stephen_vaughan3

I have a Copal 0 shutter on a Nikon 120mm SW lens. The aperture lever

is quite loose and is easily moved with the lightest (accidental)

touch. How do I tighten it and create more resistance? Thanks in

advance for your advice........

Thanks everyone for your thorough responses. I just bought a 210 G

Claron and was amazed by the coverage - so much so, that I have also

ordered a 240mm to go with it. I just wanted to reassure myself that

there were no major differences between them and the 'non-graphic'

lenses I was used to, before I start using them.

It is easy to become paranoid about focusing compromises, so thanks

for your advice.........

I would be grateful for advice from users of Schneider 240 and 210

G-Claron lenses on 8x10 (landscape @ infinity). I read in a previous

post that when the lens is wide open the centre is sharp and the image

softens slightly towards the edges, but, when stopped down the centre

becomes less 'critically' sharp as the edges begin to sharpen. I

probably haven't explained that very clearly but hope you will get the

picture. It seems that the best option is to focus with the lens at

f22. Any advice?

Thanks in advance.......

Apart from general suppliers such as Calumet etc. there is only

'Teamwork' in central London for equipment. 'Silverprint' is a great

place for film/materials. The best LF equipment suppliers in the UK

are outside London: 'Robert White' www.robertwhite.co.uk (near Poole

in Dorset), and 'Linhof and Studio' www.linhofstudio.com (who used to

be in London but have now moved to Leigh-on-Sea in Essex). Another

place is 'MXV Photographic' www.mxvphotographic.com in Uckfield, East

Sussex - a good S/hand camera shop with some good LF stuff. Also, 'Mr

Cad' www.mrcad.co.uk in Croydon is a treasure trove of old/new/obscure

equipment.

Happy shopping..

Have just bought a 'Wollensak 210mm f6.8 Graphic Raptar Wide Field'

lens (in barrel). Thinking of having it mounted into a shutter but

would like some feedback from others who know this lens before I go

ahead.

Thanks in advance.....

I would be very grateful if you would share your focusing techniques

using the hyperfocal distance. Practical advice (I'm not a great

mathematician) for achieving near/far focus, without using tilts, for

subjects which, for example, include a tall object in the foreground.

Useful information would include the ways you mark the near and

infinity focus points on your camera, and how you judge the point

between them for the hyperfocal distance. I use a Fuji 250mm f6.7 lens

on a 10x8 Gandolfi camera.

Many thanks for your advice..

I have two Fujinon 250mm f6.7 lenses. The front element of one is in

better condition than the other. The rear element of the other is in

better condition than the first. Is it OK to swap them over so that I

have one good lens and one not so good? Probably stating the obvious,

but would be grateful for reassurance.

Thanks and good wishes.....

I have heard that the G-Claron 210mm f9 enlarging lens can be mounted

into a shutter and makes a good, inexpensive WA lens for 10x8. I would

appreciate any advice on how to mount the lens, which shutter to use,

if any 'machining' has to be carried out, and if there is anything I

should watch out for and avoid. Is this something I can do myself or

does it have to be done by a professional? I've worked out that the

cost of the lens and shutter will be about £250.00/$400.00 - is it

worth it?

Thanks in advance..

I am in the process of sequencing a collection of colour contact

prints and would like to mount them onto smooth-pressed watercolour

paper to make a 'dummy' book.

Would be grateful for your advice on the best mounting method for this

purpose.

Thanks in advance......

There is quite a detailed history on the National Museum of

Photography, Film and Television website (UK). Haven't got the address

to hand but if you search for 'NMPFT+Gandolfi' you should find it.

Best wishes....

A basic question, I know, but your advice on night-time exposures

would be appreciated.

Will probably be shooting at f/64 on 160 Portra with a full moon. How

long are the exposures going to be??

Thanks in advance.....

Hi Paul,

sounds like a good idea - please keep me informed. I'm based in Kent.

Best wishes for the New Year........

Stephen

At what point do scratches, cleaning marks etc. (on the front and rear

elements of a lens) begin to cause a loss in image quality?

Have just bought a lens which has some marks on the outer surface of

front and rear - how much should I be concerned?

Thanks in advance for your replies........

Hi Doug,

are you in the UK? This may well be my old lens! I sold it (very

reluctantly) when I moved up to 10x8. I bought it originally from

Robert White (so you can be happy with its pedigree!). I think he had

a 90mm also, but that was eight years ago.

Enjoy!

Best wishes.....

When I moved up to 8x10 I bought a Schneider 240/5.6 Symmar-S. Its a

great lens but has fairly limited room for movements.

Recently though, I found a Fuji-W 240mm/6.7 which has a huge image

circle of 398mm @ f22, is 1lb lighter than the schneider, and a

beautiful lens to work with. But they are hard to find.

The later Fuji 240/6.3 has a smaller image circle, as does the Fuji-A.

I think Tim Atherton may have also posted info on the Schneider

G-Claron 210 which sounded like a good option for a less

expensive/weighty 210mm. See the earlier thread for his comments

anyway.

Good wish

I use a Gandolfi Traditional 10x8 which I bought second hand about a

year ago (moving up from 5x4).

<p>

It is a wonderful camera. I use it for landscape photography -

personal work - and it already feels like a reliable friend.

<p>

What are the things you would most like to know about using the

camera?

<p>

let me know and I will try to elaborate..........

Does anyone have any experience using Fuji NPS160 for exposures longer

than the recommended maximum 2 seconds?

<p>

If so, what are the reciprocity effects and how do you compensate?

<p>

Thanks again!

I work on 10x8 and carry approximately 50lbs/25kg of equipment

including body, lens, 5 x 10x8 and 5 x 5x4 darkslides, reducing back,

tripod, rucksack and case.

<p>

Does this seem excessive weight? How does it compare with the average

10x8 kit?

<p>

Thanks to you all, as alwa

Thanks David - that confirms the way I have been working so far. There

seems to be a good deal of latitude with the highlights so long as you

expose for shadow detail. I think Enrique was answering for

Transparency film not neg.....

Thanks........

Does anybody have any advice regarding contrast control with colour

neg?

<p>

Is it possible to alter tonal range with changes in

exposure/development - and how does this affect colour balance?

<p>

Any thoughts?

Many thanks......

An apology would be a sign that he too is able to think.

<p>

Suggesting, in bold capitals, that LF photographers do not THINK when

making their work, and that he can provoke us to think, is both

ARROGANT and SMUG. It should be clear to him, if he takes a moment to

consider his words, that his attitude is not in the spirit of the

forum.

<p>

This may sound like I am being superior too, but I simply want to

point out, as others have, that this is an extremely positive and

vibrant forum for those wishing to share knowledge and experience.

Technical, philosophical and artistic.

<p>

Finally, I would just like to say that I have never met or spoken to a

photographer, who uses a large-format camera to make pictures, who

does it with convenience in mind. That is just absurd. All the people

I know using LF, go to great lengths to produce work which is rich and

deep, both in thought and quality of production.

<p>

It seems to me that by standing upside down, you have missed the

point. I'm with Katherine and the rest, I'll buy my own beer.

<p>

.........

So sorry to hear that you have suffered at the hands of "petty"

thieves - it isn't petty when you are the victim! I have had my

equipment stolen a number of times, and sympathise with how empty it

makes you feel. Difficult to be enthusiastic about anything creative

when all you can think of is where your belongings are and what a

waste it seems.

After one theft I went into a store here in London and described the

equipment (5x4 wooden field/limited edition lenses) which was all

quite unusual. A half hour after I left the store, a guy came in with

the equipment. His story was the familiar one about it being his Dad's

old camera. The secondhand-dealer was clever enough to keep him

waiting, saying he was really interested and would like to get the

manager to have a look. He called the police while the man was waiting

and he was arrested.

Although I got some of my equipment back, it made my insurance claim

for the rest of my gear much more complicated and slow, until I began

to wish they hadn't caught him after all. It would have been easier to

have just put it behind me and started again with new equipment.

The best way to get over such a violation is to get back on the horse

and make some new work!

You have the sympathy and support of everyone here on the forum.

All g

I am suffering from wind!

NO, not that kind of wind - gale-force wind!

<p>

Any advice on how to cope?

My darkcloth (and me) very nearly flew away.

<p>

Thanks and good wishes.........

Does anyone know where I can find Michael and Paula's website? It

seems to have disappeared - wanted to re-read their guides for

printing on Azo..........

Thanks...

Can anybody out there give me advice regarding a couple of lenses I've

seen for sale? I haven't seen them yet but am told they are in good

condition.....

<p>

They are, a '203 f7.7 Ektar/Prontor SVS' and a '127 f4.7 Ektar'.

<p>

I am shooting on 10x8.

<p>

Thanks and best wishes.......