james_driscoll2

I asked the same question, and my boss at the time was a

Sinar-Bron rep for ten years.

The Answer- there is none.

Sinar did not start engraving serial #'s on cameras until a few

years ago, and only on the P2. The reason given was that it

would cost Sinar in Switzerland about $45 to engrave a serial #

and by the time it reached the consumer that $45 would = $500.

It sounds and is very "dumb", but they felt that was the way to do

it. The serial number of the camera is NOT the one on the rail

clamp- if you buy a rail clamp by it self-it has a serial number.

Don't question the Swiss........

Money Being No Object- An Sinar F2 4x5 (or an Arca Swiss)

72mm XL, 90mm 5.6 SA, 120mm SA or 110mm XL, 180mm,

300mm.

The 58mm lens will rarely be used for interiors unless you plan

on shooting a lot of 6x8 foot bathrooms. The 600mm lens is

nice (I love it) but out of the 1100 buildings I have shot in the past

two years, I have used it 3 times, and it needs 25 inches of rail

and depending where you are and wind sometimes two rail

clamps and two tripods.

For two book projects I worked on recently, my kit which is a little

overkill but I shot 230 on the first book and 500 on the second

without knowing what the conditions would be like is:

Sinar F2 4x5,

Wide angle Bellows,

12" extension rail,

72mm XL,

90mm 5.6 SA,

120mm SA,

180mm,

240mm,

300mm,

Polaroid Back,

Meter,

20-30 Film Holders,

Sinar Swing Out FIlter Holder,

Sinar Compendium Shade,

#8,#11,#15,#25,#58 Wratten Filters

85% of the time 72mm,90mm,120mm covered everything.

I personally would start with 90mm,120mm,180mm and than

add a wider lens. The 90mm is wonderful, but don't get locked

into thinking that it is the "architecture" lens. I find the

120mm/110mm range to be more of a "standard" than the

90mm.

As for 5x7- you can get almost every black and white film, and

you can easily get Ektachrome 64, and Portra 160 NC. You can

also get Velvia in 5x7.

If you are going to be serious about shooting architecture do

yourself a favor and BUY A MONORAIL. It just gives you the

versitility you need when shooting buildings in the city.

Most LF lenses (modern) have an additional scale on the bottom

of the lens for the explicit purpose of seeing your shutter speed

and f-stop when the camera is high up in the air.

Sideways sounds fine in theory, but I would rather close the

shutter on the side than on the top, plus Its rather akward to cock

the shutter when it is on the side.

if you want f stop detents- get a compur shutter.

212-741-2990- fotocare ask for tommy

212-675-1900 lens and repro ask for GI

Fed ex (or any freight carrier) does not always x-ray packages.

Actually from a friend who is a pilot for UPS, they have a problem

because NOTHING is ever inspected/x-rayed and sometimes

pilots lives are in danger due to the fact THAT NOBODY KNOWS

WHAT THEY ARE CARRYING!!!

Nobody is going to Hijack a Fed-Ex plane, and what would you

gain from putting a bomb on board a Fed-Ex plane??? Hence,

why would Fed-Ex X-Ray packages???

Also, how the hell do you think film gets from the manufacturer to

the the distributer, to the store??? Do you think Kodak walks the

film from Rochester to Los Angeles??? Kodak ships film also

via air (and ground also).

I shipped over 100 boxes of 4x5 film to Europe (Via DHL), last

year, exposed all of it, and had no problems.

I have also had rolls of 35mm go through the xray machines, and

I also had a "test" box of 4x5 checked into my luggage, and I had

no ill effects upon processing both in the states.

If your really paranoid- ship your film there and back.

If your really really paranoid- process your film there.

fuji fp-100c.

it fits the 405 back

or fp-100c 4x5 fits the 550 back (not the 545!!!)

there is also the 550 back- 4x5" pack film

type 55 is available for use in the 405 holder- it is called type 665

I too, use all three- the 405 back is a lot less to run and the small

print is all I need most of the time.

The best quote ever on cropping (I can't remember the

photographers name)

Q: Do you crop, or feel cropping is wrong???

A: As photographers we are cropping the world....yes I crop.

I am also a user of the "half-ass school of the zone system"

Check the contrast range with a spot meter, place your exposure

where it needs to go and pull/push accordingly.

works for me.....

I think everyone is getting their panties in a bind over nothing-

should I (or others) get our threads deleted because me

sometimes mention "call **** and *** will give you a good price

on ****" or order azo from us, or whatever???

more bandwith is tied arguing over field cameras vs monorail

cameras or ebony vs wisner or what film is better than what film,

than "commerce" or "free workshops".

Put a cap on the stupid threads about what camera is better than

what.

I have shot two book projects on APX 100 and this is story I got

last year when purchasing film.

I needed 90 boxes of APX 100 4x5 and everyone in NYC (where I

live) was out of stock....and had no clue when they would be

getting more.

At the time I worked at Fotocare, and they called AGFA USA on

my behalf and were told that AGFA USA was "no longer the

distributer" for there own product!!! They were given a phone

number of a film wholesaler in the bronx, and the story was "Agfa

sheet film is now a special order item in the USA due to low

demand." Apparently, in some stupid reorginizing effort by AGFA

USA management, film was to be only ordered through these

small companies.

Since I wanted 90 boxes, getting the special order was no

problem- but I had to wait almost 2 months.

If anyone on this list has ever tried contacting ANYONE at AGFA

USA, they know how tedious it can be. I called the NY/NJ/CT rep

about 50 times in a two week period and never got him-nor did I

get a return phone call.

If you can find any-buy it. The word is Agfa's parent company

Bayer, is not very interested in the film business anymore (even

though agfa is the biggest manufacturer of Private label 35mm in

the world) and is looking to just use it as a cash cow until in

dies.

Also about doing portraiture,

It is easier to get a more sophisticated design to to less

demanding work later on than to make a simpler design do

more complicated work later on.

Think about that when you think monorail vs field camera.

A sinar F2/F1 camera I feel is the best camera for architecture

(an arca is also on the same level, but is harder to find used)

A sinar F2 camera weighs 6 lbs, without lens, a SInar F1 is a

little lighter.

I have photographed over 800 buildings in the past 2 years with

my sinar F2 and that included walking around Paris for 4 months

last year, while working on a book.

For the type of work that I do professionally, it almost demands a

monorail camera. In the city, your most used focal lenghts are

going to be 72mm/90mm/120mm/180mm. For other work

(including the city) I like to use lenses in the 600mm-1200mm

range to get the perspective I want, and this again calls for a

monorail camera.

In a crowded enviroment, you almost always ended up using a

lot of movement, because you can't always get in front or even

near get in front of what you want to shoot. Even with my Gitzo

500 series tripod at 8 feet- I would be using incredible amounts

of rise. It is also the great amount of shift that a monorail gives

you that you need the most in architectural shooting.

Depending on your location this is what I suggest-

Rent a field camera and three lenses (I suggest

72mm/90mm/180mm) six holders, tripod and loupe and

focusing cloth. Go out and shoot 3 buildings in one day.

Next weekend, rent a sinar F2 and the same lenses and

holders, etc. Go out a shoot 3 buildings in one day.

Compare the results, and your fatigue, and your general state of

mind, and than make your choice. Spending $200 in rental fees

is less than spending $2000 on equipment you don't like. Plus

depending on where you rent, they will sometimes apply your

rental fee to your purchase.

Please feel free to contact me with any other questions.

check and make sure it hasn't been switched over to manual

mode.

if the aperture lock ring is not locked into the "auto" mode it will

not stop down automatically.

Bill,

call your fuji rep and have he/she send you a box of fp-100c- you

will see the results for yourself.

i understand the "look" of type 59/669/809 is desireable for some

people, but shooting almost anything else on it drives one

insane. FP-100c has the consistency that seems to be lacking in

polacolor, and very sharp colors to boot.

if you haven't tried it- you should- I am interested in hearing your

comments.

Yes they are compatible, and are MUCH better than polaroid

brand film.

They also make a 4x5 PACK film (not sheet!!!) which works in the

polaroid 550 holder.

If you have one of the older calumet cameras that uses 4x4

lensboards, I have seen a few "extreme" recessed boards for

them.

you may have to dig a little harder, but they are out there.

If you come to NYC and want to "kick the tires" Photo Gizzmo

(www.photogizzmo.com) is the best bet. Louis Shu, has the only

store in NYC that actually has LF cameras setup and is a "LF"

store and is a very very nice guy. On top of that, he is the West

Village and it is a great place for lunch and walking tours.

I worked at Fotocare for 2 years, and Fotocare (212-741-2990) is

more of a "Sinar" place than anything and is more studio

oriented. Also Fotocare's used prices are out of this world- in the

bad way. If you go, ask for Tommy or Jeff.

Lens and Repro is great, (212-675-1900 ask for GI) but it is not a

"tire kicker" kind of place. Also, they only keep in stock what sells-

which is 4x5 monorails, and 8x10 deardorffs. They have stopped

taking in "esoteric" items that sit on the shelf for 2 years.

The other stores like Ken Hansen , Eli Kurland, etc. are more

"Expensive" hobbiest kind of places and are actually quite

snooty. If you dress like a dentist from CT. you will do OK, if not

be prepared for harsh treatment.

Avoid B&H and Adorama, they are cheap but the service reflects

that, and their used Items are usually broken.

Remember at all of these places, money talks and bullshit

walks.

Having spent months being saturated by Thomas Struth's work

(my wife to be is the graphic designer who does the ads for the

Met in NYC) I have several observations.

I (and I put an emphasis on "I") don't feel that Struth is a "bad"

photographer, I just don't feel that he is a great photographer.

As for everyone getting their respective panties in a bunch over

Struth, calm the f*ck down!!! If you get this bent of shape over

this, I would hate to see what would happen in a real crisis!!!

Struth does his thing, and so do you. As for the art world going

ga ga over him, remember that on thursday Victoria Gotti had an

opening in a Chelsea Gallery and sold poop loads of paintings

for $10,000 a piece. We are talking here about sixth grade level

painting of Rosie O' Donnel clad in leather, with a JOHN GOTTI

tatoo on a motercylcle vaulting over leather clad lesbians.

A fight nearly broke out over that painting over who shall own it!!!

For those of you who will yell that $10,000 is not a lot of money

for art- spent some time comparing how much you can buy

weston prints for, and how much a 16x20 Link will cost you.

What I do find utterly un-believable about Struth are his 30

minute videos of people just staring at the camera. It reminds of

those boring boring boring Warhol films (eat, sleep, and b*ow

job).

As for Struth being the current state of LFP, is like calling the it

the current state of 1/2" drive ratchets. When you look at work,

you don't care about what format it was shot in as much as when

you admire a car you don't care about what size ratchet was

used to put it together.

As for the remark on people not having lives on Friday Nite, we

fell asleep at 11:30 last nite. I guess we are losers........

I used to work for a photographer (around 1995-1996) who had

frozen agfa-chrome stock from the late 1970's in his freezer and

we would occasionaly shoot it.

It always performed fined, the only way to find out is to shoot a

couple of sheets.

BTW, on the leica forum there was a former USAF photographer

who posted that in the mid 1990's the USAF was usuing tech

pan that expired in 1969 in recon missions over Iraq!!!

talk about your outdated film, good ol US of A.

I think everyone is making to big of a deal out of this issue.

A: The photographer is most likely deceased.

B: No one is "publishing" and/or profiting from the photos.

C: At most, IF the photographer found out, all he probably do is

send the town a "cease and desist" letter, and the photos would

have to come down.

D: If someone can publish a book of yard sale Kodachromes, I

think you can make a copy set of photos to be hung in the town.

E: If i was the photographer (and probably you too) I would not

object to the usage of the photos (as stated of course) with due

credit and a approx. date. Once again, no one is profiting from

the photographs, and if anything the photographer has all to

gain.

if you bid early-your only bidding against yourself.

a good example:

my soon to be wife, saw a 1950's kitchen table on e of bay that

was actually only a mile from our home (that never happens!!!)

she loved the thing and it was "only" $66.30. She was willing to

pay $250.00 for the table. This was 4 days before the auction

ended.

During the last 2 minutes I placed a bid for $250.00. I than kept

clicking reload. It first went up to $77.00. I than watched the

previous high bidder, keep typing in bids. It than went up slowly

to $167.00. The previos high bidder wanted it bad, but wouldn't

type in something like $350.00 and kept increasing her bids in

small increments, hoping she would outbid us. She of course

ran out of time, and we won the table for $167.00.

If we had bid four days earlier, she would have had plenty of time

to go higher than my bid of $250.00, or I would have paid

$235.00 instead of $167.00. I was willing to pay $250 but getting

it for less is always better. I realized she was willing to pay alot,

by looking at her past auctions (always know the enemy!!!) and

had paid up to $1200 for similar items.

ebay- the new sport for the arm chair athlete.

Like everyone else said its not just the 8x10- Avedon shot the

Pirelli calandar (SIC!!!) with a 5x7 camera.

Avedon, know as "Uncle Dick" in the NYC photo world (I used to

pack his rental orders!!!) lighting setup is usually about 8

broncolor 3200 WS packs, and he now blows out his

backgrounds with beauty dishes. He shoots poop loads of 8x10

(they own 100 film holders, and they would routinely ask for

50-100 more from my rental house) and will also rent something

like 3-4 polaroid processors.

So anyone who feels that 8x10 is about shooting 2 pieces of

film- should assist Avedon (or Steve Meisel, or Micheal

Thompson) one day!!!

Albert Watson, has a "tight" look similar to Avedon's (in look not

style) and he uses a 4x5 camera. Remember, Avedon is set in

his ways he has been shooting with only three cameras for 60

years, A rolleiflex, a deardorff, and a Sinar Norma. That has more

to do with his usage of 8x10 than anything. Plus his cleints will

pay for 400-600 sheets of 8x10 film, processing, and cases of

polaroid!!! And he has four - five assistants. He has an assistant

who just loads film for god sakes!!!!

I had the joy on saturday of viewing Tim's work, and for those of

you who think he is a pain in the a$$ (sorry tim!!!) he has the

talent to back up his posts.

for his particular project and vision, IMHO color is the only way to

go. I feel that if he approched them the same way with B&W they

would end up looking like the boring FSA photos that we rarely

see.

As I have quite a few photos that I have taken, that fall into the

aformentioned catagory.

Tim, actually has such a subtle way with color, that it is quite

powerful and his subject matter is as far away from "view

camera magazine" as joel peter witkin is from anne geddes

(with the possible exception of the pregnant photos!!!).

Tim's work, has a much better feel (to me) than those two

german photographers everyone talks about all the time. There

is a very subtle presence that pulls you in, and even though his

influences are hinted at in the photos-his own quality is what

grabs you.

plus its refreshing to see something other than canyons with

black skies and velvia landscapes that look like the forbidden

planet.