david_l3

<p>Trying out a Fuji GS645 folder after it was repaired. </p> <p> </p><div></div>

<p>What Bruce said, especially keeping the camera level, the back straight, and using no front tilt. I'd also try front swing to get good focus on the (larger as I understand it) right front face of the barn and stopping down to f45 to get the left wall details in focus. It should be fairly simple. </p>

<p>Ben, I've had 4x5 Toyo view cameras since 1986. Still have two 4x5's, and an 810M Toyo which is my favorite format now. I've had 4x5 transparencies published over the years and I still shoot often and just for fun. You have the right attitude to get the most for those lenses. Best of luck to you. </p>

<p>I will be honest and pass over a spectacular deal for my 11x14 camera, but those lenses are unique and very specialized ultra wide angle lenses. It pays (literally) to do some research. I suspected they are worth much more than some of the responses here. Actually they are worth at least $2000 Each. The Super Angulon 210mm is made by Schneider and one sold for $3000 last month on the Large Format Photography forum. <br> Find more information on them, such as what size format they will cover. They will cover at least 8x10, 11x14, 16x20, and larger. Lenses this wide are hard to find and finding a buyer may take time. Be patient and sell wisely. </p>

<p>I can't say what the cause was. But for very important pictures I write protect the SD cards from my D7000 before inserting them into a computer or a mobile device. Slide that tiny white tab on the card's edge. I learned the trick after a couple of mysterious file corruptions when transferring files from my D7000 SD cards. <br> I write protected my SD cards a few months ago on an overseas trip when I copied files to an external SSD used for backup. Don't forget to reset the little tab on the SD card if you want to reuse it in the camera. </p>

<p>I used to live where my darkroom was 57-59F all year. Now it's 77-78F in the summer, and tap water is >80F. Here's a trick to enlighten oneself. Measure your developer temperature before you pour it into the tank, then when done, pour it into a plastic bucket, and immediately measure the temperature again. If ambient temperature is much different from your processing temperature you will get a shift. I finally realized it's the weight of the tank/drum, and the contents (reels, film, etc) that are room temperature before you start. The mass of the drum/tank hardware heats, or cools, the developer, sometimes significantly. I have seen 5 degrees difference. If you know the difference between the entry and exit temperature of the developer, you can make slight adjustments to temperature or time. Take notes and faithfully repeat the details that resulted in successful negatives. </p>

<p>Thanks Mathew, the manual will come in handy. I got a Medalist 1 last year for Christmas from my wife. I just re-rolled two 120 films onto 620 reels this evening in hopes I can take it shooting in the next few days. </p>

<p>Thick morning fog in a local forest. </p><div></div>

<p>I have a Bessa with the hinged yellow filter. If I remember right, back before coatings and newer lens designs, lenses were corrected for the red end of the light spectrum. They were not as well corrected at the blue end. There was some sharpness improvement with the yellow filter as it took out the (out of focus) blue light. It seems to make sense, but I never verified it for myself. </p>

<p>Cuba Street, Wellington, NZ</p> <div></div>

<p>Christchurch, New Zealand, yesterday, November 11, in Spring weather. </p><div></div>

<p>Tony, excellent photos. I wound up having two Vb models with Xenar lenses. I used one last month for family portraits with excellent results. The Xenars have impressed me immensely. </p>

<p>The Ektar lens is not worth the extra $100 in my opinion. For perspective, I got a Toyo monorail 4x5 with a 150mm Nikkor lens for $165 in Maryland this year. Film holders can be found for $10 or less. Things to watch for. If the bellows looks degraded it likely has pin holes you will need to patch, or have to replace the bellows completely. The lens shutter can give you frustration if it's not working close to perfect. Be sure all parts, knobs, and levers, are in good order. Monorail cameras have lots of movements, more than most field cameras. I learned with one and still have respect for what they can achieve. </p>

<p>It's been a while since I've posted here. I recently received a new RF camera as a gift from my wife. From my first roll with a Horizon 3 Panorama camera. </p>

<p>It's been a while since I've posted here. I recently received a new RF camera as a gift from my wife. From my first roll with a Horizon 3 Panorama camera. </p><div></div>

<p>The Plaubel Makina 67 had an excellent reputation and the cameras were costly when 120 film was commonly used. If you can afford it, the repairs would get you a very nice medium format camera. </p>

<p>The problem is underexposure and a Nikon F2 which is at least 25 years old. I had (and loved) a few F2 cameras and the light meters drift off of correct exposure as they get old. I had most of them adjusted after noticing as much as 3 stops underexposure. With my first F2 I had to set ISO 100 film to something like ISO 12 to get good exposures. Your F2 likely needs the meter adjusted by a repair person, and then you will be okay taking pictures. </p>

<p>One sold this year on the large format photography forum for 600 UK Pounds. </p>

<p>Agave, from last March in Austin, Texas. </p><div></div>

<p>It seems to me, start with shooting in RAW. Then use a color meter to measure the Kelvin temperature of your light source, the sun on that day, at that time, and same with an artificial source. Then in RAW conversion enter in the meter's Kelvin temperature into the color temperature setting in the software. Then output a tiff file in the largest color space possible. That ought to get you close, at least within the accuracy of your camera and lens. </p>

<p>Pretty cool and I have liked his works. But be aware many of his photos are NSFW. </p>

<p>Those lenses are wonderful at 210mm and great pictures can be made with them. But in converted form they are difficult to use. I had a 210mm Rodenstock Sironar convertible lens, much like the Schneider 210mm Symmar. With the front element removed for the longer focal length it was very difficult to focus. The ground glass was dim and the exact focus point was very hard to find over a fair distance turning the focus knob back and forth. In theory it's useable but in practice don't count on it. </p>

<p>Professional Camera Repair on Richmond has a limited amount of used cameras and lenses, including some odd and hard to find items. It's worth a look. The demise of Camera Co-op is a loss for many of us in Houston. </p>

<p>The negative may be okay. With better scanning, the tones you want might be available. Use the manual pre-scan adjustments with curves to get all the tonal range so that neither blacks or highlights are clipped. No sharpening either before scanning. Have the scanner save as 16 bit TIFF files. For a 5 feet tall print, that's 60 inches times 300 dpi. You'll need about an 18,000 pixel image from the scanner. That is a 3600 dpi scan resolution. <br> Then open the TIFF file and spot the blemishes with your software of choice. Then make curves adjustments to get the contrast and tones you want. Then sharpen. </p>

<p>With a 4x5 camera, use 150mm and 210mm lenses for best chances of good shots. My Toyo 45A field camera with only 12 inches (300mm) of bellows draw can focus fairly close with these. With a 300mm lens you'd need over 400mm of bellows draw to focus close for a portrait. And depth of field with a 300mm is very slim, even at small apertures. </p>