robert_ruderman1

Hi,

I am attempting to use Kodak's TMAX-RS developer for the first time

with TMAX sheet (4x5) film. When I follow Kodak's instructions for

mixing the chemisty (A and B liquids plus added water), I end up with

1 gallon of developer.

I am going to start with the development times listed in Barnbaum's

book (and deviate from there as needed). In Barnbaum's book, he

suggests diluting TMAX-RS 1:4 and 1:9 (in given cases).

Does any one have an idea of whether Barnbaum is diluting from the

gallon generated from Kodak's instructions or is Barnbaum starting

from another mixed version of TMAX-RS (such as simply mixing the A

and B packets together and then diluting 1:4 or 1:9)?

Thanks,

Robert

Hi,

I am pondering the idea of buying a filter for my Nikon 90mmSW lens

(F8). According to Nikon, this is a 70mm filter size.

My question is: Should I simply be looking at 70mm filters --or-- do

I need to look at 70mm filters which are "extra wide" (as advertised

on the B&H web site)? Will both types of filters work without

vignetting?

Many thanks to all!

Robert

Hi,

I'm looking at buying a carbon-fiber tripod, specifically a Gitzo

1227 or 1228 model.

I understand the difference (from seeing these models in a store)

between the two tripods.

I am a little confused as to which model would best suit my needs. I

want to use it primarily for backpacking with my 4x5 (I have a Canham

DLC that weighs around 5lbs.). From the specs, either one would

handle the weight requirements.

Is there any reason to choose one model over the other? Anyone out

there using a 1228 with a 4x5?

Thanks,

Robert

Brian -

<p>

What do you see on the ground glass when you focus using the lens?

Is everything in focus (from corner to corner)? I have no idea as to

what the issue might be, but it seems that you should be having a

WYSIWYG experience even with a suspect lens.

Hi,

<p>

I've seen an article in the Nov/Dec 2001 issue of "View Camera" that encourages the use of the new single sheet Kodak Readyloads in a Polaroid 545 film holder ("recommends" might be too strong of a word).

<p>

Has anyone out there tried this combination? Does it work as well as suggested in the article?

<p>

Thanks,

Robert

Hi,

<p>

Does anyone out there use those two-sided electric dryers for drying their prints. These are the ones that have a piece of cloth on either side that is used to hold the print against a metal surface. They tend to retail for around $100 new (some higher/some lower).

<p>

I am wondering as to how well they work (for larger prints - 11x14 and up) and if there are any drawbacks/pitfalls with using one.

<p>

Many thanks.

Robert

Would one of those electric dryers (the ones with the twin chrome

surfaces -- you can dry on either side of the device; prints are held

against a warmed platten by a cloth) be of any value in getting rid

of the puckering? Or are these devices to be avoided?

<p>

Thanks,

Robert

Hi,

<p>

I have been making a few 11x14 prints recently. I have a rather primitive (but functional) darkroom. When it comes to drying the prints, I simply hang them from a corner (after squeegying (sp?)).

<p>

They dry in a few hours, but they end up all puckered around the edges. When I go to mat these prints, the puckering is quite a distraction.

<p>

My question is how, without the advantage of a print dryer and dry mount device, do folks dry their prints and get them into a flat enough condition for over-matting?

<p>

Thanks.

Hi,

<p>

"Jobo makes this spray in a can for about $13.95 that has a nozel

hose making it easy to dispense."

<p>

If this is what I think it is, it's a spray can of nitrogen to

blanket the surface of the liquid you are trying to preserve. I've

used it with wine and it works well as an oxygen barrier. You might

be able to get it somewhat cheaper at a wine or grocery store (about

$9 or $10/bottle) under the name of "Private Reserve - Wine

Preserver" (in the wine department).

Hi,

<p>

I paid a visit to my local photo supply shop over the weekend. I noticed that the new Kodak single sheet readyload holders were finally available to the masses. A salesperson mentioned that there was a problem with the new holders. I was wondering if anyone out there in Large Format land could confirm the following:

<p>

The sales person said that the new holders cause fogging around the edge of the negative because the edges were "too glossy and reflective". This was especially true in bright lighting situations.

<p>

Has anyone seen this problem with the new single sheet Readyloads?

<p>

Thanks,

Robert

Hi,

<p>

My wife and I will be heading out to Canyonlands in the next few days. I am curious as to what type of filter works best (in combination with Tri-X)in capturing a place with colors such as red/pink/ochre? Would a green filter be best? I am afraid that a yellow, orange, or red filter would washout (whiten) the color of the sandstone walls too much.

<p>

Many thanks,

Robert

Paul's answer brings up an interesting point. Looking at some of the

prints which have a "shaken" exposure, it is odd that, in many (but

not all) instances, the parts of the prints closest to the edges of

the negative remain "not shaken".

<p>

Does this symptom lend itself to the negative popping under the heat

of the lamp during exposure(s)?

Hi Michael,

<p>

I do use a grain magnifier when focusing. I can not see any sort of

vibration via the magnifier. Are you thinking that the focus is

changing on me over time?

<p>

Because of the way that the fan assembly is manufactured, it is not

trivial to disconnect power from the fan. The fan and the lamp

housing are basically in the same piece of hardware.

<p>

I am using a Schneider Componon-S wnlarging lens, typically at F22 or

F16. Print exposures typically are at 30 seconds or longer. When I

am making multiple exposures (for VC printing), the problem is more

likely to appear.

<p>

Thanks,

Robert

Hi,

<p>

A question for those of you who own a Saunders 4550 enlarger...

<p>

I have a Saunders 4550XL enlarger I bought on consignment at a local photo shop here in Seattle. After a time, a realized why the enlarger was probably put on sale - periodically, enlargements would appear with an "vibrating" effect. Thinking that the problem was the fan, I ordered up a new one from Saunders in Rochester, N.Y..

<p>

Yet, still even with the new fan installed, I get exposures/prints that appear to be all shaken.

<p>

When I lightly touch the negative platform, I can feel some degree of vibration. I can only suspect that the new fan is not vibration free and is thus giving trouble to my prints.

<p>

Is a degree of vibration normal for this enlarger?

<p>

Many thanks for your answers.

<p>

Robert

Hi,

<p>

I would like to flash a small portion of a B&W print in the darkroom. The manuals I have all suggest that I run out and get a density screen to achieve this effect. However, my enlarger has a color head (Saunders LPL 4550), and my thought is that (perhaps) there must be a way I can take advantage of the colorhead to achieve the same effect (without buying a screen).

<p>

Can someone tell me if it is possible to use a colorhead in this manner? If so, any idea as to what the proper filtration settings would be to flash for 5%, 10%, 25% (I use Ilford Multgrade fiber based papers).

<p>

Many Thanks,

Robert

Hi,

<p>

Somewhere I once read that, when using a tank to develop film, you should always make sure that the tank was full of film to capacity. That is, if your tank holds six sheets, but you only have four to develop, then you should add two unexposed sheets to the tank.

<p>

If this is true, why?

<p>

Does it matter if you mix films (i.e. Tri-X and Tmax) when developing Tri-X? I can't see why it would.

<p>

Thanks,

Robert

Hi,

<p>

I am piecing together a darkroom in my basement and am currently looking at what I need to do for plumbing. One item I am thinking about is a tempering valve (to control/regulate temperature and water pressure flow).

<p>

What brand/type of tempering valves do folks tend to put (if any) in their darkrooms. Are there any "features" which are a "must have"? Are there big differences in brands?

<p>

Many Thanks,

Robert

Hi,

<p>

I am planning to build my own darkroom. Currently, I am wrestling with the question of what to use as a divider between the darkroom and well lit laundry room.

<p>

One option is to frame a wall and drywall it. I suspect that this is the best solution for "light-proofing" the darkroom. But I am wondering if it is plausible to use a "accordian" divider (on a rail) instead of a framed wall. I am not sure of the benefits/disadvantages of using a divider of this type (wrt light leaks, etc.).

<p>

I am wondering if anyone uses these movable "accordian" walls/dividers in their darkrooms? If so, what would you recommend?

<p>

Thanks,

Robert

I have also experienced the same problem (and end up making a second

exposure after the employment of some colorful language). The

problem stems from how you load your film holder. You've got to be

certain that the film slides in against the core of the holder. When

it slides in incorrectly (say in the groove meant for the darkslide),

you end up with the scenario you describe.

<p>

One trick I use to reduce this problem is to load the film into the

holder then remove the darkslide (all this is done in a changing

bag/tent), spray air on the film (get rid of dust), and then attempt

to reinsert the darkslide. If it goes in without resistance, then

all is well. If there is -any- resistance, I pull the slide back

out, pull out the film sheet and start over again. With this system,

I no longer encounter many problems of this sort.

<p>

-Robert

I am using one from a company called Shadow Box. It's works well

(sets up like a tent) and handles the abuse pretty well (comes in a

handy plastic suitcase for travel or putting into the car trunk).

One thing I learned when choosing a changing tent, avoid the ones

that "pop up". These have exposed metal hoops inside the tent; this

can lead to extra risk in scratching film or whatever may comeup

against the hoops.

Hi,

<p>

Thanks to all for helping me in trying to figure out this part of

exposure compensation. I guess my example (and math) was a little

flawed (as was my interpretation of what defines "bellows extension"

or at least how to measure it). I do greatly appreciate all the help.

<p>

My example of 75mm extension with a 150mm lens was to imply that there

was no magnification of the subject, rather that the lens was focused

at (or near) infinity as I might do for a landscape scene in an open

field.

<p>

I'll take a look at these devices/freebies for determining when/if I

need compensation and work them into my exposure scheme. I am, as

some suggested, not sure that I should worry about scenarios where

there are +/- 1/3 stop changes in exposure; but anything greater than

that might be of interest.

<p>

Thanks again,

Robert

Hi,

<p>

I have been re-reading Adams' book on the Negative which contains a chapter on the Zone system. I am still quite a neophyte when it comes to the Zone system. In his chapter, there is an exposure record form (by Ted Orland) which has an "adjusted exposure" calculation to account for filter factor(s) and bellows extension/focal length.

<p>

My question is, when does one apply the entension/focal length factor? I have a 150mm lens and (for example) I focus on my subject with about 75mm of bellows drawn. According to Adams' book I should compensate about .25 => (75^2)/(150^2). If my determined exposure is 1/15 (or .07) second, do I want to compute my final exposure (assume no filter is used) as .07 + (.07 *.25) (or .09 seconds total)?

<p>

Are there instances where one never wants to consider adding in this kind of exposure compensation?

<p>

Thanks for answering what may be an easy question for many of you out there in zone system land...

<p>

Robert

Can anyone offer their experience(s) when using the Polaroid 545i

back as a "Readyload" or "Quickload" alternative. I too was told be

a sales clerk that the 545i holder can take the Kodak and Fuji

readyloads.

<p>

Thanks,

Robert

I suppose this is not a LF question, but more of general film developing question.

<p>

From reading Adams' book on the negative, it is quite evident on what

are the consequences of over agititation with developer in the tank. But what are the consequences of over agititation with fixer in the tank? How does it affect the negative?

<p>

Many Thanks...

Hi,

<p>

FWIW:

<p>

For those who own the Canham DLC 45 camera:

<p>

From speaking with Keith Canham, when the levers on the Canham DLC 45 camera need to be adjusted you should use .05 and 1/16 allen wrenches (American sizes).

<p>

These sizes are not typically available in "bulk" sets found in hardware stores, so you may need to look around a bit.

<p>

Robert