gudmundur_ing_lfsson1

If the processing is done in a JOBO they need to presoak soch a big

sheet before they develop it or else they make streaks.

Paul, you should realy consider the Cambo Wide for that lens. On the

Cambo you can do the only movement you need, that is shift. You can not

use it without the CF when using 4x5"and the best is to leave it on all

the time and to focus with the scale. I had intended to use it to make

6x12 cm panoramic landscapes but it is much too wide for my taste, but

for thight interiors it is great it turns a crummy single room into a

suite, so now it is the secret weapon when photographing hotels.

The Rodenstock Grandagon-N 115mm is a great lent that covers 8x10" at a

close range like for interieor architecture. The optical quality equals

that of a Super Symar XL 150. If you are photographing landschape on

4x5" only it might be somewhat of an overkill and it might a bit too

havy.

There is no field camera that compairs to the LINHOF Technika

in the precicion and durability. Most of the Technikas of the

model III made almost fifty years ago are still in use and as

precice as ever and fetch a higer price than the Shen-Hao new.

So you want us to compair a Mercedes to a Lada. On the other

hand a Shen-Hao is a great camera for the price if you can not

afford a Linhof MT. The Linhof may be hevy but so is the teak

body of the Shen-Hao.

JOBO says 270 cc minimum for the 3005 drum. For 1 or 2 sheets that is

sufficent. For 3 sheets you need 380 cc, for 4 sheets you need 510 cc

and 630 for 5 sheets. Those quantities are enough if the developer is

not too diluted. Maybee you use a too slow a rotation speed. Jobo says

50 cycles a minute.

Nothing compairs to the VCL 8100+the Metrolux timer.

But Ariso also makes a lamp called V54 I think it is their new

standard lamp and you can buy that as a replacement for all their

older heads.This V54 has a color comparable to a tungsen lamp

so you can use normal filters to adjust grades from 0 to 5-6.So

finde a used 8x10 head and replace the lamp with a V54 if it has

not got one alredy ( or start saving for the VCL8100)

If I remember correctly it was Ansel Adams and Barbara Morgan that in

the early sixties defined and advocated archival processing of B/W

prints. The idea was to fix well but not over fix to, treat against

hypo with hypo clearing agent. To take care that each print would get

thorough washing, to tone with selenium to increase permanence and to

air dry to avoid contamination from dyer aprons. The Ilford Sequence is

based upon their Ilford Hypam speed fix full strength. One minute in a

used fix and an other minute in a fresh one but with a lot of

agitation. During those two short minutes only a minimal amount of hypo

can penetrate into the paper fibers and so you can wash in a shorter

time. The fresh hypo bath and the agitation guarantees that the silver

is fully fixed which is important for the washing because complex

silver compounds that are formed by inadequate fixing are difficult to

get out of the paper. To save time you can mix hypo clearing/perma

wash(freshly made) with selenium toner (4 liters working solution with

200cc Selenium toner and 50 grams Kodak balances alkali). To my best of

knowledge and experience this goes for all bromide and chloride papers

Film holders are not very precise and they may vary within the

brand just as between brands. Keep them all because in the

long run you have never got too many holders.

The ideal 5x7" enlager is the 138 Durst either with condensers a color

head or with the Aristo VCL 4500 and a 5x7" adapter. There are many

5x7" Durst enlagers for sale in Europe. Have a look at http://

www.homrich.de and look at what they offer

I once asked a professional picture framer to recommend a matt cutter

to me. He showed a small device to me an said this is what I use if

I am not into production. This cutter costs around $15 an then you

need a good ruler. This thing is called OLFA Mat Cutter and is

made in Japan OLFA Corporation OSAKA 537. And there are "V" type blades

included.

I was stupid enough to think COMBIPLAN was made in Sweeden or

Germany

The Fujinon you are looking for is the 250 f 6,7 not the 6,3 W

This is a somewhat older Fujinon without the Electron beam

coating (EBS) , (mine was bought 1987 ) It is in a No 1 Copal

and covers almost 400 mm at f22 and infinity. A Jap copy with

new features of the Kodak WF Ektar 10" 6,7. There is also a

great almost unknown Rodenstock Sironar W 210 f 5,6 with a

huge coverage but is heavy in a Copal 3 shutter. Both those

lenses are of great quality and you almost ever see them for

sale.

I have an Ademco 2226 Press like this that is about 18 years old and

costed a fortune then. On the front of it there is the address

from that time ADEMCO Ltd, Coronation Rd, High Wycombe, Bucks,England.

To my knowlegde the company is still in existens some said they had

merged with Seal so also look for their adress in England. I think

the heating element is made from resistant wire like the element in

a toaster so contact an old and experienced electrician and ask for his

advice.

The Phillips Compact II is the 8x10" for the field. The Toyo M the,

Ebony S,the Sinar Norma or the Sinar f are all just as ridged but look

at the weight. The Chanham is also light but somwhat too overdesigned

and complicated to fold. The Phillips Compact is father light, simple

to operate and absolutly ridged. But then again if you have got two

assistants or better three get the Sinar P.

If you look at the hompage of the english photographic dealer

Robert White www.robertwhite.co.uk there are photographs and

information on this system as he is now selling it in Britain.

I seems to be the Grafamtic reborn in a Japanish edtion a great holder

refined by the Japs.

I would like to heare somones experience and opinion on Schneiders

G-Claron 210mm as a landscape lens ! I have a NIKKOR-M 300 that I like

very much but the 200 Nikkor-M has somwhat a small circle !

I I have a Master Technika made 1976 (25 years old ) that I got

as a swap against an 8x10" Deardorff (almost new but a camera

that I never liked) with a litle additional payment . This was 7

years ago and the Technika that was then 18 years old neded no

service and has not needed any yet except for a small drop of

lubricant on the bed now an then. The swap happend in

Germany of course!

First you peal off the skin then you will find the scews and also on

the inside I think. You can later paste the skin on again with contact

glue.

Is this an advertisment for Elincrome? I have three power packs made

way back in 1983 which makes them 18 years old. They never brake down!

Those are realy "swiss made electronics" I also have a set of three

Micro heads about four years old that brake down now and then and I

would grade them to be of medium quality. This might be caused by the

fact that Elincrome is now sold for a much lower price than back in

1983 and the company is under english ownership and management. They

used to have great synccords now their cords are made in India I think.

No flash! No tranceparency film! Fujicolor 800 Color negative film

also available as 120. It gives you great color in the normal stage

lighting. Then you either have it printed on paper or scanned with a

film scanner.No sheets available though!

I once bought a 165 Schneider Super Angulon for my 8x10" from

SINAR/Schaffhausen. It may have been "hand picked" at least it had

the SINAR name engraved on the front cell. I sent it back to Sinar

and they sent it to Schneider and they both agreed it was OK. What I

did not know was that the 165 Super Angulon was born a lousy lens and

no one dould change that and when I had had the lens for some 14 years

wthout using it I sold it to somone that knew wat he was buying for

about one fifth of what i had paid for it. I now know that Schneider

has made a mense by making a 150 Super Symar XL that costs only a

little more than what I got for my old unused havy and unsharp 165 SA.

The new lens is small sharp and 5,6 and much cheeper and was hand

picked by LINHOF which means I bought it from them and they engraved

their name on it. But lenses are like wifes: you better try to live

with for a while before you make a commitme

There is a camera on the marked that can be considered to be a copy of

the Arca Swiss Reflex; the Fuji GX 680. A great camera and a fast one

to use,but with a perspective control and a way to do a"Scheimpflug"

Die Tatsache is dass wenn man sich fuer dass grosse Format intressiert

dann verlaesst man sich am besten auf die Amerikaner. Ich bin auf

Island (Iceland) zu hause und hier gibt es keine Quellen fuer grossen

Film oder guten Pappier deshalb bestelle ich alles von B&H oder

Calumet aus der USA das geht am schnellstem so und auch am billigstem.

In Deutschland gibt es doch eine gute Quelle die ist auch im Internet

und heisst Monocrom.de aber gans billig sind die nicht.

Mit freundlichen Gruessen Gudmundu

I have had an Art Panorama 6x17 for some 14 years now an it is a fine

camera. It is fitted with a Rodenstock 90 mm and a center filter and

the pictures are of at least the same quality as those from a Linhof

or a Fuji. Focusing is done with a distance scale and since the lens

was fitted by a good craftsman this turning knob scale is quite

accurate. The film transport is rater slow: you use a hole covered

with red filter to move to farme No 3,6,9 & 12. But there is a

ground glass included to focus on close things and do exact framing

but you have to do this without a film in the ca

I just got my order of Rollo Pyro developer(Leban) delivered and I want to use it to process Bergger BPF 200 and HP5 film. Any suggestions for

time/temprature for N- N and N+ for those films in Rollo Pyro? I need

a starting point because I hate testing.