jerry_flynn1

I have a 240 Schneider Symmar of 1960's vintage that I used to use as slightly long lens on 5X7. It is mounted in a Compur #2 shutter (which I understand is something of an oddball item). It is a single-coated convertible (415 mm I think - I don't have it here in front of me). I continue to use it as an even longer lens on 4X5 and have been satified with its performance.

 

I don't suppose they are widely available, but it might be worth looking for one.

Since the site Kipling directed you to did not show the f1, I'll add that the difference is that 1) the f2 front standard has a solid block the wraps around the rail, while the f1 has a cage-like arrangement that latches around the rail 2) the f2 front standard has a fine-focus drive and f1 does not (only coarse focus) and 3)the f2 has separate shift and swing controls front and rear. The f1 uses the same lever to loch the swings and shifts.

I user a Pelican 1610 for my f2, four lenses, wa bellows, extra normal bellows, spot meter, 2 6" extension rails and a swing-out filter holder without any need for disasembly of the camera. I also have the photo lid liner that has a number of pockets where I keep filter rods, clips, etc. It replaces the normal foam lid liner.

 

This case is not one for the back country (it functions like a rolleer board suitcase -- wheels and fold-away handle). I have taken this as checked luggage on airplanes many times, and it has held up very well. The foam holds everthing in place very nicely. After a few years, I replaced the foam inserts -- I found the little cubes come loose after repeated use, but it is not expensive to replace the foam.

 

I'm think you would find a smaller case durable enough.

For normal negative, use type 55. The type 51 is a special purpose ultra high contrast film.

I am also a Sinar user, although I have used other cameras, I could not claim to be unbiased. You mention that the Sinar system is expensive and it is -- unbelieveably, in fact -- if you are buying new. Sinar was something of a standard in professional studios for the last thirty years, so very large numbers of them were sold. By the same token, as professional studios are changing over to digital, they are selling off their large format equipment. Therefore, there is a large amount of Sinar equipmet on the used market at this time. I think the street price for an new F2 is something like $2400. An excellent used camera can be had for around $1000. Accessories are available at very attractive prices, too.

 

So, while many people will suggest truly excellent cameras like Arca-Swiss, Ebony, Linhof and the like, I do not think you can get into any of those systems as readily or cheaply as Sinar at this time.

In April, Ilford posted a PDF on their Web site indicating what products they would be stocking. The 7X17 HP-5+ indicated "whilst stock lasts". 11X14 was marked "Stock" and 12X20 as "Enquire".

In addition to Donald's list I'd add the Minneapolis Institute of Arts (Third Avenue at 24 th street in Minneapolis - currently there is a exhibit of photographic ephemera as well as some selections from the permanent collection. Aslo, the Icebox Gallery 1500 Jackson Street NE #443. Cuurently showing Erica Stone

I bought a 180mm Symmar new in 1973 and used it extensively for thirty-some years. Recently, I replaced it with a Caltar-II N 180. The Caltar appears to be sharper. I am not sure whether it is actually resolving more lines/mm, but the increased contrast gives a definitly snappier looking negative.

The disadvantages of the A1 are that it does not use the same rail as the rest of the Sinar line. It is an "a" shape in cross section. There was a 6" extension available, but other Sinar accessories that fit on the rail, such as multipurpose standards, will not fit. The rail is about 18" long, which I thought made it a bit cumbersome. There is no rail clamp as such: there is a sliding attachment in a channel on the under side of the rail. This means the rail sits down flush on the tripod head. I found that this caused the rods for the rise/fall to impinge on the handle of my tripod head in some cases.

 

Other components are the same as the F1.

I am a firm believer in to each one's own, but I have used both the Norma an various F's and the A1. I did not find the Norma any more compact nor rigid than the F2. I was also surprised to hear that the F did not have lateral shift: my F+ definitely did. I thought the only difference was the rail clamp.

I have used both an A1 and F2 in the field. Of the two, I would recommend the F2 mainly because the rail is shorter and will fit a backpack better. I use an Eddie Bauer pack I got at Target that holds the camera, a couple of lenses, dark cloth, a 6" extension, spot meter and WA bellows. The film holders - Grafmatics, go in a pouch on a belt around my waist. This is not a setup designed for hiking into the back country for a week, but worked well on a recent trip to the 4 corners where I was hiking relatively short distances.

A couple points to add: I think Trojan Horse is comparing an f or f+ to an f2: the f1 has the same larger knobs as the f2. The f2 front standard bearer wraps all the way around the rail rather than the drop-on design of the multipurpose standard used in the f1. This drop-on design is the one that people have complained of breaking and not being rigid. Another point, besides the front fine focus, is that the f2 has separate swing and shift locks on the front and rear standards. The f1 has one lever that locks both swing and shift. I always found that a bit annoying.

Since the Sinar and Horseman lensboards are interchangeable, you should have no problem with the DB lensboard. Sinar and Horseman bellows are also interchangeable, so a Sinar Auto aperture shutter should fit - it's required for the DB lenses.

You can get an idea of what a Handy looks like from the website of Glennview in Chicago http://www.glennview.com/sinar.htm. I've never used one, but i think it is essentially a 4X5 format frame with a ground glass back on one side and a lensboard with a focussing mount on the front side attached to a handle. In other words, only one standard and no bellows. Therefore, tilt, rise, etc. would not be applicable (shift, maybe).

If your question is whether there is an accessory show available for Sinars generally, the answer is yesy.

 

There is an accessory shoe that fits into the slots on the top and sides of the front and rear standard frames. I do not know if it is made any more, but I have seen them offered as used (infrequently). As adised, Glennview may be a good source.

I use Grafmatics all the time -- have for years -- and have not had this problem. I think from reading your description that this is consistently happening with only one septum(?) The edges of the septum are sort of squeezed in towards the closed end in order to grab the film to hold it in place. I wonder if this is worn out or bent. When you load the septums, it usually takes a tiny, little extra push in order to get the film to catch. Are you feeling this when you load the septum?

If you are removing the packet for later processing, the procedure as described by Polaroid for their current holders is to:

1) Remove the holder from the camera

2) Leave the lever set to "L"

3) Press the release and while holding it in. use the thumb of you other hand to slide the envelope until the clip shows. Then pull the envelope from the holder.

 

In other words, pressing the release alone is not enough.

I agree with Mark and Jim. Maine Photographic Workshops take place in an atmosphere very condusive to gaining inspiration to excel. The setting, wide range of participants, workshop philosophy and level of instructors is top-notch and worth the cost in my estimation. (I took the Master Printing class from George Tice.)

I have used the 5X7 size, not 8X10. They worked OK, but being as thin as they are, the dark slide can be a bit tricky to grasp. They only make sense if you can get enough of the holders to make a difference. One or two holders and the clamshell aren't significantly less bulky that two regular film holders eight or nine would be much different.

There is such a thing as a 6" extension for the a1. It is not the same as the f or p series cameras.

 

I was able to get one from B&H, but that was a couple years ago. They may still have some new old stock, though.

The differences as far as I know in the various "f" models:

 

The original "f" had a "low profile" tripod block. The "f+" replaced this with the same rail suport as used by the "P". The front standard for the f and f+ is the multipurpose standard that is designed to drop onto the rail and latch from underneath. This arrangement provides only coarse focus, and as some have noted, is the source of most criticism for these cameras. While I have never broken one, some people have experinced problems with the standard.

 

The f and f+ use a pointer on the left side of the rear standard for the "two point focus" swing/tilt calculator. The coarse focus locks are relatively small knobs on the under side of the standard. The rise/fall locks are similalry small and on the right-hand side of the standard. The swing and shift are controlled by the same lock, so you have to be careful when using both adjustments.

 

The f1 repaced the pointer calculator with a rotating dial, which is more convenient. It also has larger locking knobs for the fine focus and a large knob that is concentric with the fine focus for the rise/fall lock.

 

The f2 has a different front standard that wraps solidly all the way around the rail, a fine focus on the front standard and separate locks for the swing/shift.

 

I have worked with all models, and like the f2 best, primarily for the separate swing/shift locks. The f1 and f2 do not fold up as compactly as a f or f+, though. With those cameras, it was possible to disconnect the bellows from the rear standard, fold the rear standard all the way forward, raise the front standard all the way and fold it backwards and wind up with a fairly compact package.

 

All f cameras use the same accessories, that is to say, most everything Sinar ever made for Norma, P, P2, etc.

From experience, I can tell you that any will work. (There is no meter-back version for 5X7 -- just for 8X10.)

All formats of Norma, P, P2, F, F1, F2 models use the same lens board. Only the new F3 differs as far as I know.

 

Also, Horseman lens boards fix as well.

 

All are readily available new and used drilled and blank.

The short answer is, defiitely yes, Polaroids have been used as "end product" for some time. William Wegman and Cindy Sherman are examples of people who have used the ULF Polaroids as finished art. Lukas Samaras produced a number of SX-70 works.

 

From fairly early days after the invention of the process, Edwin Land employed art photographers to test the technical as well as aethetic aspects of the materials. He started with Ansel Adams and later added Paul Caponigro and William Clift, among others. Adams and Caponigro published books of Polaroid works (Singular Images and Seasons, respectively) and Adams produced a technical manual that stressed the creative possibilities of the medium. Both Adams and Caponigro included 4X5 Polaroid prints in portfolios of tradtional silver prints.

It seems to me, someone said that the Adorama alalog meters are the same as the old Soligor SpotSensor II. If that's the case, I've been using the same one for over 20 years and it has proved to be reliable. For what its worth, one time when I had it in for a calibration check at a local camera repair store, I asked about parts availability. The tech told me the components were the same as the Pentax analog meter, so parts were no problem. I assumed he knew what he was talking about.