john_kasaian1

Even my lowly, elderly Elwood can project an image vertically on to a wall mounted easel. The problem is keeping the easel square with the lens stage of th e enlarger. Probably a verticle process camera with a buit in vacume easel would be the way to if you want to convert something into an enlarger as others have already mentioned.

Check out Ansel Adam's excellent book "The Print" for a description of that particular enlarger. I remember reading that it was built around an 11x14 camera.

Andrew,

 

Rent or borrow a LF camera from someone in your town and play with it. Show your Boss a couple of knock your-socks-off 'chromes and the rest as they say, will be history.

I agree with john nanian. Your 250 and 500 shutter speeds are fast enough. Remember to insulate your camera from the ship's vibration with your body---don't let any part of the camera touch the fusilage! Helicopters in particular are very good vibrator generators! Don't let the bellows get anywhere near the downdraft from the rotor! That down draft is strong enough to capsize a small boat and will do a 'number' on bellows.

 

Have fun!

This morning's thought---you said the Dagor has C.P.Goerz New York on the dial, which makes me suspect it is in a dial set compur. IMHO,these a very usable shutters(the Genreal was a crummy look-alike copy of the dialset) if this is the case (and the glass is in decent shape) 250 bucks would make it a steal.

Depends on the condition of the glass and the shutter. If the glass is pretty good and the shutter is working properly it is a very good price for a very great lens. If the glass looks like someones taken a brillo pad to it, looks like its suffered impact damage or the shutter is an old Ilex General or looks like it was mounted by a shade tree lens mechanic, I'd suggest passing on it. FWIW I wouldn't let a few cleaning marks or a cla put me off though. My opinion YMMV.

Richard,

 

I'm really happy with my Unicolor processor. It handles it all---4x5, 5x7, even 8x10! Its a lot of bang for the buck.

If there is any stitching best avoid compounds which are petroleum based as they'll tend to rot the stitching. Also check with the manufacturer to see if your bellows has any kind of waterproof coating like sillycone applied since you'll probably not want to use anything that could be incompatible. Neatsfoot oil(pure,not the compound,) glycerin, mink oil, beeswax(not parrafin,)lanolin, Corona(not the beer--you can drink that while you're applying the grease) Udderbutter, and Hoof Alive are all tried and true favorites. If you're worried about varmints munchin' on your leather when you're out on the dusty trail slap some castor oil on your bellows you'll sure change those critter's minds in a hurry!.

 

Cheers!

Ted,

 

My ULF experience started with a BHPC (a Big Honkin' Pinhole Camera made from the box my computer can in) that looked like a holstien hiefer.

 

After what was possibly years, I lucked out on a very afforable 12x20 Folmer and Schwing with a holder and an iris lensboard to accept barrel lenses(on eBay.) I've since added a second holder and a Nikkor M 450 f/9 (and a bottle of bellows patch stuff from Equinox Photographic)

 

I've also been toying with the idea of making another pinhole out of a wine barrel(I hope to get that barrel emptied soon---hic!)

 

There has been no rhyme or reason to my ULF experience---its been completely a matter of whats available that I could afford at the time ---and I wouldn't want it any other way(ymmv)

 

Have fun!

Avi,

Since you're just starting out, what lenses are you using? Do you have long enough bellows to focus them? It sounds like this may be your problem. Also, (and this is really basic, but surprisingly is often overlooked)are you sure you're trying to focus with your lenses wide open and no film holder in place? Are your camera's movements in a neutral or detent position or are you trying to focus after adding swings and tilts? These are problems that are often encountered when making the jump to LF. Good Luck!

Steff,

 

IMHO, The biggest difference between hand held and tripod mounted LF is that movements simply are not an option when working handheld(maybe someone more dexterous than I can use movements, but I sure can't)which is why I think speed and crown graphics are still so popular.

John,

 

Sorry I'm unfamiliar with your lens, but I've had some experience with trying out Ilex and NuArc process lenses on my enlarger. IMHO the ones I've used perform wonderfully. The only issue I have is that I haven't found one that opens up larger than f9 so focusing can be a bit dim. Depending on your light source (mine is diffused) this might not be the best deal. I replaced an f/9 process lens with an f/5.6 copy lens and everything is now bright a lot easier to compose. YMMV. I'd recommend trying it out first. JML made some well respected lenses. Good Luck.

There are a lot of process lenses floating around. Some are excellent performers on cameras while some aren't as suitable. Unless you're into experimenting, I'd suggest going with a proven performer like the Artar, f/9 G-Claron, Ronar, Ektanon, Nikkor, Hexanon, NuArc and the Cooke Apotal.

 

Good Luck!

Ed,

Try contacting a neon sign company. You might be able to barter a few shots of thier rooftop work for an opportunity to do your own thing.

IMHO the Ries photoplane "A." Built like a tank. Mine arrived bent on an old tripod. I took the head off, put it on my anvil and beat the freakin' (r@p out of it with a 2-1/2# rounding hammer until it looked right. That was over five years ago and I've have no plans for replacing it.

Remember this:

Righty-tighty. Lefty loosey.;-)

For a more hands on approach, get some old throw away 4x5 negatives or a couple of pieces of sacrificial film and a holder, and using the directions you've read practice loading in daylight until you can do it with your eyes closed. Then go in the dark room or stick it all in a changing back and go for it! Its not all that hard and if others can do it, so can you. Polaroids and Ready loads are wonderful and have their place, but you might as well learn the basic routine first.

Larry,

 

IMHO, Steve Simmons book "Using The View Camera" is an excellent place to start. Also check out the Info articles at View Camera magazine's website. If there is a community college in your area you can inquire about any photography classes that cover LF photography(these seem to be rare---you're more likely to find a classes offered in digi-photgraphy I'm afraid!)

 

After reading Simmons' book, get yourself a "kit" and have at it!

 

Good Luck!

Timothy,

 

I really don't think that there is that much to be gained in the differece between the 300mm lens you use and a 250mm lens. My experience is that I need at least 100mm difference in focal length in an 8x10 lens to offer a truly useful advantage. YMMV, and there will slways be exceptions of course. If you are looking to replace your 300mm, or feel the need to pack a "back-up" then by all means look at a 250/240. OTOH, If you're looking to expand on your lens "deck of cards" you might want to look at something wider.

My 2-cents:-)

At the risk of sounding like a Luddite, I think you should get a Beseler 45 or D2 with a color head! Michaelangelo wouldn't send a scale model of the David off to someone to make it into a full size statue for him, so why would you do that with your negatives?

martin,

 

Young man, go 'Dorff!

 

As pointed out in many posts, Deardorffs are chick magnets. You don't see Gisele Bundchen hangin' with Tachis, do you?

FWIW, Folger's Instant Coffee crystals in a Bull Durham bag makes for a ducky dessicant. Smells like Starbucks too.

 

Cheers!

Aaron,

 

For field use or in the studio?

 

For field use, take a look at Ries if you prefer rock solid stability over wieght savings. Mine can handle stuff all the way up to my 12x20.

 

Cheers!

John,

 

Mid West Photographic, Igor's and Equinox would be my first choices(Of the three, Mid West seems to have a more consistent supply in stock) Maybe they aren't the cheapest, but I think they are very reasonable and if I get a "stinker" I haven't had a problem exchanging for another holder. Brooklyn Camera and PhotoGraphic Systems are also worth checking out. I think 2/$45 or thereabout is the going rate for the wooden graflex and agfas these days, slightly more for plastics.

Markus,

 

I like the wooden graflex ones made for eastman kodak because the covers on most all the graflex holders I've seen will unscrew giving access to the light traps should they need attention. For aerials when working from an unpressureized cockpit, I prefer plastic since the patterened plastic will leak air pressure, keeping your camera back from becoming immoveable due to the vaccum that builds in the lenscone when gaining altitude and the spring back functions like a one way valve.

 

FWIW I've bought both plastic and wooden holders off the used market. In any batch of used holders, accept the likelyhood that there are going to be a few stinkers(lets face it, these things are old and often well used by the time we get a hold of them.) If you buy from a reputable shop you can usually exchange the stinkers for different ones. If you're buying from a private party you can either cannabalize the broken ones for parts or try repairing them. The damaged plastic ones I can often repair with PC-7 epoxy. The wooden ones I keep for parts in order to keep my other wooden holders "on line" and sometimes I'll even have enough parts to assemble the odd "frankenstein" or cannibal queen holder.

 

Unless something is dreadfully wrong(like they're warped) either plastic or wood will work (BTW plastic ones aren't immune from warping if, like the wooden ones, they are improperly stored)

 

Good Luck!