francis_abad

I believe it to be false economy to skimp on a proper dark cloth. It is vital to proper focusing and composition to be comfortable "in the dark".

 

 

I have for many years used the View Camera Store dark cloth and it worked very well. However I needed that extra ability to get even darker and to get my arms in comfortably for critical focusing with a loupe. The answer: the Blackjacket from Quietworks. It is high in my list as one of the greatest bargains in LF photography today. In addition their customer service is second to none. It is well made and ingeniously designed. If you are not going to go the homemade route then this is the one for you.

 

Francesco (www.cicoli.com)

Efke 100 and Classic 400 - both available in the sizes you mentioned (and more). Buy them at J and C (http://www.jandcphotography.com/) - great service and extremely reliable. I live in Sweden and have had no problems ordering from them. Good luck.

 

Francesco (www.cicoli.com)

A lot also depends on the kind of negative you will have. I try to match my negatives to the density range of the paper. With AZO Grade 2 (i.e. a DR of 1.55 thereabouts) that necessitates me having exposure times of between 30 to 60 secs using a 200 watt bulb. Although you could print thinner negatives on AZO (with lower wattage bulbs and slower exposure times), I find that AZO really shines with the appropriate density in the negatives.

 

Contact printing on other silver non-AZO papers will require "thinner" or "less dense" negatives which is why a lower wattage bulb will suffice.

Nope, none whatsoever. And that goes for NEW 8x10 wooden film holders too (their prices reflect their form and not their function).

I am happy you did this experiment. Digital has still a long way to go before it can topple 8x10 in-camera B&W neg work.

It is a buyers' market for large format lens! To even spend 500 dollars on a second hand (but mint) modern lens is unusual, much less 1500 big ones. Check out the auction site and you will see that the latest offerings from Fuji, Nikon, Schneider and Rodenstock are quite affordable. Go for the best you can afford. The lens is the most important part of your arsenal and you do not want to be burdened later on with false economies.

I would not worry too much about older lenses (some single coated others no coating) when there are so many multicoated lenses available second hand and at great prices. Check out Schneider Apo-Symmar in the used market - they have been superseded by the newer Apo-Symmar L and are thus great value. These are multicoated and are mounted in copal. One reason I like multiocated is that I am able to take pictures during noon time when the sun is shining brightly without a lenshood and without worrying about flare. I made a comparison for flare using 2 exposures of the same scene, one with the Apo-Symmar, the other with the G-Claron (single coating). The sun was shining to the left quite intense (the top left area of the GG was certainly indicating flare could be an issue) and the negative exposed with the G-Claron got a touch of flare in it (unprintable). Nothing on the Apo-Symmar.

What format is the lens going to be used for Gary?

If you plan on backpacking I would not suggest a monorail. I used to own a metal field camera, a Master Technica 2000 in fact. It is great if you plan on using it for landscapes and such (i.e. straight on shots or some rise or some fall). But severely limited if you want to captures things that require movements (e.g. you want to include that church spire in your shot without converging verticals). The compromise is a wooden 4x5 with movements to match. My recommedations are for the Wisner Pocket Expedition or the Shen Hao 4x5.

If you dont understand Italian then thats your problem not theirs. Do you live in Milan? Non lo penso!!!!

Deniz, I only have an 8x10. Film is not expensive at all - it is more money, but not expensive. You will learn to see better and hence be more efficient with your film consumption. AZO contact prints is all I do. I love it. It is so easy. I set up my contact frame and bulb in my shower room when my family has gone to be for the evening. AZO is so slow I do not need to close the door or the tv while I work for fear of fogging the paper. You cant fog it if you tried. You will get addicted to seeing and using an 8x10. Your compositional skills will improve while at the same time you are getting a great exercise (just like a marine - hiking with a loaded pack). One caveat: like me you will want something bigger eventually!

I second Donald's reply. Efke PL100 is way better than Bergger 200!

As regards contact printing with AZO, you must expose and develop your negatives differently than you do with those negatives destined for all other enlarging papers because only then can you reap the full benefits of AZO's much longer tonal scale (approaching PtPd according to some). More density (more negative exposure needed than before), more contrast (more negative development needed than before). Do not misunderstand, this is not suggesting you overexpose and overdevelop - that is something else altogether. To know how much extra exposure and development is enough you must conduct your own testing (a procedure for doing this has been outlined in the AZO forum). Some films are better at this (e.g. Efke PL100) than others - i.e. they build density while building general and local contrast as well. Other films (e.g. Fortepan 200) hit a plateau after which extra development actually leads to less and less general and local contrast.

Dont be misled by what you have read so far because dodging and burning with contact prints is much, much easier than with an enlarger. I only do 8x10 B&W and started out with enlarging before moving on to contact printing onto AZO paper. With an enlarger you cannot get close to the printing frame for fear of making the dodge and/or burn obvious - you have to get your arms up highger to be closer to the lens. With contact printing you can go as close as necessary to the contact frame and no obvious signs of dogding or burning will appear (assuming of course you use continuous movement of the dodge or burn card or apparatus. It is so easy it is ridiculous!

One of the hardest things to do is to make our work dynamic, eclectic, ever changing but improving. Like him or not, Edward Weston showed all these qualities in his photography which is why I like looking at his work over and over again.

 

There is a reason for people's opinions about our work, whether complete or incomplete there is some truth in there somewhere. Clear your mind and let not these views force your hand into something that is not your own reflex. Be true to yourself while heeding what people say about your work is a difficult balance at best.

Efke 100 and JC Classic 200 in 8x10 inch sheet film is what I use. They glow when properly done! They build density with fantastic local contrast. Caveat: Efke PL100 is fragile when wet - easily scratched. For what they cost - buy, buy, buy! Ilford is good but nowhere as good, especially if contact printing is your thing. Only film potentially as good or better is Kodak TMY 400 sheet film.

To help with the anti-halation dye removal you must presoak the film in water before development. I use 5 mins and gentle agitation with my BTZS tubes.

I agree. If you have not done so Scott and if you have some film left try exposing for 1 or 2 stops more than what you normally would do based on your metered readings AND increase development as well by 20 or even 40 per cent to what you normally would use.

On bright sunny days where snow is aplenty (high contrast lighting) I use a yellow 2x filter. On overcast or cloudy days where the lighting is of low contrast I use no filter at all. In both cases I make adjustments to the metered exposure of between 2 to 3 stops.

Ries Backpacker. All the way to a lightweight 8x10.

The Schneider 240 f 5.6 APO SYMMAR (which is still available but limited as it has now been discontinued - the new APO SYMMAR L series does not include this focal length) is one of the my favourite lenses for 8x10. Ample movements and not that heavy (Copal 3). Very sharp, good contrast, easy to focus thanks to the large opening. You won't be disappointed.

Hi Phillip. I just received my shipment of Pyrocat HD and looking forward to giving it a try. I saw somewhere a suggested time of 8 mins for a 9 stop range and 5.5 mins for an 11 stop range using a dilution of 1.5:3:100 @ 75F. Is this a good starting point for N-3 and N-4 respectively?

I have not seen the Lotus in person but I have already inquired about pricing for camera and holders. Was there not some negative comments concerning the metalwear of their cameras? I will make the time to visit them in the fall. I also know that the delivery time is about 7 months (i.e. order in September, delivered by early Spring 2004). Shame about Ebony and film holders. They could ensure perfect film holder fit to their custom ULF if they did make their own. I still await further emails from them concerning movements and other specs.

Thanks for the advise Jonathan. Sounds like you must be in the same line of work (trading financial derivatives) as I am. Either that or you are a very astute chess player.

 

As regards whether it will require new tooling, I think that an earlier post mentioned that a friend had ordered and took delivery of an Ebony 20x26. Would the tooling not exist already then? I have to ask this about that camera: do you know how much your friend paid for it? Was it made of mahogany and titanium? Where the movements and focusing geared?

 

As an aside, anyone know what the exact dimensions are of the AWB and/or SS 12x20 film holders are?

Mnay thanks for your response Emile. I do admit that the idea of multi-back 16x20 is a tempting one. Not every scene can be captured as 12x20. I will inquire about this if and when Ebony get back with their designs.

 

I can afford to have this camera made but money IS an object for me. By that I mean I will not throw away money simply to purchase the flashiest ULF out there if it fails to perform in the field. That is why I thank you for your thoughts concerning gearing. I will bring this subject up in my next correspondence with them.

 

Finally, regarding your question concerning "status": it will only be a personal (status symbol) one I am afraid. Hardly anyone you meet in the field here in Europe recognise a Leica much less an Ebony. Most just see us as users of the "old way" of photography. Hardly anyone believes that they still make new wooden cameras in the 21st century. And I like it just fine this way.