bob_salomon

Joe, I am glad that you have had 30 years of experience. I started printing with first a contact print frame and then a Federal enlarger in 1954, so you have a way to go to catch up to my experience. I was a USAF aerial reconnaissance photographer and you have seen many of the prints that I printed. Just look at the 5" roll aerial obliques from the Cuba Crisis. Most of those I printed.i am a graduate of the USAF photo school and was also a by pass photo specialist in photography prior to completing basic training in the Air Force. Before joining the AF I was a photographer for a major university and a stringer for a major newspaper. After the AF I owned my own studio doing police, fire, news, commercial, portrait and wedding photography in the NYC metropolitan area. After selling my studio I became the Product Manager for Beseler enlargers. After Beseler I was involved with Rollie as a Product Manager, Marketing Manager and a Sales Manager for 7 northeast states. Following that I was involved as a marketing specialist for Durst, Ademco, Sinar , Broncolor, and other pro lines, then I spent 35 years as the Product Manager and National Sales Manager for Linhof, Rodenstock, Rollei, Meopta, Kaiser, Heliopan, Gepe, Gepe Pro, B+W, Novoflex and many other professional photo products. Properly installed Anti Newton glass on an enlarger or on a transparency is never a problem as the Anti Newton glass is always placed against the base side of the film while the enlarger or the slide projector is always focused on the emulsion side of the film. So you can not bring the Anti Newton treatment on the glass into focus on the print or on the projection screen. This presumes, of course, that you have properly treated glass for the Anti Newton side of the glass. That normally means that the treatment was etched onto the glass by an acid treatment. Cheaply or poorly treated glass usually has a sprayed on surface and that can create problems. As for popping, there are standards for the temperature at the film gate of a projector and the film stage of an enlarger and regardless of your light source film will change position or pop during exposure. After all, film is normally at room temperature and during its time under the light the film will gain heat. And this results in popping. Furthermore film sags or curls towards the emulsion side. Those two reason are why glass is required. There is no substitute for glass, even carriers that stretch film, like the NegaFlat, grip the film and can leave marks on the film. So, apparently there is the best of correct way and your way. The OP is going to get his best results with a properly aligned enlarger; film stage to lens stage to baseboard; a quality piece of film in an Anti Newton glass carrier and a quality lens at optimal aperture and within the optimal Magnification that the lens is designed for. Otherwise he will never obtain optimal performance, and neither will you. Sorry for being so blunt, but 30 years is really not a lot of experience.

Glass carriers do two things that quality prints from quality lenses require. First, they hold the film flat. Second, they prevent the film from popping during the exposure. Film has two dust attracting surfaces, glass has an additional two on each side. If your darkroom is plagued by dust then blasting the four glass surfaces and two film surfaces with a good blower like a Giottos Rocket blower takes virtually no time and will remove all dust. However, you should make a concerted effort to track down the cause of the dust and eliminate it. It could be as basic as re painting the room. Or do a thorough dusting of higher shelves and keep then dusted. Lastly an exhasust fan from the darkroom is always a good idea. Your goal should be to make the very best prints that your equipment can provide and that includes a properly aligned enlarger, av property exposed and developed piece of film, a quality enlarger lens used at optimal aperture and within it's optimized magnification range. Stopping a lens past optimal range does not cure less then flat film or film popping as any gain in depth of field is at the paper side of the lens not at the film side. On the film side you worry about the film being placed within the depth of focus of the lens. Not in the depth of field of the lens. All additional stopping down will do is create diffraction once you are beyond the optimal aperture.

Just use a glass 45 carrier and a mask. All enlarging lenses are corrected for a glass carrier. Or, if you don't need optimal results, 645 will easily print in a 66 carrier. But not as well as with the glass carrier.

Look up suppliers of scientific float glass that are near you and tell them what size you need. Also ask if they can supply one side ground and, if not, who they might recommend to do it.

Because it was a copy of a Linhof Technika, early model, that only had that tilt movement. Starting with the Technika IV the Linhof corrected this. You may be able to drop your baseboard to get some forward tilt but this is not really the same as having continuos forward tilt. If you have front swing you could also use your camera tilted 90° on your tripod and then that swing movement would become tilt movement.

But you said that they pulled out. They obviously haven't. Try to be more specific when you make those sweeping comments. And, how much was that Canonscan and how much is a Heidelberg?

Then what are all of these on the Canon USA site? https://www.usa.canon.com/internet/portal/us/home/products/list/scanners/

T he problem with this suggestion is that a press camera like a Crown or Pacemaker was never a view camera and totally lacks all back movements which, at least some, are on a view camera. So if you want the control of a view camera, as well as the large film size of a view camera, buy a view camera first.

He could use a T/S lens and that would give him a bit of shift control and some plane of focus control. But it would not give him control of subject shape. That can only be done with back movements if the amount of shift in front is not sufficient to get the subject positioned properly in the frame. In other words, if he is shooting a tall building and raises the lens all the say up and he still can't get all of the building into the frame then he needs to tilt the camera up. That will make the building keystone.

You do realize, I hope, that Linhof offered some recessed boards for their cameras including ones that are very deeply recessed. You also have to check the flange focal length distance of various extreme wide angle lenses from, say Rodenstock, if that FFL distance is long enough and a properly deep board is used then the minimum distance between the standards is not important. Also, when the TK is closed in travel position the standards, even with the normal bellows, are so close together that a 47mm SA can be mounted and focused at infinity. We know this because one of the first owners of the original TK, shortly after we introduced it in the USA, bought it to take hand held wide angle photographs with that lens with the camera in the folded position. Worked fine for him.

Most, not all. A Technikardan can get some very wide lenses on it and a Techno or an M679 can use a 28mm lens! Although they would all need the wide angle bellows.

Or he could buy one of the larger Novoflex bellows with movements and, with the appropriate adapter, put it on any 35 mm, medium format or digital camera with interchangeable lenses and use lenses from any of those cameras plus 39mm Leica thread enlarging lenses. And some of these bellows have both front and rear movements!

You CAN NOT get more depth of field by using a view camera. Depth of field is controlled only by focal length, aperture chosen, circle of confusion and magnification. Depth of field ranges from a point sharply focused on to areas of apparently sharp focus in front and behind that point. What a view camera allows you to do if it has tilts and swings is to control the plane of sharp focus. Then, with the addition of the desired lens aperture the depth of field increases that plane of sharp focus. Perspective is controlled on any type of camera by the angle of the film in the camera to the subject. Tilt your medium format camera up to shoot a building and the building will show keystoning. With a view camera with rides and fall and shifts you can point the camera up, tilt the lens and the back to make the film parallel to the building and eliminate the keystoning. Back tilts and swings allow you to change the shape of an object.

They probably weren't made for large format, more likely a relay lens, a copier lens or a custom printing or scanning lens.

They should not be process lenses, process lenses, in barrel mounts, have a filter slot in the barrel behind the aperture ring. Most process lenses are Apo and are marked Apo on the barrel and they are rarely faster then f9. They could easily be lenses from non photographic applications or be strange enlarging lenses but most 100mm enlarging lenses will have a 39mm Leica thread mount and lenses around 150 mm would be about 50 mm mount thread and finally that 152mm lens looks like it is mounted into some type of third party adapter as the finish on that shroud seems to be very different from the finish on the visible body of the barrel.

You had best check the value of his camera. Anyone with a Linhof 617S III isn't necessarily on a budget. However, a 57 quality enlarger requires a lot of space and that might restrict what he buys. Most of my shots with this camera were scanned on a drum scanner and printed from the scan into, usually, 5 foot wide prints.

Steve, you are over simplifying. The accuracy of a rangefinder system is dependent on the base of the rangefinder, the wider the base the more accurate it becomes. For Leica the longest rangefinder coupled lenses were usually a 135mm. Longer then that Leica offered the Visoflex reflex focusing attachment. On a rangefinder 45, like a Master Technika the rangefinder system can be coupled with lenses from 72mm up to 360mm. The long range of the coupled lenses is limited by the bellows length and the length of the cams that are available for the cameras.

No John, I will not be at NANPA. Our company closed almost two years ago.

Not really, you would refocus if the subject moves or the camera to subject distance changes, not because your eye moves the 7 odd inches from the rangefinder window to the Multi Focus Optical Finder's window.

Linhof cams lenses for their camera from 72 to 360mm. Never use f64 on 45 unless you want to intentially degrade the image. Most 45 lenses are diffraction limited at 22 and that is where you will get optimal performance. Also, a rangefinder won't give you more DOF at any aperture. But it will tell you that you are in focus at a specific distance.

It is for clamping a lens onto the camera. If you are doing critical work don't use it as there are frequently issues with these and maintaining proper lens parallism with the front standard.

All Master Technika cameras with the rangefinder are the Classic version. They started to call them the Classic after the introduction of the models without the rangefinder, the 2000 and then the current 3000 models.

As a point of interest, you can just as easily, if not even easier, accidentally loosen a lock on a three way head. Easier because most three way heads have long handles whereas ball heads usually have short knobs.

1974 or 75 Super Technika V.

Yes, they do.