paul_kent2

Paul Butzi's article on loading 4x5 film holders <A HERF="http://www.butzi.net/articles/

filmload.htm">http://www.butzi.net/articles/filmload.htm</A>

Thanks for the info everyone.

What is the widest lens on 4x5 that can be used with a cut down (or

single slot/"wide angle") Cokin P filter holder without vignetting? I

would like to use a grad or colour compensating filter on something

wider than 90mm, which is safe. Perhaps 75mm? 65mm with no movements?

 

I searched the archives but could not find an answer. Thanks.

Like Ken, I use a 400mm tele frequently on the Tachihara. A 300mm will work just fine. If you only plan on using the 300mm for near infinity shots, you might want to consider a non-tele to save weight. [ With a 400mm you need to avoid fast shutter speeds since the front standards are not ultra-rigid at full extension. ]

Get more holders. Considering that sheet film is 1 dollar per shot cheaper that Ready/QuickLoad, you only need to shoot about 20 sheets to pay for a single Fidelity holder.

Actually, this is opening more than just the "digital capture" can. The competition

organisers will eventually be forced to deal (or fudge) the whole issue of reasonable

artistic license (e.g. high colour saturation) vs the current "no manipulation" stance.

 

Why, as a film shooter, can't I shoot Astia 100F for a macro compositon, then scan and up

the saturation? This bypasses the lattitude and reciprocity issues of velvia, an option now

(or soon) available to digital shooters by simply adjusting camera settings.

I can get the following inside a Nature Trekker (old version): a 4x5 Tachihara, Wista

darkcloth, a 90/f8, 150/f5.6, 240/f9 and 400T/f8 (big), lightmeter, 5-6 holders, and an

assortment of filters, cokin p holder, lupe, spare batteries, whistle etc. in the inside

pockets. I regularly add a quickload box and holder to this which strains the pack slightly,

but appears to be OK. If I reduce the number of holders, give up the 400T and 150, I can

also fit a small bodied Nikon, a wide angle, and a slow 70-210mm zoom. There is not

enough room for f2.8 pro zooms and the 4x5 gear. In short, the Nature Trekker is just

about OK size wise. The back system *is* terrible compared with decent non-photo

backpacks - this difference becomes really obvious on steep hikes, but is more tolerable

on the flat. A Gitzo 1228-sized tripod works well in the supplied holder. The 13xx series

are a bit large (tall), but I have seen it done.

 

You should also consider working out of a regular backpack and using lens wraps/plastic

boxes/cut foam (etc.) to hold your gear.

Use quickload/readyload (sorry, no Tri-X) or FedEx.

Shooting the Maroon Bells is basically wedding photography: you

only get one chance for the (sunrise) shot (sun just clipping the

mountain tops). For this reason I don't recommend new equipment. The

scene is too contrasty for Velvia unless you use a grad ND or you are

exceedingly lucky with cloud.

 

Unfortunately, exactly as David says, shooting the Maroon Bells

is also gambling... good luck with the weather!

 

You shouldn't need to shoot much film: learn your camera's meter (or

use a spotmeter).

 

Important tip: it is often quite cold around the lake. After sunrise, you have

to wait a couple of hours for enough light to hit both sides of the

valley for the postcard daylight shot. If you aren't prepared, it is

easy to freeze during this time. The other 25 photographers lined up

around the lake may or may not take sympathy...

 

I second Tony's Reed recommendation.

I have experienced similar "light" when using either an ill-fitting QL holder or when I have jogged the holder on pulling/pushing the paper film packet. I suggest firmly holding the QL holder and spring back together on inserting/removing the film packet for a test shot or two.

 

There are other possibilities, but a holder/back problem seems most likely. Good luck.

Bruce Barnbaum's "The Art of Photography: an approach to personal expression", for technique, philosophy, excellent printing examples...

 

I prefer Bruce to St. Ansel because he has far more to say about composition, visualization and expression.

The "L" is used to align Linhof lens boards, where the lens is mounted off-centre. The

"0" is for regular boards where the lens is mounted at the centre of the panel. IMHO

this distinction is only important for extreme wide angle lenses where the lens

converage is quite small. Most lenses have sufficient coverage that setting up with

exactly zero rise is not critical, and the few mm of difference does not matter.

Oops! 216mm coverage for a Schneider SA 90mm f8

At the short end, I would recommend something like a used Schneider Super Angulon

90mm f8, or equivalent from one of the other manufacturers. These lenses are

plentiful on the used market and take the same 67mm filters as your Fuji CMW

125mm. On a Tachihara, the 235mm+ coverage is well balanced by the bellows: you

can do all of the movement available - using indirect rise it is just about possible to

run out of coverage, but the bellows are pretty tight at this point. You can always sell

the 90mm if you want to upgrade to the 80mm later on.

 

At the long end, I use a Fuji A 240mm primarily because my next lens is a Fuji 400T.

My experience with the 240mm has been excellent. It is a great bargain. The only

down side is that it is ~impossible to point into the sun, a not uncommon problem

with longer lenses.

And one vote for using standard holders in windy conditions (not QL).

To quote <A href="http://www.westcoastimaging.com/wci/page/info/shippinginfo.html">West Coast Imaging</A>: <P>

 

<B>Why we don't recommend shipping with the USPS</B> <P>

 

They lose packages. When you're shipping original film, what other reason do you need? How about slow delivery? In our area, a Priority Mail shipment can take 5 or 6 days to get to West Coast Imaging. This, plus the fact that we regularly receive our mail wet or damaged, makes us a bit weary of the USPS. The only time we recommend using the post office is with international shipments where FedEx or UPS won't deliver.

Unfortunately the surface of the film is perfect - the area around the blob is indistinguishable from the rest of the film, on both sides. It must be a manufacturing defect (?!). Thankfully this one is headed for digital output.<div></div>

Thanks Darin. I like the bubble theory - I should be able to wash it away.

There is an odd green blob or outline on one of my 4x5 Velvia slides.

He - lets

call him "little green" - is just over 1mm on each side, plenty large

enough to show up on the light table. None of my other slides from the

same box of film have this problem. How did he get there? Dust? A

defect in the film? A processing problem?

 

Thanks for the analysis

 

Paul Kent<div></div>

An important law for nature shooters is that gear will only break (or jump into a

stream) in the most remote, farthest hiked, most photogenic locations. You will not

be near Denver when your gear breaks... Get your usual dealer to "next day express"

replacement gear to the nearest h/motel.

 

If you do happen to be near Denver, then <a href="http://

www.denverprophoto.com">Denver Pro Photo </a>is easy to get

to (off I25, South of I70, parking) - they don't have much in the way of LF lenses/

cameras, but do stock all of the film/holders/releases/filters/bags that you could

want.

See the illustrated article on

<A HREF="http://www.butzi.net/articles/filmload.htm">Paul Butzi's site</A>. There is also an article on the <A HREF="http://www.largeformatphotography.info">large format website</A>.

 

It is easier than you might think - just take things slowly the first couple of times. It helps to sacrifice a sheet and practise in daylight.

The big problem with the photo backpacks - e.g. Lowepro - is that they don't provide any space for non-photographic items (drink, waterproofs). If you intend hiking any distance you might want to consider to a non-photo front loader. Regular backpacks typically have far better back systems - I can never adjust my Nature Trekker as well as my Karrimor, although I miss the LowePro dividers.

I have had some success using readily available Fedex or USPS "express" envelopes. I

cut out a ~5 inch by ~6 inch piece from one of the corners, and glue the innards

together. Then I cut a 4x5 inch viewing hole in the 5x6 inch piece, and cover

everything with tape. I keep the resultant flexible water-resistant viewing card in a

pocket in my rain jacket. I needn't worry about replacing the card or using it in

torrential downpours. For measuring distances, I use my fist, spread fingers etc.

Fedex and USPS both make lots of money on me, so I don't worry about sacrificing

their envelopes.

This thread is way off track... perhaps it can be saved. Chris appears to refer to the advert e.g. on p13 of the May/June 2003 issue of View Camera. After a quote from Rich Seiling the marketers write "Even wide open, their advanced aspheric design delivers edge-to-edge sharpness and vibrant colour unmatched by any other large format lens." i.e. you get more and better stuff on your film (hmm). Tech-heads may be interested in testing this.

 

More practically, I would be interested if - say - an 80XL is noticeably better in terms of flare and resolution than an older SchNikoFujiStock 75mm or 90mm at normal shooting apertures of f22-f45.

It would be easy to begin discussion with a comment along the lines "it is easier to copy than to create", but I draw a simpler conclusion: successful stock photographers are better businessmen than photographers. If the Wilderness Society will publish it, and it isn't too far from the truck - shoot it. Originality is not essential for success.

 

Those shooting for their own walls can shoot whatever they want - its a free country.