paul_e._cassidy

Hello Graham,

I am using a Nikon D200 and the F-5 as my film body. I find myself as of late jumping back into film with a rather extensive Bronica 6X6 and 6X4.5 formats. I too am exploring films but I have gone right back to my favorite Ilford films they are HP5(asa400) FP4(asa125) and I also purchase some PanF (asa50) All these are 120 size films but are also available as 35mm.

 

I will report back on the Fujipan asa400 I have not used it but I got a pro-pack (5rolls)coming to "experiment" with.

 

Over the past several years I have forgone shooting large format and truly enjoy B&W digital printing. Your digital camera will give you very pleasing images from your printer, or you can email them to any of the great labs for true photo prints of them!

 

Don't worry much about doing light lab work just make certain that your work space is well ventilated. Use daylight tanks for hand processing the film and swing the doors opens while you work with the chemistry. I avoid the C-41 films unless I have the lab process them. Ilford XP gives very excellent results. I have not used the Delta. I tried the T-Max but prefer Ilford instead.

 

I have two scanners for bringing my film into my computer if I want to work the image in PhotoShop or BibblePro. The latter is such a great tool to have in your PC.

 

Well that's my pennies worth. . .

Paul

Hello Brendan,

 

A 4x5 press camera is an excellent first camera to get introduced to large format. I will suggest that you look for one without a focal plain shutter. It will lighten the load by a few pounds. Secondly, I will point you to the "graflock back" which gives you access to an array of backs to use on the 4x5.

 

Next I highly recommend a visit to Graflex.Org to review some of the fantastic resources they have assembled regarding the Graflex Camera Systems.

 

You will find that you can use many lenses and have many options. My personal favorite, and current Graflex system is the Pacemaker Crown Graphic with a top mount rangefinder, side mount shutter trip button on the body and my Linhof 210 SK Symmar with the appropriate 8" cam installed. Gives me lots of shooting power. Being able to change the cams between the 210 and my 135 xenar gives this camera great versatility. I round out the kit with a tiny 90mm SK Angulon and pack it all in a small shoulder pack.

 

I hope this is some help, I listed my kit to give you an example of a well array focal length lens system for many, (Not All) shooting situations.

 

Good Luck,

Paul

Hello Kerry,

 

There are many threads here on Photo.net that discuss this very question. My humble suggestion is not to purchase any camera until you have a moment to sitdown and list your project goals.

 

How much money you have to fund a purchase?

 

How much of your "field work" will be corrective architectural photography?

 

Will there be a mix of outside shooting scenarios?

 

How much weight do you want to drag about the countryside or city?

 

. . .and I'm certain that this list can be expanded on.

 

Most photographers would immediately tell you to grab a view camera system for extensive corrective work. These days there are numerous rail cameras on the auction sites. Digital has struck the studio set.

 

Others will recommend a field camera with full movements front and rear, light weight and very portable! AND $$$$$, many field cameras are still holding their value. Also, even though there are numerous models not all offer full movements.

 

I have not given you a product name nor suggested a camera type because I do not have enough information to help you, other than pointing you towards the above questions.

 

Think about it a bit longer and I am sure the folks in this photo community can help you narrow down your search and reach a smart choice. Photography can become a money pit if you just start buying this and that. A good purchase plan can help you obtain the most for your dollar in the used and new camera markets.

 

Good Luck,

Paul

Hello Michael,

 

Isn't un-tethered free enterprise wonderful? As many of us who have been users of eBay for several years can verify, the site is no longer a Saturday morning boot sale. Although it is still possible to find a treasure or needed camera part in the vastness of the photography sections, sadly in the end it has become a flea market with the term "Buyer Beware" flashing in bright neon colors. . . on the other side many brick and morter business have setup their store fronts there as well thusly driving the overall prices up. In the end this is one eBay user who has reached the end of the path with how the sight has developed, or rather decayed depending on your perspective.

 

Just glad to be already equiped!

Paul

Thanks Jon,

 

I have not explored the Fuji films of late but if Velvia can get the auburn colors in the hair and soft skin tones you captured then I am going to have to purchase a box. Thank You for sharing the image with us.

 

I have the same lens on my Tachihara and what I like is that with it mounted in a synchro-compur it can stay on the camera when it is folded. Not to many 210mm lenses can handle that one!!!

 

Paul

Hello Eric,

 

My 10 3/4" RD Artar(270mm is really for my 5x7 field) it works fine on my 4x5 Tachihara at infinity and for some focusing but it maxed out the bellows when I wanted to get closer. I leave a 210mm RD Artar on the camera and switch to another camera if I need to use a 10 3/4 - 12" lenses.

Hope this helps, Paul

 

 

 

Hello Jon,

 

What film was used for the portrait "Ali"? I love the flesh tones and the softness of the colors??? Is it natural lighting? Seems to have that look?

 

Thank You, Paul

Paul I have found 40.5-49 and 40.5-52 but that's all. So I then step up from them to what I need. They were used from eBay auctions.

I was going to say B+H because I have their new catalog and they list all sorts.

Good Luck with your hunt, Paul

Hello Peter,

I am not disagreeing with you, I merely wanted to point out that it was not needed with the Tachihara. Jason has been rather broard in his needs. "Landscape work and a little portrait. . ." I have and use bag bellows on my view cameras but then I am in a rather unique situation of being lucky enough to have both field and view cameras. A little portrait and landscape is not indicative of needing long or bag bellows and leans more to regular use with maybe a 90mm and a 210mm. I put a 270mm RD Artar on my 4x5 and it is pushing it to limits of the bellows and can not achieve all the extension I want with the lens. So I use a 210mm for most of my long lens needs on my field camera.

 

Believe me if the opportunity to use a Wisner or ZoneVI or any other camera came along I would enjoy using it. Part of my photo joy is the exploration of the vastness of the equipment available.

 

Have a great day, Paul

Troy Thanks for asking this question I just asked myself it not a dozen minutes ago!

 

Michael, Thank You Very Much for sharing this fantastic detail and all your knowledgable post! Paul

Since someone mentioned bag bellows and recess lensboards. I have never had the need for either with a Tachihara. My 90mm fits just fine and I slide the back standard forward to center the weight with the lens forward on the bed. Why spend extra for something you don't need? I would suggest putting your dollars into the glass up front. Just thought you might like to know this in your hunting. Paul

Thanks for the feedback and I'll check out that tip on the discussion. . .Paul

Dan I live in Gainesville, Home of the Gators. . . been on the farm since I came here as a student in the mid-70's . . .after graduation I couldn't think of anyplace I wanted to go, so we have homestead ever since. . . if you think you'll be in the Gainesville area we can switch to email and I'll send you my phone number etc??? In any event bring your camera and carry your film in a cooler bag. And please make sure you consume 8 glasses of water daily while here during dog days! It is so easy to dehydrate in the 105 heat indexes that are the norm lately.

Please travel safely and enjoy the beauty of Florida, Paul

Thanks Dan,

 

I was sure you could help me. I think I can do the 600mm with my view camera or my 2D and I can match a couple of the options you have given me. I also plan on having my Nikon F at my side with the micro Nikkor at the ready.

 

It's a scorcing day today in north Florida so I'll sort through my gear and maybe do a practice setup on the shade porch before going to the back pond. Tempted to jump in but don't want to scare the pan fish and snakes!!!

 

Thanks Always Dan, Paul

Hello Jason,

 

It is very rare to need all the movements, of the view camera design, in outdoor shooting with a folding field. I can highly recommend the Tachihara, it lacks rear rise & shifts and as Brian pointed out lacks interchangable bellows. Not a real problem either.

 

As a matter of fact the only problem I have run into is when I have a long lens such as a 270mm or 300mm(I think this is max???) It works great at infinity and in general but you can run out of bellows quickly with a long lens. However, you would rarely use those lenses in landscape & architectural studies.

 

As an aside I have found that I am leaving a 210mm lens on the camera most of the time. Then a 90mm and a 160mm round out the field kit.

 

I have seen some beautiful examples of the Wisner line of cameras but have never had an opportunity to use one. The cost is more but I can not say if it is worth it or not???

 

Hope this helps,

Paul

Hello Paul & Shawn, please let me ask is it possible to use my Kodak ReadyLoad with other film? Fuji quickloads to be specific? Thanks Paul

Hello Dan,

Thanks Always, I want to do about a 3:1 on a 4x5 negative. Let me ask you this, since I have a fairly extensive array of lenses for 35 to 8x10 both camera and enlarger. . ."Is there a particular lens design and size you would recommend?"

The subject is a 3d object, an unusual water lily with unique petials that I wish to zoom in on for detail. I think some transparencies may be called for, to capture the coloration. You tutoring is very much appreciated. Paul

Hey Dan, I know this is an aside, but I have a question please? I know you like macro photography so my question is "Would some of these short focal lenghts work in a macro situation, or is it best to use a "flat field" lens like an enlarger lens of the same focal length? My only macro knowledge is using a Nikon F with micro-nikkor lenses but since we last chatted I have had some questions arising? Thank You in advance Dan. If you prefer I can start a new thread regarding macro work in general but would you be willing to share some of your experience please?

Thanks Paul

Hello Marius,

Follow Michael's advise and go to the SKGrimes web pages. They have several indexed pages of shutters with images and sizes of many. Then they also have flange and lock ring references. In the end if you can not find one they can make it. I purchased a custom size for one of my Commercial Ektars in an Ilex shutter but with a non-standard ring size.

Hope this helps,

Paul

A bit late but wanted to confirm that the 12" Commercial Ektar I have is a f:6.3 aperature and is listed for a 380mm circle of coverage.

 

Hello Dan!

 

Paul

Hello Guillaume,

 

As with many camera makers, Toyo has a couple of different board designs. I use a couple of "Adapters" on my Cambo SC system. I have one that takes 4"X4" square which is very universal, and another that uses the Linhof/Toyo/Wista style field camera boards. I have also seen another adapter for Cambo that takes a Graflex/Horseman designed style press camera lensboard.

 

If you go to the Cambo website you can download a .pdf file that displays the entire system array of the Cambo line of view cameras.

 

The list price for these adapter Cambo lensboards is a bit steep so I recommend searching the used market or auction sites.

 

Hope this helps, Paul

Good Morning Ronald,

 

I think we can truefully say that you are probably using some of the worlds finest lenses on your Leica! It will be hard for most lense to compete with the Leica performance.

 

Whatever you do, do not give up your goals for large format. I know that I have gotten one or two BAD lenses in the pass and perhaps your test lens has been worked on by a non-professional.

 

For color work, a more modern lens might be best and there are still many 5 to 10 year old lenses entering the used camera market so shop but do not stop! I think you will enjoy using the larger negatives once you resolve the lens issue. After all the lens is the most important item on the camera.

 

Stay with it and find yourself a good lens set. . . Paul

Hello Michael,

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My symmar is from the late 50's maybe early 60's by the number on it so it is most likely a single coated Linhof Technika Symmar lens. (Allegedly the "Creme de la creme!" for that moment anyway.) Also, my newest lens is circa 1997, in the form of a fine 210mm f5.6 Fujinon-W w/ebc. I just acquired it and have not put any film behind it yet. This would be a better test lens and I will do as you suggest and run the 210 Artar against the 210 Fuji and 210 Symmar

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Two of the three Artars I own are very late production APO's in shutters, a 270mm & a 210mm, that are from the same time frame as the symmar post 1955 construction. Since the Symmar is 6 element and the Artar is 4 element in design, I expected the Symmar to out perform the Artar.

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I have honestly decided to get rid of the Symmar and am currently considering selling my 12" Commercial Ektar as well. Since they are redundent lens sizes for me. Accept the Ektar does so nice on my 8X10 2D field camera

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Another fluke I own is a rare Blue faced Wollensak 160mm f:5.6 Pro-Raptar that is coated and six element design???, as best as I have been able to locate data on it. (I have a CD-rom "Lens Vadem book" that has tons of lens info)It resolves lines on the groundglass that the Ektar barely rendered and quite honestly amazes me everytime I use it. Truely a jewel from the gem box.<BR><BR>

<center>

<img border=3 src=http://www.mindspring.com/~pcassidy/images/pec-anothertime.jpg><BR>

Another Time - Bergger 200 taken with 160mm ProRaptar using a Tachihara WoodField<BR><BR>

 

I have a 20x25 print of this hanging in my living room the dark black crack in the log on the lower right shows mushrooms and fungus growing in amazing shadow detail.</center>

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Michael I must agree with you 100% that, other than the Ektars I own, all my lenses are late 50's & 60's coated to some extent, (be it single or multi I do not know,) and I enjoy using them. I would not care to use the very old pre-war lenses. Although I bet their are a few choice gems out there still?

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Yes, it would be great to buy new all the time but that is not possible around my farm at least. So I have learned to come to forums like this to learn about things that interest me and then try to make smart choices in the used arena. I think of these old lenses like I do my extremely reliable Nikon F 35mm system. Quality should last!

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Thank You Photo.Net for this great community forum,

Paul

I think the "yeas and the nays" are missing one very important point here so far in this thread.

 

All my old poor quality, lack of "character", "desaturated", foggy, gummy, oily lenses, where once state of the art and sold for a premium! Lets see how these contempory lenses are when they reach 40 and 50 years of age???

 

Optical science has been around for a very long time and if spending $1500 to $2000 on a new lens makes you feel better, saturated and with character, have at it. And if you're not saturated properly try changing your exposure, use fresh chemicals and don't fog your film. . .

 

This is like asking which is better Ford or Chevy. . . I have found some lenses that are amazingly sharp and contrasty and others that can't resolve a roof line.

 

Since I am older than my lenses they all seem newer to me!!! Paul <GRIN>

Hello Ronald,

 

I would like to ask what type of color film you work with? Not being a smartas- but my little 90mm Angulon gets such rich colors and saturation on Kodak Ektachrome that I must suspect your exposure and film type rather than that lowly Angulon you find so distainful!

 

Just curious, Paul

Hello Gabriel,

 

I use several older lenses, three RD Artars, a Symmar, a Pro-Raptar, a Fujinon-W and two Ektars. The one common flaw with these lenses is the shutters tend to always need cleaning and testing. Particularly the older Ilex shutters seem to wear more and the times are generally off on the higher speeds. As a result when my shutters are sent for cleaning, the service I use returns them fully tested and the actual speeds listed for me.

 

Also, I would suggest that the older glass can be as good if not better than many of todays contemporaries. For example, my apochromatic red dot Artars are capable of images that exceed the quality of my very fine 210mm Linhof/Symmar. An APO lens is optimized to focus all color wave lengths at the same point. Without going into the technical aspects, this provides extremely sharp images. They are smaller and thus lighter to use with my 4x5 woodfield.

 

This is not to say the new lenses are inferior, I am sure they are excellent but as you have found out the cost of new lenses is prohibitive unless you are independently wealthy or have a big credit line!

 

In closing I will say that if you do your homework, shop carefully and select a few of the rare gems that exist in the used camera market you will do just fine!

 

Hope this is some help, Paul