rob_tucher

I'd worry about the local contrast in the white flower. I'd meter there, increase exposure by two stops, do N-1 development, and make sure no light falls on the background (scrims, shading, etc.) so it goes black naturally. You say you're shooting "against" the velvet. I've shot hundreds of thousands of archaeological artifacts against black velvet and I off-set the subject from the velvet by at least half a foot, shade it from the light that falls on the subject and usually shoot with a piece of smoked gray glass between (artifacts on glass and camera shooting down)to take down the velvet "zone" even more.

Sorry, pays to read. You knew about Lens and Repro, but I still second it.

Lens and Repro is a family business with lots of experience in large format, lots of stuff on display, and good customer service. It is 119 W. 17th Street, as I remember on the 5th floor. It's worth the visit. I get much there, especially classic lenses. Jeffry knows a lot about glass.

Raymond, since you have nothing to lose with the pin holed shutter curtain I'd try to fix it. I don't know how bad it is but it is rubberized cloth anyway, so get a can of that black rubber dip (for handles of tools). Then thin it with the recommended thinner, put the camera on a light table, and very carefully and gently paint the holes over. You can let the wet areas roll in until they dry so it might take awhile but its worth a go. I use the stuff to fix bellows and shutter curtains but it must be thinned and can't be applied too thickly or it will affect movement.

You need what is called a side arm. Bogen makes one and so does Gitzo, though they are the same company now. The products are a bit different. If you crank it way out and are supported on soft pond ground make sure you counterweight on the other end of the side arm.

I can hook you up with Gordon Roth, who is an aging but still working Cirkuit camera photographer who has always made his own gears, reels, boards, retaining rings, etc. He does work for photographers. He's pretty amazing, techy, and eccentric, and in Union, NJ. He isn't computer savvy though so he won't be available here or via email. Email me separately if you are interested.

Ah, but it can be a Sinar. Mine was hopelessly wobbly and worn so I took it off the bed and adapted it to my Sinar C. Now I have a very rigid Sinar T 7x17 that I can switch back to 8x10, 5x7, or 4x5. I kept my Korona 7x17 that was in better shape as is for posterity.

I might have one lying around. Email me direct.

Everything in Sinar is interchangeable. I bought my 4x5/5x7/8x10 Sinar C (F front and P rear, older version than F2/P2) as a unit but you can mix and match. I've been buying up parts on Ebay and make whatever configuration I want for each job I do. I even added a Korona 7x17 back and bellows to a P rear standard and now have a Sinar hibrid 7x17. Bellows become lens shades, multiple bases on a rail can be attached to two or more tripods for rigidity or to their base for more rigid use on one tripod. It's an amazing system, but heavy, bulky, and quirky in its own way. I prefer the eaze and light weight of my Linhof Technikardan but use the Sinar much more for its versatility.

I simply take one flash reading, if the flash is strong enough to register with one (to save Lumedyne battery power) and multiply. If your flash reading is f8, you'd need two flashes at f11 or four at f16, or even 8 at f22, etc. Instead of four flashes you might try 3 or even two to kick it up but not equal the ambient exposure. It's done all the time with interior views with a nice exterior through a window. I've done many, many pops this way, and like using lenses in Prontor shutters so that you can keep a short shutter speed so ambient exposure doesn't build up while getting a lot of flashes built up on the film without having to recock.

I have a Sinar C and have a Norma shutter and it works fine, and I've been TOLD that all accessories are interchangeable, but I have no specific experience to relate. I have an 8x10 bellows but I don't even know if it is Norma or more recent. Call Sinar Bron in NJ. The 800 directory would have a listing. They are very helpful and should know something like that.

SCUBA places won't fill a tank for you unless you're a certified diver. A lot of photographers I know brew their own beer. I have CO2 that I use double-duty for both purposes. I also have an old nitrogen burst system that I don't use anymore but could use the tank. They're cheap and probably come with enough gas left to last you forever.

I have and use a Gowland aerial 4x5 but it is an older model and is actually a reconditioned Speed Graphic with focal plane shutter and cones for various lenses. It's a bit cumbersome to use holders and I've never found a roll back that would fit the camera, but I have used Grafmatic backs that give you six shots at a time rather quickly. I also have a 5x7 Keystone roll film camera, which is big and heavy but seemingly fast. I'm prepping to do a job with it but the biggest stumbling block is either finding someone who will slit 9.5" film down to 7" or making a slitter myself. Gowland makes a good product so if you don't need roll film speed it should do fine. Just buy a bunch of Grafmatic backs on Ebay or elsewhere, practice with them so you are proficient and don't get out of synch and therefore expose film by mistake (when using a focal plane shutter anyway), load the septums up with your film and fire away. Linhofs are incredibly good but every bit as expensive as they are good, so if it is in your budget get one and enjoy.

I've very rarely had the problem even with thousands of sheets. Jobo is not like BTZS so it doesn't usually have the sticking problem. But every now and then it does happen for unknown reasons. David L. is right on by suggesting not pushing the film down all the way. Another safeguard is to load dry, and in the dark before putting on the lid, fill all five film slots with water and reach in and break the connection between the film and wall while underwater. Then put on the lid, run the process with a 5 minute presoak, and you won't get the problem.

Hi Jason,

 

ProSet rents large format but primarily 4x5 so coverage might be a problem. You'd have to find out what lenses they offer and what ones might cover. I don't know their stock. I can still lend you the Konica Hexanon II 260mm barrel that I offered when you got my enlarger or any number of other lenses. Email me if you are still looking.

 

Rob Tucher

Hi John,

From my understanding the 7.7 versions have huge coverage. I have a 14" Gold Dot Dagor. In its 7.7 version it will cover 16x20 while mine can't quite reach 11x14.

Rob

My Schneider Super Angulon 90/5.6 in Prontor has a damaged front element. Too bad we can only make one good one out of these, assuming yours is like mine. Any ideas? I have never looked into pricing elements but if we buy just the glass and split the elements we might get somewhere more cheaply. I'm assuming elements are interchangeable.

Hi Jason, How's everything going? I told you about the Sinar Norma shutter. I use one all of the time. I shoot barrel lenses with it from a 270mm Kowa Graphic to a 760mm Nikkor. With the longer lenses you have to be careful of vignetting, especially if using the lens on an ULF camera. But with 8x10 most lenses will work fine. Stopping down helps avoiding the vignetting also. I adapted to Sinar shutter to a Deardorf board, and all of my lenses are mounted on Technika boards (except the 760, which is just too large, so it is on a Sinar board). I have a Sinar to Technika adapter board on the Sinar shutter. I just slap my lenses on the adapter board on the shutter and fire away. Most Sinar shutters are sold with the cable so make sure if you bid that it comes with one. They are a bit finicky because they are getting older but they can be adjusted. You can find them more readily at used large format camera stores like Lens and Repro in NYC, but they are much cheaper on Ebay. I've never had a vibration problem though they are abrupt. Just make sure the camera is on a very sturdy support and fire carefully. The worst of the mechanism is in closing anyway so it doesn't matter. How's the enlarger coming?

Rob

I use an old Sinar Norma shutter, so I get shutter speeds of 8 sec. to 1/500 or so, plus B and T, and I use lenses from 12" Goertz Dogmar to 760mm Nikkor on it. No vignetting as long as I stop down with the 760mm. All my lenses are on Technika boards (except the 760mm, which is on a Sinar) and I keep a Sinar to Technika adapter board in the shutter. I cut wooden lens boards for each of my cameras that take the Sinar shutter, since Sinar boards are smaller than Deardorf, etc., and I don't have to buy any shuttered lenses or have them shuttered.

ProSet in West Paterson is very good. They are presumably moving soon but are still operating. E-6, pretty sure C-41 though I don't do it, and digital output and scanning.

 

By the way, I tried emailing you and it bumped back. I have two Elwood 8x10 enlargers and am in NJ. I am keeping one but the other can go cheap, if you are still interested. I also have lots of parts for a wooden 11x14 studio camera that can be converted, but has no bellows.

 

Rob

I have one. I will have to look it up but I know that I have the dimensions at home. If you email me, I will be glad to return with the dimensions. Don't take this as fact, but 1.35 inches sticks in my head. This would be from lens mount base to lens mount base.

John, I rent Gyrostabalizers for this very purpose. I have shot 1/125 tack sharp, and as low as 1/50 from a boat on the Atlantic (fairly close up of piers). I've never had to sacrifice a filter with one. The K6 is the big, heavy one meant for bigger cameras. I rent the K4 for 4x5 aerials and for Speed Graphic work. I find helicopters with the door off is the best way to go, though they are pricey. Big cameras are tough in fixed wing and few pilots understand what you need. The only outfit I know of that rents gyros is Lens and Repro in NYC but you might have someone out there. Samys??? in Pasadena.

 

Are you the Kasaian who bought my 12x20? Hope you are enjoying it.

I do B&W a lot with my JOBO on the road. I load in a tent. The problem is that the CPP2 needs a pressurized cold water outlet for cooling, so you can't just use one of those bathroom spigot adapters. If you run the machine in a room that is cooler than processing temperatures, as I think I remember E-6 would be, then such a hook-up would not be all that necessary. But the CPP2 regulates itself by heating with a coil and cooling with influx of cold water from the tap. For micro regulation as with E-6 you might need the cold water anyway, so the coil never overreaches the optimum temp. You can fill initially with buckets or a low-pressure hose adapted to the sink or in the tub, and even process in the tub if you take care to level the machine (and don't run water into it and risk electrocutio, even though it is ground fault usually). Draining into the sink or tub is easy when done, and the machines are very light when empty. I wouldn't use the reel tanks. I only use Expert 3010 and 3006 for 4x5. Dry inside a filtered, plastic tent with blower. Location work with the Jobo is a breeze but requires more than just a room.

Don't know anything about the lens, but, hey, Andy...didn't know you

were on the forum. How's things?

I do 5x7 processing in 3005 and 3006 (one more sheet and it DOES

fit) drums. Rolling along the 7 inch length gives it a longer

circumference and keeps it more rounded out against the sidewalls of

the drum during spinning. Push all the way down. All this gives more

even development.