michael_kadillak

Contact my friend Mr. Al Bowker at (303) 650-1984.

 

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He can replicate any lensboard from high density plastic that are

very functional, reasonable priced and identical to your original.

 

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Send him one original and he will return it with the new boards.

I suspected your prior experience with Nikon lenses was with either

an autofocus or a zoom telephoto. Single focal length plasmats for

Large Format use are far superior to the 35mm offerings for reasons

that are really not worthy of text here.

 

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As has been stated by many on this board and was appreciated when I

was at your critical junction, lenses by all of the four big

manufacturers - Schneider, Rodenstock, Fuji and Nikon will produce

marvelous images. The differences are nominal but the prices are not.

As previously mentioned, uneven negatives should be the least of your

concerns in the 4 x 5 format. I started out with the Beyond The Zone

System tubes and graduated into the Jobo for larger processing

volumes. Never had anything but satisfaction in the negative

department.

 

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Would like to hear why you are so down on Nikon lenses ? I use them

exclusively since they were considerably less expensive than the

other big name products fron Schneider and Rodenstock and love them.

Many other photographers I have talked to express the same

satisfactions.

 

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Weight is really not that big a deal with me within reason. It is

incredibly easy to secure a light weight camera and by the time you

add a few film holders, meter, cloth, loup and tripod, you are right

where you were hoping to stay away from as far as weight goes. One

guy I trek with regularly comments about how light weight his

equipment is, but after a weigh in he was shocked about the reality

of the load. He always carries large numbers of film holders that

quickly add up. Good luck.

Pardon me if I have never heard of pinholes in film from stop bath. I

have used stop bath for 15 years without a hitch for both roll and

sheet film. To create this on film, I would think that you would have

to have uneven and high acidic concentrations to eat away part of the

film. But I am not a chemist.

 

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At normal working concentrations, I do not see how this could take

place.

Look at the lens specifications listed in this web page. I believe

you need a minimum of 325 mm for 8 x 10. Movements are limited by how

much coverage over the minimum you have. Not all 300 mm's, however,

cover the 8 x 10 format. The lens design is the most important

criteria.

I completely agree with Bob. After shooting with several older Kodak

Ektar lenses and a few newer Schneiders and Nikons, I decided that I

liked the contrast afforded with the modern multi-coated lens. Many

fellow photographers allowed me to burn a sheet or two of my film in

their camera with their assortment of lens. I took them home to

process and review and as Bob mentioned, found a visual difference

between even modern lenses that surprised me. In the end, I ended up

with the less expensive of the modern vintage but was glad that I

spend less time with opinion and more time with what I found to be

appealing to me.

 

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What works for you depends upon what you see in your results.

I use a Ries A250 double tilt head for my 8 x 10 camera and was glad

I did not go the cheaper way I was leaning. It provides me with a

very stable and rigid platform and is easy to adjust to any

circumstance. Yes, it is heavy, but the controls are easy to reach

and when you lock them in, they stay. Like you, I did not go for the

control levers sticking out of the side of some heads and I could not

find a ball head that I felt comfortable with.

 

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If I was using a 4 x 5, I would still recommend the Ries because they

are of the same design - only smaller. If possible, I would take your

camera to a store to set it up on several heads and play with them

for a while. That is how I ended up with the Ries. Good Luck.

What degree of Zone system expansion and contraction can I expect with T-Max 100 ASA and 400 ASA and T-Max RS developer ? I am about to embark on a testing journey and thought it wise to inquire to those who have experience on this subject.

 

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Also, has anyone experiemented with diluted T Max RS developer ?

 

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Are there other film and developer combinations that you have enjoyed as it relates to Zone system applications ?

 

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Thanks in advance.

I have a JOBO CPP2 rotary processor with a 5 sheet 3005 drum and shoot 8 x 10 and 5 x 7 sheet film. My film is T Max 100 (5 x 7) and I use TMax RS developer. I also use Tri X (8 x 10) with D 76 developer. JOBO lists various chemical volumes to handle anywhere from one to 5 sheets, depending upon the format.

 

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Has anyone used less than a full 5 sheet run, such as one or two sheets at the volumes listed and did you have consistent results compared to processing a full five sheets ? I read once where a photographer recommended that when processing less than the full five sheets you should fill the remaining slots with unexposed film to exhaust the developer. Using less than the full five sheets was not recommended. Seems like a waste of film and chemistry to me, but I wanted to check with others experience on this subject.

 

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Thanks in advance.

I have a 300 mm Schneider Componon S for my 8 x 10 and it is

marvelous. Razor sharp and of the highest quality. Got it as a used

lens for less than half of the new price and it looked identical to a

new lens.

 

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Be very carefull about your enlargers bellows capability as it

relates to enlargement size.

I was recently in Sante Fe, New Mexico and visited a fine art

photography gallery that had several large Adams prints and others

including Cartier-Bresson, Karsch and Weston among others. I believe

the gallery is called the Michael Adams Gallery. It is located just

South of the center of old Sante Fe near movie theatre.

 

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I know what you mean about seeing the real thing. A number of years

ago I happened to see in the paper the notice of an exhibition of

Weston here in Denver that toured the country and was blown away with

the amount of his work exhibited and the divergent subjects. I would

also like to find out other offerings by large format photographers

in other parts of the country if anyone else would like to chime in.

www.darkroom-innovations.com

 

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Should contain all of the information you need.

I have purchased a couple of accessory items from them and had no

problem. But I heard a story from another photographer who had

purchased a camera from them and had a couple of problems. First, the

rating of a particular camera was less than advertised. Secondly, the

bellows needed to be replaced. While they did replace the bellows and

adjusted the price for the condition, I get concerned because it

starts to enter into the "grey" area of a financial transaction. And

that area is purely subjective.

 

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Spending the kind of money that a good field 11 x 14 commands, I

would find a way to personally inspect the purchase if possible.

Otherwise, I would make sure you have a 10 day no questions asked

return policy in writing. If Clayton Camera has not returned your

calls, do you think that it will be any better after the purchase ?

 

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I personally would go to Plan B. Since 11 x 14 is a very specialized

format, be patient. I would check private sales in the classified

adds of View Camera or other sources.

 

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Good Luck

Are you mixing your chemistry with tap water ? In certain parts of

the country, public water can be downright nasty. I would suggest

making a run with chemistry mixed using distilled water. The spots

could be residue from undesirables in the tap water. I use a JOBO

CPP2 and use distilled water and have not had a problem.

I completely agree with the previous response. When I got into large

format several years ago, I was using an authors perception of my

needs via what I had read or an effective sales pitch dictate what I

felt I had to have in a camera. Thank God I did not have the

financial resporces in hand because I would have ended up selling it

pronto. It was only after I actually manipulated the adjustments and

observed first hand the craftmanship (or lack thereof) did I realize

what I really needed. Find a camera store with large format inventory

and ask questions. I used to do this on business trips. I found a

commercial photographer in my area and for the price of a few beers,

learned a bundle. Whenever I hear a person talk about large format

and costs, I have rather mixed feelings. While there are excellent

deals out there in the secondary market, knowledge of what you are

looking for and what is a good deal is very important. This

information is easily obtained but since your requirements are

unique, so is the decision. Maybe I am in the minority, but I do not

look at a camera or a lens purchase as an expense. I look at it as an

investment. Face it, large format by its very nature is inherently

more expensive. However, buy something of reasonable quality and take

care of it and not only will it serve you for as long as you will ask

it to, but you should be able to find another person in the medium to

buy it from you without taking a bath.

 

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Having struggled with this decision myself a few years ago, my

recommendation is to not compromise on the Bender. I have seen them

and they do the job. But as the other contributor mentioned, are you

a self made woodworker ? If you are not, you will spend far to much

time and energy completing the work to your satisfaction. I saved for

the better part of two years before I made the leap, but I got the

camera that served my purpose perfectly. Purchase one lens of the

best quality you can afford and learn to use it. After doing some

research, you would be surprised at how reasonable you can aquire a

perfectly functional 4 x 5 field camera.

 

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Good Luck

After I get the camera leveled and pretty much set up, I put the

elastic portion over the back standard only. However, I do not let

the hood touch the bellows. You have to look carefully at the

configuration of your specific camera to determine the best place to

affix the hood given the specific shot you are taking. Sometimes I

end up sticking a cloth under the space between the bed and the back

standard for another form of a light seal when I need to really check

critical focus. There is a lot of surface area to check on 8 x 10.

 

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Having used a one dimensional flat cloth hood over the camera, using

the lightweight hood from DI is a breath of fresh air. Try several

configurations to find out what works for you.

I started out tray processing sheet film and migrated to the BTZS

tubes. They work fine. Some folks will tell you about the negatives

of any system as everyone has their "favorite" technique. The knocks

on the BTZS system have been: 1) The time it takes to unscrew the

caps of a group of tubes being processed and dump the chemistry and

2) The requirement for additional fixing to remove the dark

coloration of remaining antihalation backing of the film that did not

receive chemistry during processing.

 

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Start with one tube and work you way up to gain confidence. Shortly

you will be slinging multiple tubes with the best of them. So what if

you have to fix a little longer to clear the film ? I actually think

that the rotational method gives great results with no potential

scratching that can occur in trays. In my opinion, tha value of the

BTZS system is the simplicity. A tube with a cap screwed to it. I

cannot speak to the merits or the multiple sheets tanks. I look at

their design and wonder what happens when all of these sheets do not

line up correctly. Remember, you are setting it up in total darkness.

 

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The 4 x 5 tubes are much more reasonable in price as compared to the

5 x 7 and 8 x 10 tubes because of manufacturing costs. The larger

tubes are precision milled. I used the 5 x 7 and 8 x 10 tubes before

I went the route of a JOBO CPP2. This decision on my part was

predicated on the fact that I can process 5 8 x 10 sheets at a time

in one run with my 3005 drum. As I have gained experience in large

format and my frustration level has decreased, (thanks in part to

this forum), I now shoot more film with a new level of satisfaction.

 

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Check out the Darkroom Innovations web page and give them a call.

They have a great brochure that they will provide you with.

Modern lenses from the major manufacturers,Rodenstock, Fuji, Nikon and Schneider, are all capable of resolution beyond the limiting factors of the photographer (focusing)and the equipment (film plane and film). While actual physical coating processes and manufacturing techniques among the makers remain proprietary, they mostly affect contrast. The fondness people have for a specific brand IMHO are predicated by contrast and sometimes size or other times by what they are selling.

 

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If you are only considering modern plasmats, the manufacturer is not that critical. I like the Nikon lenses because they are a little less expensive, but I know folks who use Fuji, Schneider and Rodenstock simultaneously simply because they purchased them used and they got a good deal on each of them. They make marvelous images with all of them to the point where I cannot tell one lens from the other.

Try Al Bowker at (303) 650-1984. Al machines high quality replacement boards for all cameras out of a high density plastic that exactly duplicates your original board in the $25 - $35 range. I have found his workmanship top notch. He will need your original for replication and the retaining ring if you want him to drill your board for you. He turns things around quite quickly.

I am looking for recommendations for a tripod that would accomodate backpacking with my 8 x 10. I already have a Ries A-100 tripod with a double tilt head that is to long and heavy for more than short journeys from the pick up. How short it collapses is as much of a plus as weight. Anybody out there really get off of the beaten path with your 8 x 10 ?

 

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Thanks in advance.

Back some time in the late 1980's, Ron Wisner and Fred Picker of Zone VI got together and decided to collaborate on a wooden field camera offered for sale by Zone VI. Unfortunately, it was a short lived affair where they both ended up in heated competition selling their own named wooden field cameras. I suspect the lawyers got into it because I read an article written on Ron Wisner recently where he stated that he got a "legal" issue behind him. I suspect this is what he was talking about.

 

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Getting it repaired would depend upon the following. If you were the original owner, you would have a warranty on record from the seller independent of the manufacturer. Zone VI is required to repair the camera for you should this repair fall into the criteria of "warranty" work. At the time Zone VI offered these for sale, the term warranty meant anything preventing the camera from functioning, including, but not limited to being run over by a truck.

 

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If you are not the original owner, the issue of warranty goes out the window. Under these conditions, I would contact Ron Wisner and discuss the repair directly with him since you will be footing the bill. My concern would be establishing how long the repair will take. I would not like to have my camera out of commission for undetermined amounts of time.

 

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The only exception to this condition would be if the bellows were part of the problem. Since Wisner has differentiated their workmanship from Zone VI by using leather bellows, I would talk to Zone VI on this issue.

 

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It sounds from your write up that you are not the original owner. Did you buy it from the original owner ? If so have him make the inquiry. May save you some money. Let us know how things work out.

If trays work for you, thats great. During an earlier time in my photographic development, I to had the same approach towards the more "traditional" methods.

 

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Then I had a friend who went to a seminar with John Sexton, who I am sure perfected the tray approach while an Adams assistant but uses a JOBO (in addition to representing the company). He opened up my eyes to the fact that trying something new can produce better efficiency and/or consistency.

 

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And by the way, I am not a JOBO rep. But given a chance, I surely would be.

There is a 4 x 5 contact frame for sale in ebay.com under Photo / darkroom.

In my humble opinion, the solution to washing large format sheet film is also the solution to repeatibility with processing. Particularly in larger sizes such as 8 x 10 the answer is with a JOBO CPP2 rotary processor. It is very efficient and uses nominal amounts of water. The downside is that they are expensive new and are sparse on the used markets. With an 8 x 10 drum and a lift, cost can run $1,800 - $1,900 new and about $1,200 - $1,400 used. Those who get one hold on to it till they leave photography.

 

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Before I could afford to order one recently, I modified an inexpensive (under $200) but efficient print washer from Versalab to accomodate my needs. Because of the tendency of large 8 x 10 negatives to buckle, I found I needed the stability provided by metal film holders. I cut a plastic coat hanger along the bottom to have a cross support to hang the film into a seperate slot in the washer. I do not have to worry about boyancy and film sticking together because of the weight of the sheet film holder and each film being in a seperate "print" slot. The movement of the water within each slot seems very good at creating effective movement as long as you keep the flow at necessary rates.

 

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Don't feel bad about joining the ranks of large format photographers counting the days till they can own a JOBO. It is a common occurance.

Yes it can be under the right circumstances. The Yen to dollar conversion at 143 to a dollar is very attractive. I recently had a brother bring me a Nikon lens on his trip from Japan and he carried the lens with him on the plane. I saved 26% over what I could have bought the lens for from B&H or a similar discount house. I got a warranty card good internationally and the savings was inclusive of the 5% tax in Japan I had to pay. My brother told me that carrying a lens on a trip is a whole different story from having one sent to you in the mail. I did not get into the details but I think the Feds get their piece of the action and that erodes the favorability.

 

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With the Yex potentially weakening to 150 or even I have read possibly 155 yen to the dollar as Japan gets their economy on the right track, I feel that it is worth further investigation. It worked for me.

 

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I also have a recent price list on Nikon lens if you are interested in a specific model.