at their rated EI's of 50 and 100 with no problem. I think Astia

has 1 - 1 1/2 more stops of contrast range than Velvia, which makes

it rather more flexible in practice.

 

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Black and white - I like Tri-X and Plus-X rather than the T MAx's /

Deltas T-grain technology, but this is a matter of personal taste.

An 8 sheet film pack called "Quickchange" is available in Japan from

Fuji - Velvia, Astia and Provia etc. Needs a special holder, which is

quite pricey. Consequently I've stuck with Fuji Quickload.

I have an older version of the Nikkor 300mm f/9, which has a switch which can toggle between "X" and "M". What is the meaning of the settings - I assume they are to do with flash sync?, and what is the correct setting for normal daylight photography? Does the setting affect the shutter speed in any way?

The Fuji and Nikkor 450's are good.

 

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You could also look at a telephoto design such as the Nikkor 500mm -

needs about 350mm of bellows draw to focus at infinity.

I am interested in using highly dilute developers (HC-110 / Rodinal, at dilutions of 1:100 or more) with sheet film in order to obtain a long smooth tonal range that successfully controls highlights. I recognise that this means very long development times - does anyone have a table of development times for this approach that I could use as an initial guide? I mainly use Tri-X, but might use FP4 for this purpose.

Lenses ; 90mm f/8 & 300mm f/9

Camera ; Toyo Field, w/darkcloth and bellows hood, spirit level and

Meter ; Pentax digital spotmeter

Film ; Velvia/Astia Quickload, plus about 5 filmholders with Tri-X.

Filters ; Yellow/Orange/Green/Polarizer

Tripod ; Manfrotto

Lightweight tape measure (for close-up work)

 

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I'd like to know what cases people use for backpacking with 4x5, and

whether people find a focussing loupe helpful in the field.

Ishii-san ; this is not an answer to your question, I just wanted to

know what sources you used in Japan for large format photography. I

live in Tokyo, and use a 4x5 camera, but would like to move to 8x10,

or larger. Thanks in advance.

If you're in Tokyo, go to Tokyu Hands in Shibuya or Shinjuku - they

have every possible variety of spirit level, many of which are

suitable for view camera use.

I have come across a Schneider APO-Symmar 180mm f/5.6 at a very good price. Does anyone have experience of this lense, and how it performs?

Among the many excellent articles, I particularly enjoyed the recent

feature on Jack Dykinga - interesting comments from the photographer

(particularly on the need for solitude), and superb photographs.

Just bought "The Book of Pyro", and although the film tables are excellent, they don't list one of my staple films, Kodak Plus-X pan.

 

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Does someone have a guide table for developing times of Plus-X pan in PMK, for N+1, N and N-1, for both 68 and 70 degrees? What EI is recommended?

 

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Also, my main method of development is single sheets in trays - Gordon Hutchings recommends 1 - 1.5 litres for each sheet, which is a large quantity for a one-shot developer! Is this to guarantee consisitently excellent results? What quantity do people generally use for 4x5?

 

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Thanks

I don't think that your calculation above is correct. The bellows

factor only applies in practice when a lense is extended beyond its

normal focal length, in order to magnify the image. In your

calculation you produce an exposure factor of less than 1, which

implies that you would be reducing, not increasing, the exposure. I

have never come across this, for the simple reason that, by

definition a lense cannot be focussed at a bellows draw less than its

focal length - i.e. a 150mm lense could not be focussed at 75mm.

(Telephoto designs, by dint of their design where the lense nodal

point is in front of the lense, can however be focussed at a bellows

draw less than focal length, but I don't think that this applies to

the example you have given).

 

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Normally you get a 1:1 subject : image size by extending the bellows

to twice the focal length of the lense - in your example, 300mm. The

bellows factor is therefore (300^2)/(150^2) = 4, or two f-stops.

Thanks for all the responses above. My technique has so far been very

similar to Ray Dunn's, i.e. a process of iteration, which can

sometimes work very quickly, and at other times take forever (while

your head is getting boiled under the darkcloth!). Then I read the

Sinar introductory guide to LF, and given that they seem to have a

mechanical technique for determining tilt, I thought that this could

easily be replicated manually. I'm going to try all the suggestions

above to see if I can establish a practical technique. Regards fw

I know it's a bit basic - but how do others focus a 4x5 camera, in a typical near/far situation which requires lense tilt?

 

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Do you focus first on the foreground, then tilt to get the background in focus, and then fine-adjust? Or the other way round? Or some other technique?

It's easy to get comprehensive technical information on the web for Kodak films. I cannot, however, find similar information for either Fuji or Ilford films. Can anyone help with relevant url's? Many thanks, fw.

Could someone please recommend a mail-order / internet source for Gordon Hutching's "The Book of Pyro"? Also, does anyone know of a source for this developer in a ready made solution in Tokyo? Many thanks.

I would urge you to read Ansel Adam's "The Negative", which is

probably the best photography technique book ever written. You will

find the answers to all your questions there. A close second is "The

Print", the next book in the series.

What are peoples' favourite black and white films, how do they rate and develop them?

 

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Is there a good source on the net for development with pyro - I would like to try this, but don't have much information.

I have an old Toyo metal field camera, simply described as "Toyo metal field, 4.75 x 6.5". I bought it with a revolving 4x5 back, but I've heard that there may be a 5x7 back available. Does anyone know if this is the case, and if so, where I might locate one? I have just returned from northern Japan where I used this camera extensively, and the results, with Fuji Quickload, have been exceptional.