gudmundur_ing_lfsson1

This a very nice camera for architectural interiors, but much too

wide for senic photography. I have a shoe mounted viewer that is not

very exact because of the very wide lens so you need to use the ground

glass for exact framing but you can focus by estimate on the scale

because of huge debth of field.

When the lens is focused at infinity the image that is made by the lens will have a diameter of 398 mm meaning it will be big enogh to expose a piece of 8x10"sharply with some extra for shift. (no retrofocus)

This is a wide field lens for 8x10". Similar to a 10" Wide field Ektar.

Good quality and OK for table top work but not especially sutable for

macro. You would also need a very log bellows draw. The covering at

infinity is something like 398mm.

 

Gudmundur Ingólfsson

I just got some 5x7� FP4+ sheet film that I want develop in a

3006 drum in my JOBO. I have not used FP4+ film since I did

some tests with it in a Oliver Gagliani workshop sixteen years

back in 1987. Any suggestions for developer, times,tempature

and rotation speed and film speed ? I have HC110, Xtol and

Rollo pyro.

The Sinar P has the same plastics (I think it is nylon) but they used to

be black so you belived it was something else. My Sinar P is twenty years old and still as good as new.

I did not lern about this "4th" layer in the new ASTIA 100 F till I read

this post on the forum. I will get some more rolls tomorrow and test it

in fluorsent light.

There is a new Astia 100 F. I have tried it in 120 format and it is great. The same old feeling of old "Kodachrome" like the original ASTIA but finer grain. We all hope it comes out in sheets. But I have also tested the new Velvia 100 F in 4x5" sheet. It is fantastic, real ISO 100 compared to real ISO 40 of the old, same but slightly thinner color palett. This could subsitute your Astia if the new Astia 100 F does not

come out in sheets. Did anyone speak of digital killing film?

This is the instant color film we have been using in Europe for

testing since 1990 and has completly taken over polaroid due to

its much better quality. It is more like an Iso 125 so when

shooting EPR 64 you open up one stop. When using Astia or

Provia open up 1/3 to 1/2 from the test. For highlights to separate

and shadows to open up it need to dry.

 

Gudmundur

I did some tests in the Gitzo shop and now I have a 1375M head on a

1227. This combination is great for the RW45 and it does not get much lighter.

There is a person in Germany that might have a clue or a bulb for

your Durst 138/184 enlarger. Try to contact Wolfgang at

FotoserviceWJungkunz@t-online.de. There are other solutions:a

color head like the C 300 or my solution an Aristo VC cold light

head + a Metrolux timer with a probe conecting the head and the

timer. It is not quite the same as condensers but there is less

print spotting. Just do not give up 8x10" for digital.

 

Gudmundur

Gleðilegt og fasælt komandi ár !

 

from Iceland

Gdmundur Ingólfsson

- They all drive Jaguars and are called "the Stuffsky´s"-. Their great

influence are realy people like Joel Sternfeld and William Eggelston.

You need to see their impressive Diasec-prints to enjoy their work.

There is also impressive marketing at work here!

I am 56. I have taken photographs since 1956. With a serious

interest since 1958. Started shooting 4x5" in 1968 in

photography school in Germany since it was mandatory. Got my

first 8x10" in 1982 and an enlarger for that format in 1983. I like

the big pice of film the more I use it longer. Recently I started

potographing digitally because of clients demand. I still like film

better, the bigger the sheet the better the results ! My camera for

snaps now is a 6x7 cm one.

Printing color is very easy. In fact much easier than printing b&w.

The paper is also cheeper than b&w. My favorit paper is

Fujicolor Crystal Archival that has double the color permanence

of Cibacrome. Here in Iceland it is less expensive than Ilford

resincoded Multigrade. I like their luster surface since it is

almost as brilliant as their glossy but you do not have to wear

white glowes while handeling it and when put behinde glass

there is only one reflecting surface. An the rule of filtration you

dial in the color you want to get rid of or dial out its

complimentary color. Say it your print is to blue you increase the

filtration in C+M or decrease Y. Another rule; you only use two

filter colors at the same time the third only gives you neutral

density. So go and print in the darkroo there is no book to

sustitute that. Have fun!

If you are processing your own 4x5" E-6 never ever use the

3 bath process, it is intended or rather was intended for press

photographers in a hurry. They all now use digital. Use the six

bath process, it is much softer and of better quality. Then you are

never supposed to put the stablilaser into the processing tools,

neither the reels or the tanks since it might cause uneven

development later. Put the stabilasier in a small developing dish

and put the sheet or film in there. Thus you will stabilize properly

and not contaminate your tank and reels.

I am one of those that have invested close to 25K in digital

equpment. Mostly due to a pressure from clients. You charge the

same for the jobs but you save on material and processsing

costs and the client saves on pre press costs. The great

advantage is that you stop shooting as soon as you know the job

is done and then move on to the next . But I still like film better.

There is no magic in digital photograpy. It is as sex must be in a

bordello; cheap, easy and fills you with guilt!

I have a few Rodenstock lenses bought 20 and 16 years ago.

Three Grandagons (75mm,90mm and 115) , two Sironars

(135 mm and 360 mm) I find those still a state of the art lenses.

My Grandagons still compair favorably to my 47 XL Super

Angulon and 150 XL Super Symar. There are however to superb

Rodenstock lenses whos image quality stands out whenever

enlarged; the 210 mm Apo Sironar W and a newly bougth 135

mm Apo Sironar S. Those are great semi wide angle lenses with

a big image circle and suberb contrast and resolution. It is

regrettable that the Apo Sironar Wide series found so few buyers

that it had to be discontinued.

The Liesegang was called Rajha 5 and the maximum film size

was 9x12 cm (4x5"). The lamp head was very hight and the bulb

was easy to adjust for an even illumination as it was fixed to the

end of a long rod inside the lamp house. The baseboard had

some device to tilt the easel to adjust the perspective.

Some rumors told that it was originally designed by the late

Andreas Feininger in the erly therties. I used it a long time ago

and it worked nicely.

Try drying them without the hot air. That is let them dry over night

after a bath in a photo flow water. In my experience you have to

be carefull with Ilford and especially Agfa.

Reinhart Wolf was a german advertising photographer and filmmaker, that

passed away some ten years ago. He started documenting building in the

late sixties by photographing monumental brick buildings in Germany

then the skyscrapers of New York and the Castels of Spain using an

8x10" and long lenses. He also dit books on the food of China an Japan

where the superiority of large format food photography is well

demonstraited. Early on in his carrier he was also a great portraitist.

You need to adjust the bulb in your enlarger so that it covers the

whole negative.Usually you can loosen the road to which the bulb is

fastened and move the bulb up and down and to the sides till you see

even light ont the easel when there is no negative in the carrier.

There is a link on this page about sheet film home brew E-6. But I

would not try it for any consistent result with anything less expensive

than a manual JOBO lab. Something like CPP. The first developer is

very sensitve to temprature and a 0,5 degrees centigrade off screws

your film speed. But if you shoot a lot of 4x5" cromes this is a way to

save money.

SP stands for spot and AV stands for average. You can either

mesure with the spot in the viewfinder or an average of evrything

you see in the finder.

Try a thicker sheet of plexiglass under the lamp.

Try ARISTO, 35 Lumber Road, Roslyn, NY 11576, USA

Tel: 001 516 484 6141 and see if they can make their V54

tube fit your Durst Taucoli which is very old and has not been

made for a long time I belive. You can print on VC papers with

the V54 but the Durst tube was verry blue and thus for graded

papers only.