steve_artz

The outside thread accepted a DeGroff air-release cannister for a

bulb-type release system. It will be hard to find.

Hi Jon,

I've used both lenses on my Technikardan - on 4x5" film. The 47mm XL

requires a recessed lensboard and a center-filter. The 58mm XL works

just fine on a flat lensboard. The center-filter is less necessary on

the 58mm, especially on 6x12, but it's still a good idea for a "clean"

image. Both lenses have the same image circle and I have used about 6mm

of rise with the 47XL (with center-filter) without cut-off. With 6x12,

you'll have noticeably more room.

Hello Rob,

Yo! from NYC....

<p>

I specialized in the business of large format and professional

photographic equipment service for almost 12 years, so I'm pretty

clear on the how's and why's of the problem. I've handled quite a few

Technikardans and serviced several as well.

<p>

The problem is accentuated with short focal length lenses....

i.e. it will be less obvious with a 600mm but much more obvious with

a 47mm XL.

<p>

Even so, I'm quite happy with mine.

Best Wishes,

Hi Robin,

I've owned both cameras and still own the 45S. I bought both cameras

new. I bought the first camera in 1988 and I was thrilled. Opening/

closing is easy with practice. The controls, strange at first, quickly

become familiar. Clever design, compact when folded and very easy to

use.

<p>

But - and I'm sure this will generate some response - it just

wasn't very stable. Indoors it was great. Outdoors it was no fun. The

slightest breeze would get it wiggling, even when solidly mounted on a

big Gitzo with the BIG Arca Monoball. Dare I even mention the fact that

a Polaroid 545 back was enough weight to cause the rear to tilt.

You can test this for yourself by centering the bubble levels and

putting a little pressure on the standard.

On those "breezy" days, the bubbles do a little dance!

And yes, this was a new camera with all locks, etc. tight.

I liked it, but sold it, and bought the 45S.

<p>

That first model was originally designed as a 2x3" camera, with the 4x5

version being a sort-of afterthought.

<p>

There are two main differences between the models; the click-stops on

center and the larger "L" frames (and support hardware).

The click-stops dramatically speed setting up the camera.

Those larger "L" frames noticeably increase the stability.

<p>

I've owned my 45S for seven years now and am very happy with it.

It seems to withstand a strong breeze now.

On these pages I've seen a lot of opinions on the Technikardan, but

basically it's a compact camera that can perform many different tasks

easily without having to buy or carry much extra stuff.

<p>

A note to Mr. Hildebrand - the scales on my 45S - both tilt and swing

are marked with a range of 28mm......

<p>

If you like the Technikardan, spend the extra $$ and get the new one.

P.S. The hole size is 42mm.

<p>

For Walter...

The board is only recessed about 1/4" so all controls are still easy to

access.

The lensboard for the Planar has been out of production for many years.

As you probably know it was recessed to allow the camera to close with

that lens.

<p>

Linhof made three variations on the #1 recessed board for the original

135 Planar - tan finish, black finish and black with the quick-socket

cable release attachment. All three are the same otherwise. It will

only work with the older 58mm filter size Planars with older #1 Compur

shutters (i.e. 1/400th max.). The T* Planar with 67mm filter size and

later compur #1 is too large. Copal #1 shutters will not fit either.

<p>

The same lensboard was used for the 135mm Xenotar. They appear on ebay

from time to time but will never have a model number. You'll just have

to recognize it. Good Luck :)

There is no glass in a helical focus mount. Both Rodenstock and

Schneider make helical focusing mounts for most of their wide angle

lenses and some lenses up to 150mm. There are many mounts available.

They are specific to focal length and come with the appropriate focus

distance scale.

The 135mm Sironar-N will close inside Horseman's 45HD and 45FA cameras

and will easily close inside Wista's Field Cameras and the Technical VX

and SP if you turn the lensboard around before closing the camera.

To Wilhelm and Robert,

I wasn't really knocking the BagMags - I own several myself, as well as

Graflex reflex cameras. However, to get BagMags to operate properly,

they must first be in excellent condition. If you are fortunate enough

to find a decent one then, with care, it will work fine. My point was

just that the Grafmatic is a superior device.

Otherwise,

Best Wishes

Graflex offered 12 (and sometimes 18) shot Magazines primarily for the

reflex cameras. Film exchange was done by pulling on a lifting device,

grabbing a septum via a leather bag and repositioning it to the rear.

The are more commonly called "BagMags".

They're not very fun to use, don't age well and don't fit standard

Graphic (or Graflok) backs.

<p>

I would guess that production ran from around 1905 to 1950. They were

replaced by the far superior Grafmatics which were more auto"matic"

and, as you found, the septums are different.

Any time you bounce light off a white surface, the white surface

absorbs UV and the bounced light is slightly warmer in color. White

interior soft boxes produce a warmer light than a silver interior box.

One theory is that the silver interior boxes are used with UV coated

(warm) flashtubes and the white interior boxes with non-UV tubes, with

those combos giving a "normal" color. Results with a UV-coated

flashtube in a white interior box would be quite warm. This is more a

question for critical color on positive transparency film, and you'd

still need a color meter and some testing to be sure you're getting

exactly what you want. If your shooting color-neg it won't make much

difference and on black & white it won't make any difference at all.

Hi Jeff,

I'll take a shot at this.

<p>

I believe that a Veritar is a symmetrical optical design that was once

called a Rapid-Rectilinear, a mid-1800's attempt to make a superior

lens design. It was quickly surpassed by other designs, but some

photographers felt it gave a certain "look" to portraits and so it

remained in production under various names into the age of coated

lenses. It needs to be stopped down to deliver sharpness but is soft

wide open. You'll notice that late Veritars tend to have dots on the

scale between wide open and one stop down. By one stop down, they're

reasonably sharp.

<p>

Veritos on the other hand, have their own optical design (not

symmetrical) and are specifically designed to give glowing soft images.

They are extremely soft and flarey wide open and need to be stopped

down several stops to get reasonable sharpness.

<p>

I don't think that Veritos were ever coated because it would have

raised contrast and reduced flare!

<p>

Hope this helps.