bob_salomon

OK then I will be more specific. No, it will not cover 45 at infinity and, if it did, would not be all that good anyway. And a lens that covers a 5” diagonal would not be covering 45 anyway.

Doubtful.

And ending with Schneider!

Contrast is controlled by processing!

Have you been able to freely lift it up without hitting the focus rails? That means that the front standard is in the camera body and you have advanced the rails to expose the cam. If you have and the cam does not lift up freely and easily pull out by pulling it forward then your camera needs service. In the USA that is Precision in Niles, IL. The owner is Bob Watkins.

Well the good news is that you should not need another lens board or mount. Just a lens. That contraption on the front is a universal mount. Just twist the knob till it opens wide enough to hold whatever shutter your lens has. Close the blades and lock them in place to hold the shutter. I’ll let someone else tackle the film question.

Why are you specific about which model you had with the Calumet but not with the Linhof? Did you have a Technika, which one? Or a TK or a Karan? Just saying that you had a Linhof doesn’t really say what you are comparing it to!

Not difficult, depending on your shutter. If you have a modern electronic shutter like the Rodenstock E Shutter or the Rollei Linear Motor Shutters then it would be very easy to trip them remotely by radio, Bluetooth, WiFi, etc.. if yo7 have a standard Copal or Compur shutter then it can be done via a solenoid, but no5 without a lot of complications. The E Shutter is easily fired by remote control from an iPhone o4 iPad via Rodenstock’s free App from the Apple Store. However you would have to rig some kind of computer to the shutter as it works teathered.

Glass carriers do two important and vital things to ensure optimal print quality. 1 they hold the film flat 2 they prevent popping Your solution only partially accomplish 1 of these and does nothing for the other.

No, you are wrong. Look up lenses like the 28 to 80mm Schneider M Componons or the Zeiss Luminars. Using the Linhof Macro lensboard on a 45 Technikardan you can easily get magnifications approaching 20x on 4x5 using the bellows extension on a Master Technikardan, or a V or IV Technikardan. It is all in using the proper tools for the job at hand.

Contact Heliopan as they made the filters for the Imagon for Rodenstock, these are not slip on filters, they are slip in filters.

If you want to know what a lens covers take a large piece of white cardboard. Turn off all the lights in your room. Close the drapes. Now open the lens wide open. Point the lens out the widow at a distant object. Hold the cardboard behind the lens and move it towards or away from the back of the lens till you see a sharp image. Now measure the size of the image circle that you see on the cardboard. That is what your lens will cover at infinity wide open. Since you are using a wide angle lens for a 67cm camera it is very doubtful that it can cover a 45" piece of film. Go pick up a lens designed to cover 45.

The Linhof 617 SIII used the 72 and the 90mm Super Angulon XL lenses, earlier, non interchangeable lens models used the 90 SA.

You do not use an aperture ring with an Imaging. You either shoot for maximum softness with no disk in front of the lens or with one. Of the 3 Imaginq disks.each disk has a different size center hole. With the disk with the largest center hole and with all periphery holes open you are at 5.8 which is the same exposure as no disk and you are at maximum softness with a disk. With the periphery holes closed you are at 7.7. With the disk with the middles sized hole and all periphery holes open you are at 7.7 and will be slightly sharper. This is the disk and setting that most classic portrait photographers used. This includes Zucker, Horvath, Gilbert, . That disk with the periphery holes closed will be sharper again. The last disk with the periphery holes open will be the same exposure as the middle disk with holes closed but will be sharper again. With all holes closed on this last disk the lens is very sharp. It is important to note that the Imaging needs a very strong lighting ratio of 5:1 and should not be used with flat light sources like an umbrella. It require strong spectral highlights for the Imaging look. That means an elliptical type reflector for a main light. Mastering the Imagon requires a lot of practice. Also, the Imagon changes focus with each change of disks or disk setting so you must focus at your desired setting. Since there is no point of critical sharpness with an Imagon you also have to learn through practice what a properly focused image looks like on your focusing screen.

No, that is how it does the asymmetrical tilts. The yaw free is done by the two tilt movements on the standards. One course one below the swing point that is not geared and a geared one above the swing point.

Sorry, my records only go back to the end of WW II.

partially correct. The P, like all yaw free cameras has two tilt controls, one that is not geared on each standard and one that is geared on each standard. Any camera that is not yaw free in its upright position becomes yaw free when it is revolved 90° from its vertical position on its rail. To be yaw free means that the swing point is below the tilt point. Hence the reason for course and fine tilt controls on cameras like the P.

Did you check to see if that metering frame and probe are covered by patents from Sinar or Gossen?

You have to compare output over the same angle of illumination. So a small flash may only cover 30 degrees while another might cover 50.

Except he is not shooting in a normally illuminated room with normal reflecting surfaces. He is shooting in a dark area and that will absorb a lot of light. Especially if there are normal sized and colored walls and ceilings.

What do you do with it once it is assembled?

1960 1960 Super Technica IV

If it has a non-removable ground glass then you can use slip in roll film holders like a Linhof Rapid Rollex, these types of holders slide into the camera the same way a sheet film holder does.

Last week their database was corrupted. I imagine that it has happened again and they are trying to resurrect it.

Joe, depth of focus is the distance behind the lens where the film lies. Depth of field is the distance in front of the lens that appears in apparently sharp focus. Diffraction will occur on the paper side of the lens when you stop down too far. Sorry if I chopped off 10 years on you. It wasn't intentional.