r.l.__mac__mcdonald

John,

Your getting Great answers... I'm not a Landscape guy, but just helped a couple of local newbys here and the one impression they both had, was that using "movements" ment the Camera had to be tied in a knot. For landscape work the use of movements is very subtle and the rules of general photography apply. At least that's how it works out for me on most landscape(and or distance) exposures. Another thing that can help is to make sure your camera is setup at basic zero before you start making use of movements, and if your having difficulty with focus start back at zero and take more care watching what the movements(adjustments) are doing. Also as has been pointed out, what you see is what you get. Use a good loupe and listen to your glass. And after you have Focused and cussed and focused some more. It's sometimes a good practice to check your focus after you make the exposure. I wish I did this more than I do.

I�m always very curious about gadgets. A while back I purchased used �Stearn and Co.� RB-67 Roll Film Back

adapter. It was billed as fitting my Old Kodak 8x10 and my 11x14 Studios. I don�t use roll film backs on my LF

Cameras but because I own 19 RB-67 Backs of various ages I was curious and Mainly because no one ever talks

about the �RB� back as an option for those that want to stick with roll film. I have always wondered WHY NOT as

the back is a very good and proven performer and is available in like new condition for a few hundred dollars (less

for a very early one). Well after looking this thing over I went to work and modified it to fit my 4x5 Wisners. The

thing looks really strange, as I milled everything that was hanging outside the camera back, away and Swiss

cheesed the swinging ground glass and film back holder. I then tried it and found the pivot to be to loose for fine

focusing so I machined it for a new bearing and pivot shaft and the damn thing works GREAT. This unit is made

out of a good (not Great) grade of cabinet plywood, and is really not that heavy, but I think I could machine it out

of Aluminum and reduce the weight by 50% but I have to many other �projects� for now. I have no idea why

anyone would put a roll film back on a 11X14 or 8X10 but it does make sense if you want a very inexpensive Med.

Format Camera with movements. After doing this and looking at my �Century� 4 up 5X7 sliding back, that seems

to be a better idea (takes up less space) than the swinging Stearn method. I don�t know if the above really relates to

anything but I guess my point originally was to mention that the RB back is a very good option for those handy

people on a budget..Oh, just one more thing! The very early RB backs work best because they do not have the fancy

safty lockouts that the newer units have.

SorryI missed the other questions. I would toss any unexposed film that was wet. You have no way of knowing where to crop on the glass.

But if you must... you may be able to feel the damaged area and adjust or take a sheet or two out and look at them to see how extensive the damaged area is. You don't say what format or if the film is dry now. Do not load wet or damp film into your holders the emulsion may stick to the holder and keep flaking off for a long time and reminding you in the form of large dust spots. The Foil works great just wrap in clean dry paper first and use two layers of foil the thin non comrecial works better. Post your location in AZ and see if you can come up with some fresh film. Most people around here are very helpful with these types of problems...

A sad story to say the least. But you are not the first to get film wet, before it made it to

the Darkroom. A few years back (before VIDEO) I was filming a college football game in

B/W 35mm it began to rain and snow and I thought I had my magazines all covered

and with the doors up so that if they got wet at least the contents would be dry and life

would go on. Well everything was going fine until I got to the forth magazine, by that

time everything was so damn wet that I failed to notice that the door of the forth

magazine was up( you would have thought that I�d notice the extra weight). So, I

mounted the Mag and pulled the darkslide which let about a gallon of water flood into

the camera. I found it when I opened the door to thread up. I was sixty feet up in the air

on a boom truck and I can assure that everyone in the stadium knew I HAD A

PROBLEM!

I went to the last mag(the back up) and put in place and proceeded to thread up like

nothing happened. After the game I cleaned up the Camera and filled it with fresh oil. I

then put the film on Greyhound and crossed my fingers. Three days later( yes the Bus

System used to have a Schedule) I headed to the Projection booth to see just how bad

the damage was. Well I was amazed, the only damage, was that the sound track was

gone and about a 1/16th of an inch of the image area was damaged. So I custom filed a

new aperture plate for the old RCA adjusted the Masking stops on the stage and

thankfully coaches provided their own live commentary, no sound track would be

needed, so nobody was the wiser. Ahhhh the benefits of being both photographer and

projectionist Two years later a Projectionist called me to find out just what kind of

�Format� it was because the Coach wanted to use it at an awards ceremony. So the cat

was out of the bag especially when they wanted the sound turned up.. So, I agree with

the previous poster, give it a try and plan on doing a lot of cropping and if you are really

concerned about keeping your film �on Ice� you need to throw a Tupperware Party in

the very near future. Best of luck and let us know how you turn out

OK - I have to ask... (sorry I've been thinking) when everyone is

talking "scratches" are you talking "damaged emulsion" to the point

of being a problem when printing? Or are these things you see and

worry about but really have no effect on the final product. I have

had a few(out of thousands) where I damaged the emulsion and I KNOW

WHY in all cases. But if you are talking about the "VISABLE" burnish

marks on the Base side, is this really an issue? As has been pionted

out, the grease works great. But in thinking about this issue I just

opened up a box of unused (Expired and not stored proper) 4x5 color

that I have had laying around. Allmost every third sheet has

some "VISABLE" marks on the base side from just the manufacturing and

packaging or a least that's what I'm guessing..... Any thoughts?

Joe,

<p>

43 here, started with medium format when I was 13(when I look at Old

negs, I think I was more skilled at 13 or at least had better

Artistic View, what ever the hell that is) now I'm back into LF for

the last 6-7years and enjoying it the last 3-4. As for the "50 year

mark" that you mentioned, well I remember when I thought that was

REALLY, REALLY, REALLY OLD! Now, I even know a few people

that "OLD". As for young people not being involved...... well I

think all of us "OLD" people need to keep trying to change that every

chance we get. They say "OLD People have a lot to offer" well so do

our young people.

Emile,

<p>

I have nothing to say except POSITIVE about my Wisner's...The first

time with the first one, did require a phone call, which was very

promptly returned by Mr. Wisner(I was concerned about opening and

closing)who informed me that my method was correct. Now it's seems so

second nature. As for "Durability", as good as any. As

for "Breakdowns" I have had None. As for "convienence and general

useability" well they do what they preform as designed and they work

well for me. As I have told others, I'm not sure I can justify

the "Full Geared Movements", but Damn,there are times when it's worth

every penny. Sorry I forgot that this is "LARGE FORMAT" so that

should read worth every EXTRA BIG BUCK... If you want or need more

information let me know.

Robert,

<p>

The Versalab is Great! I have the Big Beast, which I modified to

hold smaller sizes up near the top. After two years it looks as good

as the day I put it in service. One thing that I would add, is that

these are very heavy when in use, and in general take up a lot of

space. So only order the size you really need, you won't do as much

swimming with the smaller one....

Dave,

<p>

The 37mm for the RB or RZ (yes the RB can be used on the RZ, however

it will just have the features of the RB) is a Great lens for this

application. It's not 4x5 but you are talking about 6x7,6x9,or 6x12,

so not a big issue with this quality lens. So I second Miles'

suggestion. You will not be disapionted, I consider this one of my

most profitable lenses.

I use my "Versalab" Print Washer(The Big One), which I have modified

to take 4 pins through the dividers to hold 8x10prints and or

Negatives up at the top so they can be retrieved without going for a

swim. I use a Gravity Works for my 4x5,5x7, and reels. I wish I had a

Gravity Works for the 8x10, not that it is better, but it's so much

more fun.

Pete,

<p>

Like Tony, I have had excellent work done by "The Slide Printer." I

was using them for Printing only and was always pleased. They are

still a Local Lab for me. Now the NEGATIVE, I was not a High Volume

customer, But the last time I was in there (2yrs), I swore it would

be a Cold Day in Hell, before I subjected myself to the Rudeness of

one of their so-called managers, a women who definitely had a chip on

her shoulder. I since have found that I am NOT alone in this

discovery. I recently helped two students out from the local

University that wanted to try LF. They used "The Slide Printer" on

the recommendation of their Instructors "Local Lab List." The one

young Lady said she was almost in tears by the time she finished with

a women who helped her. The young Man opted out for digital.

<p>

Mac

B & H is just moving into the "Modern World", I have no complaints

with B & H and have always been satisfied with thier service. But

like the rest of the World, I noticed that my last return was not as

easy as the first. If only it were just B & H. It seems that

everywhere we go we are subjected to "Poor Service". Have you been

out to Dinner? When we find good "Old Fashioned" Service most of us

are shocked! My Grandfather who just passed, told me that this is

a sure sign of "Old Age" setting in. However my 16 year old daughter

complains all the time about poor service...... So go figure...

<p>

<p>

<p>

"For your reference, the New York - City and State - consumer fraud

departments will "wring" B&H's neck if they sold you - either

knowlingly or unknowlingly - a defective product and if they refuse

to either refund your purchase price or give you the same item in a

new working condition."

<p>

As far as the above statement, I can only suggest that "The Honorable

Robert J. Triffin" must be sitting on a PARK Bench if he thinks that

the NY "CFD" gives a shit! They are no different than any other

State "CFD" and like most people that are behind a Sales Counter or a

Judicial Bench they have forgoten who the customer is.

<p>

Submitted with respect,

<p>

Mac

Kevin,

<p>

The above are all good sugestions. Some observations I've made are,

that there are Field Cameras where Changing over to a Bag is not only

NOT a Field Friendly item but it may require tools. And as has been

pointed out Most will NOT fold with Bag unless you have an assistant

or two. About the "Recessed" boards these are a Great help but be

aware that some shutters are not Recessed Board Friendly. I have one

combination that I am forever fighting with to Open, Close, Adjust,

Cock and Release.. So ASK, ASK, ASK!!

This a little off subject, but to touch on the cutting down of film.

The first time this was suggested to me, I thought "what kind of

stupid hard core idea is that" but.... The first time I really did it

went very well. I use a dedicated rolling wheel paper cutter(new) and

less than $40.00 from the office supply. I was very pleased with

myself to say the least. But you know something that all those hard

core people never talked about?!?! MARK YOUR CORNERS! After I

realized the problem I tried to feel the "right side" on the unmarked

perfectly cut 5x7 sheets (2weeks after I did the cutting), I gave up

and turned the damn light on and sure enough, I proved that I'm as

disorganized in the Dark as I am with the light's on! So now I use a

Conductors Punch. Another $15.00 worth of "Peace of Mind". The only

other problem is Keeping things CLEAN as this is adding to the

handling before making the Exposure.

RELAX!!! 5x7 is a great size for contacts. And yes if you keep an

eye out,you will find a fair deal on a 5x7 enlarger. And you do not

need 10,000 different flavors of film. Those that are easy to get are

fine films. As time goes on if you really need a flavor that is not

available you can always cut down 8x10. As for the back, ask Quality

Camera if they have a used 4x5 back (wood or metal) should not be

very much money and then adapt it to your Wisner. You will see that

this is just a very simple wood working job. It may not match but

I'll bet nobody will be able to tell it in your finished prints. Also

note that a reducing back from Wisner is much less than a kit to

UpGrade a 4x5 to 5x7(it's late, did I say that right?).....As has

been pointed out the weight issue is about the only draw back if your

going to use 4x5 most of the time(I still Vote for the 5x7 with the

reducing back), this issue can be solved by purchasing a larger mode

of transportation. Then you'll be set to go for the 11X14 with the

8x10 Back..

<p>

Mac

Check out "How to Calculate Exposure Times" at.....

<p>

http://www.pinholevisions.org/resources/FAQ/#BM4

Frank,

<p>

A few years back, I purchased a frame from Bostick & Sullivan, it

seems to work fine. A bit High Priced but what isn't nowadays. I

also have two beat up Eastman frames that seem to work fine. Check

your pressure, less may be better. You may want to replace the Foam

with Felt. Also look at the individual parts (contrary to popular

belief glass is NOT always flat) and check for warpage of all

components. And it sounds like you may not be getting even pressure

across the frame, this may be a design problem. I'm not familiar

with the Paterson so I may be all wet on this.

<p>

Mac

Because, I know how important this is to me when I visit an exhibit.

And because, I know how poorly I sequence my prints. I have taken

several quick classes on exhibiting and displaying prints. At one of

those classes it was suggested that you spend as much time as posible

with a set of loose prints, put them on the floor, the wall, the

table, and do this for several days then put them "in"sequence and if

time allows, put them away for a while and then do it again. It

helps a lot. I remember him saying that at the museum where he was

working, they would send several copies home with different people

and that it was amazing that most people agreed on the final sequence.

But for now I continue to ask a friend and she always sets me

straight. She describes it as the same problem as the Dog that ate

the Cat that ate the Bird that ate the Mouse that ate the...... If

any of these are out of order, it's just another story, that most

people will not understand. She then goes on to add that there are

times when it makes for one heck of a story if the Mouse ate the Dog.

I have an "Old" one on an "Old" 45 Base it works very well. And No,

it is not for the person wanting to do 35mm and then switch to 8x10

while the 35mm print is in the developer and then back again, but it

can very easly be done. If your money is a little tight it's a heck

of a bargin on the used market and you can get the Old style base for

less than $500.00 most of the time for a Near New unit. So for a few

hundred, just add a second enlarger unless the space it as tight as

the buget. The one I have has been used and abused, looks like hell,

but still preforms as intended. I will be UP Grading soon and was

going to replace it with

a new Beseler unit, but was in Calumet SFO and spent time looking at

the Zone, and I think that may be where I'm headed. I should add

that I do not do 50 foot X 50 foot prints but most of the time just

11x14 and they are no problem. I'm not a glass man but I think that

you will want to make sure you have a lens that will cover. Many of

the used ones billed as covering are just to darn close to do the job

(yes I DO KNOW what I'm talking about, because I took that class, and

that days lesson cost me $649.00+ shipping) Great question I will be

looking to see what others have to add.

I agree with the above 3 posts. I have been using the Versalab Washer

(16x20) for over a year now and it is great. It's not as impressive

looking as some of the others but you can't beat the value. I have

modified mine by drilling holes for acrylic rods so that I can use it

for sheet film and smaller prints without having to go fishing every

time. I should note that I do own a Machine Shop and it would be

tough for me to put together all the materials and then add on just a

few bucks an hour for labor and come out ahead of their price. And

they are not joking about it being allmost indestructible.

I would also add that you should buy the smallest one you will need

as this is a heavy beast when in service, unless you do 20x24 prints

every day.

<p>

Good Luck,

<p>

Mac

I'm in the process of building a New Darkroom (yes I'm coming out of the basement and onto the Main Level) and nobody can do a Damn thing about it, I'm a man on a mission! And I want Modern Equipment! Yes, I have already confirmed that the Stainless sink and the New Besslers and new light sources did not improve my finished product but it's a lot more enjoyable and more comfortable. Please tell me that's worth something! I have purchased the Zone VI Duo Lights. I just reminded myself that I use an old EK Safe light with the Dark Green filter, for Development by Inspection. I realize the color is for ease of viewing, but I'm wondering if any of you have made this change? Will I be sorry? Do I need to keep the Old ugly EK Light?

Your experience will be greatly appreciated.

<p>

Thanks in advance,

<p>

MAC

John,

<p>

Is this Question really correct? Because I have made

Photographs "During" and "In"my Dreams and God knows I've done the

same thing during and in my Nightmares!! But "OF MY DREAMS," now

that's a Workshop I want to attend. Sounds like I may get the REST I

need.. ;-)

<p>

Mac

Steve,

<p>

I'm not familiar with the Senica, but I believe it is much like the

Kodak 2-D. If that is the case. The Brass Knob (or wheel) you refer

to is screwed on to the shaft and adjusted so that when you push or

pull it in or out it moves the pinion so as to engage with the single

Racks for moving up or down, or engaged in the double Racks for the

lock position. Once this adjustment is made the Shaft is Riveted (or

Peened) to the brass knob. There are no washers or spacers between

the brass knob and the rack face. I have several originals that I

purchased from the original owners that have not had the knob removed

so that it is loose on the threaded shaft. You will also find this

clearly explained in the operation manual. Most of these units that

you see, have had the knob FIXED by some slack jawed slob, so that it

is free on the threads and then gets lost or binds and cannot be

used, but these Cameras can be a Great Buy.

As far as the thread size the previous posts are a great suggestion

if your not a Machinist, but the knob is a simple machine shop job

(not a hardware store item) because of the lengths of the various

shoulders in order to get the knob to adjust correctly and have the

right amount of exposure of the threads so they may be peened over.

I have had to use undersized taps to get the proper fit so that very

light peening will hold the knob tight. I hope this helps. And

there is more to the story if you are interested (I may have a sketch

of your knob out in the Shop if it's like the 2-D) contact me Via E-

mail.

<p>

Good Luck

<p>

Mac

Yes they can be cut. And after cutting the cut edges should be

Dressed.

<p>

Mac

Is this a "Bad Thing" ? I was just wondering what the opinions are,

of those who have had the chance to see both Early and Later Prints.

I also wonder if anyone on this forum has viewed the AA display at

the Winery in NAPA (sorry don't have the name). I find it

interesting to look at these "documentary" type photographs and

compare with the AA that most of us think we know. Not as DRAMATIC

but they do demonstrate that the man knew his stuff.

<p>

Mac