c_p_goerz

Does anyone know where to look for a 6mm cam for a V35? I am tired of jamming a fork

handle above the stage!! :-)

CP Goerz

Seven days by the time an item gets to you means you really have no time whatsoever to check something out properly. Have you perhaps asked Imacon if they have had similar problems? I would then explain the situation to the seller and ask if he had problems and when the last time it was used and how they set it up. If you are in LA offer to bring it back and have him show you how it works, if not then I guess the best thing is to ask him to pay the repair fee, if no joy with those options fly to LA and burn his car out!!! ;-)

CP Goerz.

Depends on the thread pitch but they ought to be, have fun experimenting. In either

case they are both better than the Zeiss made ones.

CP Goerz

Pop em in a dry mount press and while they are still hot place them under a sheet of

glass, when cool take them out and there ought to be nice and flat.

CP Goerz

Does the scanner show up in the 'chooser'?

CP Goerz

Ahh, that reminds me of the first Protar Series VII I had, it too was a B+L in an old black faced Ilex 4. It was a 305-485-600mm combo and was made in the US by B+L so maybe they both(CZ + B&L) started of as being marked in MMs possibly.

CP Goerz

Zeiss originally marked the cells in MMs but found they couldn't make them accurately enough and on a consistent basis so they changed to CMs instead. The B+L lenses were all measured in inches I believe. If the threads work then there shouldn't be any reason why they wouldn't work, I can't imagine Zeiss made them so carefully as to be incompatible.

A better triple convertible thats a bit cheaper is the Wollensak Series 1a or the Royal Anastigmat which has the same airspaced design as the Cooke Series XV of Ansel fame.

CP Goerz.

There are possibly two reasons for the F260 stop on an APO Ronar, with the glass in place you get fantastic 'glow' around the highlights, without the glass you have an adjustable pinhole camera!! ;-)

CP Goerz

Here is the aperture sizes your set is looking for...I'll leave it up for a few weeks so copy away.<P>

<img src=http://home.earthlink.net/~photobook77/vademecum.jpg>

CP Goerz

I never tried the display material but I don't see why it wouldn't work. Yes, the

formula is for 1 liter.

CP Goerz

Sure does, you can make every step in the process but for the bleach with

standard B+W developers. Ilfochrome is a dye destruction based emulsion, all

the colours are in the paper already and are selectively bleached out.

The fixer can be just your standard rapid fix, don't try to overextend it, just use

all of the chemicals as one shot. That being said and the bleach being so

expensive you can make a 50/50 mix of fresh and old to extend it out a bit. If

you do that though check the colour as it may drift to warmer slightly I found.

CP Goerz.

I keep forgetting that a lot of folk are unfamiliar with this formula.....<P>

The Beers formula.<P>

Solution A<P>

8g Metol<P>

8g Sulphite<P>

20g Pot Carb<P>

1.1g Bromide<P>

Solution B<P>

8g Hydroquinone<P>

23g Sulphite<P>

27g Carbonate<P>

2.2g Bromide<P>

High contrast prints = 2 parts A to 14 of B.<P>

Medium is 5 of A to 3 of B and 8 parts water<P>

Low contrast print 8 parts of A and 0 of B and 8 parts of water.<P>

For Ilfochrome mix in 1.2g of sodium thiosulphate per liter of working solution

to dissolve the masking layer. Experiment with the dilution of developer to

water as you may find that you need to dilute the developer a bit. With this

formula you'll find that there will be less trouble from filter pack swings(in the

darkroom exposure) and you'll also get a slight film speed bonus. Images shot

in camera are pretty much cast free except for perhaps a slight variation from

paper batch but even that seems to be less of an issue.<P>

CP Goerz

I tried this and got some amazing results, I never needed any CC filters and I could count the oranges in a tree hundreds of yards away with a loupe!! No chrome to lose sharpness and no enlarging lens to reduce sharpness further, truly excellent and quite possibly the only way to shoot colour in ULF. I got ISO 25 when I developed the print in the beers formula not the Ilford stuff.

One way around the reversed image is to try and find a rare prism lens(A Goerz Artar was the standard lens for this procedure) that would reverse the image for you and if you turned the lens the image would also turn to whatever orientation. The drawbacks are- horribly expensive and rare and as a bonus you can't close the lens down as the prism takes the place of the iris.

I use a sheet of archival paper folded inhalf to make a sleeve which I then store in an acid free box. I found that if I used plastic that it would 'laminate' the surface, making it shiny in parts where it made prolonged contact which would then print as extra density.

You could always make your own sheets by buying a block of the paper and then cutting it with a bandsaw to make a nice shape with flaps if necessary.

CP Goerz.

Alans boards are excellent. I remember taking a board to Mr Alt and have it drilled-that cost me about $50 five years ago so I don't think Alan deserves the moniker of 'expensive' every time his name comes up when there are many others that deserve far worse ;-)

CP Goerz

You can always try Alan Brubaker at www.filmholders.com, I need to get a few

boards myself so will be heading down his way next week.

CP Goerz

Your biggest problem will be the lighting, due to the curvy nature of the wood

reflections will kill you. Try a softbox down the face and one from each side.

CP Goerz

Most Rodenstock lenses stop down to F256, diffraction does kick in but if you are doing contact prints and need the depth of field then go for it!! ;-)

CP Goerz

Although the damage is already done you should never have to use force on

anything lens related. They are not spanners or hammers they are lenses.

Since the lens has been taken apart already the worst thing that could

happen at this point is the iris leaves falling out of their seats which will take a

lot more time and $$$ to fix.

Try carol, her *bay name is 'whittierite'. I think the last time I used force with a

lens was looking through a Zeiss Tessar, I almost lost my lunch but used

willpower and force to keep it in place.

CP Goerz

I REGULARLY use a 10 3/4" red dot with movement on my 8x10, has more circle than a 250mm F6.7 Fujinon. A 12" Artar will easily cover 8x10.Try it and you'll see.

CP Goerz

Actually if you check the old Zeiss catalogues this lens had the code name

'FlareMeister'.

It was produced in small amounts as the chap who had to wheel the trolley

around in the factory handing the elements over for polishing etc had a bad

back and couldn't lift more than one at a time.

The glass was large and fast and it was well known in the factory that the lens

could only expose an image with four zones even in extreme conditions, but

thanks to the Carl Zeiss coating division this was brought down to just three.

When the lens was tested for LPPM they had trouble focusing on the chart

itself!! and lastly after the lens was made and all the publicity junkets set in

motion a note was found on the last page of the design drawings that had a

smiley face and 'April Fool' written in German. I swear that all of this is true!! ;-)

CP Goerz

Funny but I had the earlier 125mm F5.6 and it was excellent and loved it, kinda sad I sold it but I replaced it with the 120mm F8 and fell in love all over again ;-) I don't think you'll be unhappy with any version you buy.

CP Goerz

Have you considered using your camera as the enlarger by adapting a light source to the back? It would take a wee bit of work but may be a cheaper solution.

CP Goerz

I haven't had the chance to look at the images but galleries can make more money/sales from a mediocre large prints than a perfect small one. You are assuming that everyone who buys art from a gallery is an informed buyer..they aren't.

Has anyone noticed that 8x10 contacts are disappearing to be replaced by big colour prints or large inkjet images? A gallery will show what it hopes it can sell, art is a business after all.

An old wedding photographer friend I used to help sometimes once told me..'If you can't make them good....make them big' ;-)

CP Goerz

The series IV 10x12 was the last of the Protars of that series with the widest angle of coverage. I have had a few vintages of this lens and found that while it can cover at 8x20 the edges did get a litle soft unless you did some hyperfocal moves. The lens should be used at F64 all the time on 8x20. Contrast is about medium/low so a #15 or 22 is always handy. Some vintages of the series IV lens perform better when the front and rear cells are switched over, you may give that a try and see what works best.

CP Goerz