william_whitaker1

<I>"I would suggest that you are the clown."</I><P>

This is unnecessary.

Jeff,<P>

My Kodak Master View has a Tachihara ground glass with a Fresnel lens incorporated into it. It's bright and clear; I'm very pleased with it. Midwest sells the Tachihara Fresnel/ground glass for $89. The grid overlay will set you back another $49. If you don't want the grid, you'll need to find something to protect the ground glass which is soft and easily scratched. TAP Plastic has thin Lexan which may be a possibility.<P>

Regards,<BR>

Will

Greg,<P>

They used to make cameras that were specifically <I>portrait cameras</I>. These were large format cameras which lacked front movements (fixed front standard), but which retained limited rear movements (tilt and swing). Burke & James marketed the <I>Rembrandt</I>. Agfa sold a similar camera in 5x7 which was simply called a studio camera. I'm sure there were others.<P>

A few months ago I picked up a 5x7 Rembrandt II for $51. If you're just looking to get into the format without too much technical fanfare, you can't beat that. I know you're looking for a 4x5. Seems the Rembrandt also came in that format. If not, reducing backs are available. If you're going to be working in a studio or close to home, the size/weight difference between a 4x5 and a 5x7 is probably inconsequential anyway. A tailboard camera doesn't fold up as compactly as a modern folding field camera or a press camera, but it's not bad at all - and a lot easier than a monorail.<P>

One feature I like about the Rembrandt is that it has a built-in recess behind the lens board to fit a Packard shutter. There are even little clips in there to hold the Packard in place. Makes using those old barrel lenses a lot easier. And there's no reason you can't make lovely landscape or still life photographs with it - just as long as you don't need the front movements.<P>

Just a thought, given your considerations.<P>

Best,<BR>

Will

Ken,<P>

It <I>sounds</I> as if your ground glass might have been replaced at some time if it's a plain piece of glass with black tape on the edges. The Tachihara ground glass/fresnels which are currently available are very nice. I have one on my 8x10 Master View and it's a delight to use. I'd suggest checking with <a href=http://www.mpex.com/current_index.htm>Midwest Photo</a> as they sell the Tachihara ground glass outright.

I've used TF-4 for several years and always shake the bottle (as the instructions direct). I've never been shocked. But then, too, I always remember to unplug the bottle before shaking.

Check with Photographer's Formulary to see what they might suggest.

<I>If you always try to live up to the expectations of others, you'll never fulfill your own.</I><P>

Merry Christmas,<BR>

Will

Janet,<P>

Unless you really need the money, hang onto the Hasselblad. Until you know for sure where your photographic pursuits are taking you, you may find yourself regretting letting it go. It's a nice system. It would be a shame to sell it and then have to replace it next year. I can't say how many times I've experienced seller's remorse!

<P>As for your focusing issues, perhaps a $2.99 pair of reading glasses from Eckerd's would help when using the waist level?<P>

If you <I>are</I> set on selling, I think you'll do better if you <I>don't</I> try to sell it as an outfit. I'd offer the basic camera (body, 80mm, 120 back) as one item and then sell the 150mm lens, 220 back and prism as separate items. And you will do better if you sell it yourself, either through the classifieds on this forum or on Ebay. (Ebay is a good way to practice your product photography technique. There's nothing worse than a fuzzy dark image of a camera being sold by a photographer. Makes you wonder. Like a painter with a clean truck, as Andy Griffith once said.)<P>

I grew up in NC not far from where you live. I last lived in Charlotte and spent a lot of time at Charlotte Camera. They're great folks and I've had nothing but positive experiences with them. But they're a retail business and no retailer is going to be able to offer you top dollar for your camera equipment.<P>

Give it a lot of thought before you commit to selling it. The Hasselblad's a great tool and I hope you'll keep it. Best of luck in your business and other photography.<P>

Regards,<BR>

Will

My immediate first thought is to consider a 5x7 camera with a 4x5 reducing back. (Most 5x7's have a 4x5 back available). I infer you're thinking about a monorail camera, but that's not clear. Don't discount the possibility of a vintage camera. 5x7 Burke & James and Agfa's are common on the used market. Many have both the 4x5 and 5x7 backs. They can be quite capable cameras and save you a lot of money getting started. Should you wish to move up (or if you lose interest), they can be sold again and most of that investment recovered. The older cameras are not as well suited for architectural photography requiring a lot of movement. But for still life and portraits, they're fine.<P>

Don't know the Arca myself, although others do and will respond. Don't get carried away; good photographs can come from simple equipment. Others will have their suggestions. Consider the playing field and invest in a decent, but reasonable system and save some money for film and paper.<P>

Best,<BR>

Will

Armin,<P>

It's for his <I>daughter</I>!

For one looking to get back to the roots, a TLR has a lot going for it. It is simple. Most have only a single focal length which can be a blessing. It makes you work within the constraints of the camera. Furthermore you're not tempted to go spend money on every lens under the sun. A good TLR (some Rolleiflexes, Yashica Mat 124G) can be had for not a lot of money. They're compact and fairly lightweight. They're quiet.<P>

Personally I adore my Rolleiflex. It's the one I'd keep if I could have but one camera. The waistlevel finder is slightly surreptitious if one needs to be when photographing people. But the camera's capable of making a decent <a href=http://wfwhitaker.com/gallery/misttrail.htm>landscape</a>, too, when bigger formats aren't available or practical for the conditions.<P>

Find a good used TLR and try it. That's the one real way to find out. If it's not for you, you'll likely be able to recover your investment when you sell it.<P>

Regards,<BR>

Will

Hardly watch any TV, so I can't blame that. But I <I>am</I> going to have take a sledge hammer to my computer. Damn internet sucks the life out of me!<P>

<I>See! I'm at it again!!</I><P>

Sympathetically,<BR>

Will

If the head is, as you say, <I>"very, very hot to the touch"</I>, that does not sound right. I would suggest that for safety's sake you do not use the unit until you've had an opportunity to contact Aristo as already suggested.<P>

The Thermo cord is wired to a pre-heater, a small heating unit above the grid lamp in the head. Its purpose is to help keep the lamp in a temperature range where its light output is more consistent. I've used a number of Aristo heads, but admittedly not one of the "HI" output heads. It's possible it's intended to run warmer than the other types, but your description makes me wonder if it's operating normally or if, perhaps, a short may have developed across part of the heating unit.<P>

Regards,<BR>

Will

The Zone VI modified Pentax digital spot meter has been modified so that it responds fairly equally to any of the colors of the visible spectrum. Some meters respond more readily to certain colors than to others. The modification is intended to even out the response and make the meter behave in a more "panchromatic" manner. A further modification is done to reduce internal reflections within the lens barrel so the meter won't react to off-axis light sources.<P>

A meter measures light level, not color. The Pentax meter as modified should be appropriate for any film, color or black and white, which records the visible spectrum. I purchased my Zone VI Pentax meter in 1984 shortly after they were introduced. It continues to serve me reliably. I have had great success using it with color transparency film using, effectively, the zone system for value placement. It's dead-on every time.<P>

Color work? Absolutely.<P>

Regards,<BR>

Will

Any functional Focomat IIC is definitely worth 300USD. As others have pointed out, it is a very solid medium format enlarger. Some, but not all, IIC's came with the "color" head which had a filter drawer above the condenser. Designed with color printing in mind, it also facilitates the use of variable contrast filters for black and white printing. If yours has it, all the better.

Make sure that you have the negative carrier with yours. If not, they're expensive to purchase (when you can find one). It should also have the masks which slide into the carrier for smaller formats. Typically you'll find a 6x6 mask and a 35mm mask.

The condenser is critical. As long as it doesn't show obvious scratches or damage, it should be OK. In the IIC design the condenser is fully enclosed, so is usually protected.

The lenses for medium format underwent three changes over the production life of the IIC. The original 95mm f/4.5 Focotar was not a stellar performer and was really only usable for 6x6 negatives. The 100mm V-Elmar was an improvement, but still did not adequately cover 6x9 negatives. Its performance today is reportedly easily surpassed by modern optics. (I've not tested it myself, but check the archive for other posts on this.) The last lens produced was the 100mm f/5.6 Focotar-2 which remains an outstanding lens and is very desirable. Leitz finally got it right, then discontinued the line. :-(

The 60mm f/4.5 Focotar for 35mm negatives remained unchanged throughout the production. It's adequate, but not outstanding.

The major drawback to the Focomat IIC is the inability to upgrade the optics with current lenses. For all the wonderful things the Leitz engineers accomplished, they almost guaranteed the obsolescence of the IIC through the somewhat quirky design of the lens mounts. For those of us who enjoy the ergonomics of the IIC, this last point is a real bummer. Modern enlarging lenses simply will not fit the IIC.

Re: your last question. If I had to replace my enlarger(s), I would give very serious consideration to a Saunders/LPL 4550XLG. It will handle formats up to and including 4x5, can be fitted with either a VC head or a color head and can be easily aligned.

Best,

Will

There are several factors to consider when specifying a bellows besides the maximum extension and the format. A tapered bellows will compact much better than a non-tapered bellows. A 24" bellows on 4x5 is pretty long and you will find it probably will be somewhat restrictive if you wish to use shorter focal length lenses, especially with any movements. Generally the back of the bellows should be large enough to accommodate the format and the front of the bellows large enough to accommodate the lens board. For 4x5, a bellows 6" square should accommodate a reversible back. If you use lens boards on the order of 4" square (typical for a 4x5 field camera), there won't be a lot of taper and the longer bellows won't compress enough to allow much movement for short lenses. Increasing the rear dimensions allows more taper, but makes the camera much bigger overall and adds significant weight. Consider carefully exactly what you want to be able to accomplish with your camera and design around that. Any good design is a carefully balanced set of compromises.<P>

Regards,<BR>

Will

Andrew,<P>

You have a choice. You can become either a camera builder or a photographer. The process of designing and building your own view camera (of whatever size) is fraught with complications and compromises. That is assuming you want to end up with a camera which will be something other than a nightmare to work with in the field. Building your own view camera is not an economical means of acquiring a camera. You'll easily end up spending as much as or more than a new (or used) one would cost when you factor in tooling, materials wasted, your time, etc. However simple a view camera may appear to be, to make one which functions effectively does involve a lot of work and time. That's time which would for many of us be better spent making photographs. Don't ask me how I know....<P>

Now I realize that I sound like an old curmudgeon (I'm neither) and I don't want to thoroughly discourage you. I would advise, however, that you learn the processes you wish to use, such as carbon, etc. in a smaller format and save your money until you can purchase and old Korona, Folmer & Schwing or such in the format you want. The cost of film and printing materials rises enormously as you increase the negative size. So does the cost of film holders.<P>

Regards,<BR>

Will

Jim,<P>

I've adapted an older Xenophon 4" gel filter frame to mount behind the lens board attached with magnets. The magnets are small, about the size of an aspirin tablet, and were purchased from my local Radio Shack. Four are countersunk and epoxied in the back of the [wooden] lens board in a pattern which assures that I'll always attach the holder right-side-up. Four additional magnets are epoxied to the filter frame matching the lens board pattern. In this way one filter holder serves all the lens boards. The magnets hold it very securely. The newer Xenophons should work as well in both 3" and 4" sizes. <I>Special care should be taken to insure that all magnets are mounted with the correct polarity!!</I>