doug_paramore2

Anyone out there familiar with the standard frame sizes in Germany? I have a friend from that country visiting who wishes to take some of my prints back and frame them when she gets home to save weight and space on the airline. I will mat and mount them, but I need to know the sizes of the frame. What is the comparable size to our 8x10 frame size and our 11x14 size frame?

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Thanks,

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Doug.

Sorry folks, I just don't agree with the bias against RC paper. I am

not a beginner at printing fine art prints or selling at art shows.

My customers are told, if they ask, that the prints are made on RC

paper. I believe that RC will last based upon my own experience. As

for it lasting for infinity, my work is probably not deserving of

lasting that long, although I have more than 40 ribbons I have won in

art show competition. As for museums, I haven't been asked to display

my work in museums. I will not display prints again in galleries due

to several bad experiences, such as them selling prints and

forgetting to tell me about it for several months. I do have prints

in the permanent collections of seveal arts societies. Print on what

you like and I will do the same. I don't have a bias against fiber

paper other than that it takes a lot longer to print and mount with

no increase in quality of the way the image looks.

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Regards,

J.L.: I used to print everything on the old Seagull. When it was

discontinued, I tried several papers and settled on Kodak RC paper

and am completely satisfied. I do the art shows and have no problems

whatsoever with the RC paper. I use Polycontrast 111 and tone the

larger prints in selenium. I have compared prints side by side and

it's difficult to tell what paper is used. I talked to the folks at

Kodak's professional division and they assured me that a properly

processed and toned RC print will last as long as a fiber print. Not

was not always the case, but it seems to be now. I have prints which

are 10 years old and they look as good as the day they were made. I

retired early to be able to do the art show circuit, and I would have

quit selling a long time ago if my prints were not good. The

customers never ask about paper, just about the image. I have won

prizes at many art shows doing RC prints, so I can highly recommend

it to you.

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Regards,

Tami: I would get one with the Graflock back. It will allow you to

use roll film backs, etc. a lot easier. As for lenses, most of the

lenses made since WWII are coated. Multicoating came along in the

late 60s or 70s. Don't pass up a good lens without multicoating. It

doesn't make much if any difference on standard lenses.

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Welcome back to the world of large format.

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Doug.

Chin: It is necessary to drop the bed or raise the lens with a lens

of 90mm, so I am sure you will have to with the shorter lenses. With

a monorail, you can just move everything to the front of the rail. It

really isn't a problem. Just drop the bed, raise the lens back to

center an tilt the lens back to verticle. It takes longer to tell it

than to do it.

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Regards,

One of the best things about AA was that he was a good teacher to the

masses of younger photographers. He was a superb writer and could

explain the magic of photography in an easily understood manner. He

could not only teach, he could do. He has kept countless thousands of

aspiring photographers, me included, from having to re-invent the

wheel. Incidentally, if you ever see an exhibit of his work, it will

be quite difficult to slam dunk him. There is quite a difference

between the printed page and an Adams' print.

Richard: Sounds like you either got a batch of contaminated or

outdated fixer or the factory screwed up a batch and didn't get the

chemical mix right. I would dump the whole batch and start over. It

is an unusual problem. I can't think of anything in the darkroom

other than Hypo Clear that will screw up fixer.

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Regards, Doug.

If I can quit laughing over Ellis' answer long enough I will try to

help. In all sincerety, you need to spend some time in a well

equipped library. There are numerous formulas for LF lenses, the

current favorite by manufacturers being the plasmat formula. There

are many, many lenses based on the Tessar formula, which are four

element lenses. If you go back to the turn of the century, you will

discover a large array of lenses and formulas. Most modern lenses are

mounted in shutters, but that was not always the case. Many were sold

as barrel mounts to be used with the Packard and other behind the

lens shutters. There were even 4x5 focal plane shutters. The lenses

have to be mounted on a lens board, which then fits onto the camera.

The exposure is set through the shutter and the aperature, just like

35mm. I hope this was a serious question you posted. If not, I'll

feel like a fool.

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Regards,

I really like the idea of a get acquainted section. It shouldn't be

too difficult to have a listing spot. It could be broken down by

states or areas after enough names are gathered. Great idea. My wife

nixed the idea of a dating service, darn it. Still, if there is a

beautiful lady photographer out there 40-50 years old with a Linhof

Master and full compement of lenses, please send picture of camera.

Stephen: You really need the Graflok back for the Grafmatic. It will

ruin the springs on the Calumet. You may be able to adapt a Graflok

to the Calumet. I did on one I used to have. Not a big project.

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Regards, Doug.

I agree with Dan...grain shouldn't be a problem with an 8x10

enlargment. Try a test with additional development and see how it

looks. You can also gain about a stop of exposure by selenium toning

the negative. If you have seriously underexposed the film and there

wasn't enough light to break the threshold in the shadows, no amount

of development will salvage the shadows.

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Hope it works out o.k.

Donald: Look inside the bellows under the fold next to the mount on

both ends. You will probably find a row of screws that hold the

bellows in place. Most of the LF cameras mount from the inside. It is

usually just a small task to remove the bellows. It ought to be a job

you can do yourself with a small screwdriver.

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Hope this helps,

Pete is correct that the Plasmat design was introduced in the 1920s,

but is was a pretty bad lens. It wasn't until improvements in optical

glass came about that the lens really began to show its stuff and

became the basis upon which most of the wide coverage modern lenses

are designed. I have used a convertable Schnieder lens a lot, as well

as an old triple convertable Wollensak. Either works pretty well with

a yellow filter. I would not carry a convertable into the field as my

only lens, as you are out of business if the shutter fails.

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Regards,

Many LF test at 60-80 LPM and some MF lenses beat that. That is test

ing at the middle of the aperature. Getting hung up on resolution

figures is a 35mm amateur type of thing and doesn't have much place

in LF unless you are making wall murals. Much more important in LF

work is coverage and contrast. Incidentally, the highest test results

I ever read about was for a Leitz 50mm Summicron, which resolved 150

LPM. Many of the lenses in all formats will resolve more LPM than the

film is capable of recording unless you use something like Tech Pan.

I you are planning to shoot LF, forget about LPM and shoot pictures

for content. A sharp lens is less important than a sharp eye and mind.

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Regards, Doug.

In most shooting conditions you won't be able to tell but little if

any difference between a multicoated and single coated lens.

Multicoating is most important with zoom lenses, which can have as

many as 13 to 16 elements, and each element creates flare at the

surface. For LF work, single coating is all you need unless you put

the sun in every picture.

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Regards,

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Doug.

A properly adjusted range finder is extremely accurate at the

aperatures you would normally use. A rangefinder is especially good

at at closer distances and with wide angle lenses providing you have

the proper cam and the bed stops are set correctly. It is also

extremely fast. Once you get used to the wire frame or optical

viewfinder, framing can be quite accurate, but leave a little room

for cropping. The disadvantage is that is it not easy to change

lenses, as you also have to change the cam. Some of the later

graphics, such as the Super Graphic, had drop-in cams which speeded

up the process. You will need additional bed stops for each lens if

you intend to change lenses and cams easily. I would suggest you set

up the rangefinder for the lens you will use most often, and use

groundglass focusing for the other lenses. Incidentally, you can

focus handheld using the groundglass quickly with a bit of practice.

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Regards, Doug.

I am not a member now as all I do is fine art photography, but there

are advantages to belonging to professional associations. One is

assignments, if you are doing commercial work. The associations have

reference lists for organizations seeking photographers in your area.

The Professional Photographers of America has a commercial section

and certification programs in both portrait and commercial divisions

which can be helpful in obtaining assignments. I'm sure PSA and ASMP

also has reference lists of photographers.

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One of the biggest advantages is getting to know other photographers,

learning from and teaching them, and keeping up with the latest

advances and trends. You can learn a lot by attending the conventions.

Why not start with your local photographic associations? There are

state associations and most larger cities have one. In my opinion, a

commercial photographer can gain from belonging to the associations.

It does, in a way, lend credibility to your standing as a

professional.

Dave: I wouldn't worry about the 1/4 in. bolt. I have carried my 8x10

Ansco for a long time over my shoulder with the camera on the tripod

with legs collapsed. That includes the weight of a 12 in. Commercial

Ektar in Ilex shutter. With the platform you have on the tripod, you

will have no problems. If the 1/4 in. mount bolt was a problem, you

can bet it would have been changed during the many years the camera

was made. You will rip the bottom off the camera before you tear out

the bolt or break it.

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Regards, Doug.

Brian: If you do contacts from 8x10, you will find that just about

any kind of lens will give you great photographs. One of my best

images in 40 years of photography is a contact print made with an old

uncoated l2 inch lens. Even a doublet or triplet can give you great

contact prints. The 10 inch Wide Field Ektar is a great lens and was

one of AA's favorites. He also used a 7 inch WF Ektar on 8x10. Since

you don't enlarge and go through another lens that reduces print

sharpness a little, you get everything possible out of the taking

lens. I don't use my 8x10 much anymore, as it is getting a little

heavy to carry around, but there isn't much that can give you more

satifaction than an 8x10 contact print. I use 4x5 mostly because I do

the art shows and need to be able to make more than one size print as

I don't have an 8x10 enlarger. If you are willing to put up with the

weight and don't get in a hurry, you will make some of the best

images you have ever made.

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Regards, Doug.

The Copal shutters seem to be less prone to sticking than Compurs.

Maybe just a different lubrication. I would spend a little time

working the shutter at all speeds, especially the lower speeds and

then check it out with a few negs or chromes. It might be o.k. as is.

Regards, Doug.

Dan: You might make a usable gate from stainless steel wire, which

you can get at model airplane hobby shops. I have built a couple in

the past. Why not try a test using some junk negatives? They may be

o.k. as they are if you don't move them too quickly in the chemistry.

Should we as LF users get special permits? No. Unless the park system

sets up a permit system for those with large picnic baskets, coolers,

baby buggies, etc. On the other hand, perhaps the park system could

consider a Photo and Art Safari bus that could haul artists and

photographers into the remote areas when the park is less crowded.

The buses could be set up for ample room for photographic gear and

easels,etc. and charge a premium fee. The bus could either visit all

the popular scenic areas for enough time to photograph a spot, or

drop the artist or photographer off at an area and pick them up

later. It might add revenue in the off season. We don't have many

truly wild areas left. What we have should be preserved. We as

photographers shouldn't get any more consideration than any other

group without being willing to pay for the priviledge. Besides, the

last thing the world needs is another photograph of the national

parks.

Randall: Why not take the rifle outside where there is plenty of

light and room to constuct a proper background. Open shade should

work well, as will direct sunlight if you can control the

reflections. Bright sunlight under a scrim will certainly work. Also,

I would try different filters, such as orange, yellow or light red to

bring out the grain in what I suspect to be beautiful wood.

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A white bedsheet on a frame would make a great scrim for the shot, or

you can just drape it over a clothesline and raise the corners on

poles. I made some open shade shots of guns at a black powder shoot a

few years ago that looked great.

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Hope this helps,

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Doug.

Nick: How do the negs or transparencies look? They should be good

regardless of coating color.

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Doug.

Sounds like a 3 1/4 x 4 1/4, which used to be a common size. I have

seen the film holders advertised, and you might find an older

photographer who has some. It never were as popular as 4x5. I haven't

seen film that size advertised for years.

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Regards, Doug.