eric_m4

Thanks for replies everyone. Yeah, I kinda figured it that way but I was hoping somebody knew of some finder that gave me as good a view as the waist level finder. I enjoy using waist level finders more than eye level but so many portraits are often angled up at subject - not always what I want.

Hello, The Mamiya C330 F/S have a focus lock feature to prevent bellows from slipping out of focus. The older cameras do not have this feature. Does this mean that older cameras slip out of focus when pointed up or down? They seem like they're built so well that nothing would budge unless you wanted it to. I was thinking of getting one of the older Mamiya TLR models but wanted to know if anyone here has any "focus-slipping" problems without the focus-lock feature. Thanks.

Howdy all, I know waist level finders have a magnifying loupe to view the image on Mamiya TLRs but I was wondering if anyone knows if the eye level viewer would also magnify the image. Thanks.

Hi Guys, Thanks for your replies. I've heard the name Nippon mentioned before but I had no idea they were in New York. Where is Precision located? Both in New York?

Anyone?...

I hear Linhofs are sent to Laflex for servicing/CLA but what about other press/technical cameras like burke & james, meridians, busch pressman, speed graphics, etc...? Is there one good reputable place everyone goes to or is it a matter of just finding some local guy that's just good at tinkering with photo gadgets?

Hi Dan, I was wondering if I could use it with a 75mm

Howdy, I'd like to know which accepts wide angle lenses better - the Super Graphic or the Super Speed Graphic? Or are they both the same? The widest I have is 75mm. Thanks.

...without any major modifications?. Does anyone have any experience with this situation?

Hello, There's all types of view cameras for sale online and usually it's a pretty simple purchase because it's such a simple piece of equipment. But when it comes to buying a Linhof I keep hearing all kinds of horror stories about how much you'll have to invest in it after the purchase. If you buy a new Linhof its very pricey and if you get an older Tech III, IV, or V I often hear you have to invest in replacing parts, CLA, etc... (or else it will self destruct), which can really add up $$$.... Most LF cameras may need some tweaking but for the most part it always seems easier to get up an go. I know it's a precision instrument but Linhofs always seem to need a major overhaul. I don't need a Linhof at this very moment but sometimes I see them for sale and they look tempting but it's scary to think you're going to spend a whole lot more beyond the original price. There's not too many places that I know of where you can try out Linhofs hands on. So is it worth buying older Linhofs or are these mostly exaggerations?

Hello, Is the Intrepid Enlarger Kit LED light source (Intrepid Enlarger Kit - The Intrepid Camera Company) equivalent to a diffuser or condenser light source? Thanks.

but I guess that's why those cameras (Wistas, Toyos, Horsemans, etc...) are so popular... ...They are?? Sure they are, Rodeo. Haven't you heard? Film is making a comeback! I meant popular among LF users. C'mon Rodeo, you knew that. Jokes aside, from all the youtube videos I see, shooting expired film with medium format cameras seems to be the "in" thing today. So large format should be just around the corner. Pretty soon cave drawings will be the latest. Who needs pixels?

Hi Guys, I've seen extension rails but they are expensive and hard to find (used), but that would really be more than I need. The extension board I mentioned adds another 4 inches which turns a 12 inch bellows into a 16 inch. That's a significant addition. Rodeo, you're right about cost but I don't see the point in getting new LF cameras. A new Technikardan is about $9k - about $10k after sales tax. But used they're less than $2k - which is still more than I want to spend. They seem to drop like a rock price-wise once they hit the used market. The average price for a used Wista 45 SP is about $600-700. And if you get the 45D that's around $400 (but it has no swing movement). As far as magnification, I'll work with what I got. I'm not doing professional work with high end clients and tight deadlines. A match-box sized item is pretty small compared to what I would normally shoot close up - but your point is well taken. As far as "need" goes, you got me there Rodeo. But most of us (non-professionals) don't "really need to" do most of what we do with photography - it's just fun. I don't really "need" a Ferrari but it sure would be fun. After spending the last 20 or so years on digital, I enjoy going back to older, more mechanical film cameras, processing film (mostly B&W) and I love printing in the darkroom. I'm not a great printer but just working at getting better is a blast. I'm still open to other suggestions but I guess that's why those cameras (Wistas, Toyos, Horsemans, etc...) are so popular.

Hi guys, Thanks for your suggestions. I'm leaning towards a Wista 45 SP. Not very long on bellows extension but I can add an extension board (aka "Top Hat") for the times I would shoot close ups. I referred to this as "non-extreme" macro. Not a good description, a better one would be table top/product photography - which requires some close up techniques. I don't plan on photographing super close ups of insect's eyes or anything that extreme.

Hey guys, I'd like to know what field cameras with above mentioned features the forum would suggest for still life, landscape/nature work (including some non-extreme macro), which preferably cost around $1000 (used). Thanks.

Hi Alan, The digitizing process doesn't really grab me but the other methods you mentioned seem interesting. Even if it's not top notch quality it just seems like something cool to explore. One question, if I was to process E-6 in black & white developer how would I know what temperature/time combination to follow? Would I just follow the instructions for black & white film? Thanks.

Hi Bob, Could you please elaborate a bit? I'm not sure what you mean. So does that mean a 180mm's coverage would be 180 - 152 = 28mm?

I'm thinking of buying a 150mm or 180mm for my 4x5. I'd like to know how do you know how much area outside of the ground glass is covered by a lens so as to have the most movements. Thanks.

Might be. I'm curious about what results I'll get.

I got several rolls of E-6 but only enjoy printing black and white prints in the traditional wet darkroom. Does anyone know if you can process E-6 to get color or B&W negatives to print in the darkroom? I know people are going to say "try it and find out.." and I probably will but I thought maybe someone could give me some idea of what to expect and also what chemicals/processes to try such as D-76, C-41, etc... I don't expect to get T-Max 100 quality but I wouldn't mind something like color negatives - which I've printed on black and white paper before and came out fine. Thanks.

Yep, been there, done that (multiple times). It's the reason I do a lot of second guessing right before every print - you're always asking yourself "I'm I forgetting something?....." Similar feeling to when I go out and shoot with a 4x5 camera. That "edge of your seat" feeling is part of the fun. It's one of the things that makes a good photo so precious.

Alan Marcus, and the rest of you very helpful guys, you were spot on!!! It never occurred to me to just unscrew the lens and screw it back on the other way. Problem solved. I can't thank you guys enough!!!! - Especially Alan. It was a no-brainer for you but it was driving me nuts! After I flipped the lens over it changed the lens to negative distance just enough to be able to raise the enlarger head as high as it can go and still be able to focus. I was just about to start my first darkroom printing session in more than 20 years but before I did I had to sit down and thank you guys. Again, thanks very much!!!!!

Hi Alan, Thanks for prompt reply. I do have a 50mm lens on but I don't see how I could change the lens board's distance from the negative - other than turning the focusing ring which makes the bellows lens is attached to expand and contract..

Hello All, I've taken my Durst M601 enlarger out of storage after about 20 years and can't seem to get it to project an in-focus image on easel more than 2-3 inches big. If I raise enlarger head any higher for a larger print it stays totally out of focus. It's been decades since I used it but I do remember I use to get much larger prints. The enlarger can handle negatives up to 2 1/4" (square) medium format but I only used for 35mm. I don't remember ever using different size condenser lenses but at the moment it only has a pair one size. Thanks in advance.

Hello all, I was wondering if anyone ever compared the older Nikon 500mm f/8 mirror lenses to more modern versions put out by companies such as Opteka (which, I believe, is sold under several other different names). These lenses were never considered high quality optics to begin with so I'm not sure if I'm paying more because the name "Nikon" or because it's actually better. I don't want to pay more just because collectors worship the Nikon name, but I will pay more if it actually is better. Thanks very much.