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pete_caluori

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Posts posted by pete_caluori

    nikon 9000 depth of focus using wet mount tray

    in The Digital Darkroom: Process, Technique & Printing

    Posted

    <p>I have both trays: the Nikon glass and the Image Mechanics. I have noticed a focus shift with the Image Mechanics over the length of an image, but I'm scanning 6x17; I have not measured the 6cm width.<br>

    I have problems with both trays. The Nikon glass tray uses only one piece of AN glass and I frequestly get Newton rings. The Image Mechanics tray, wet mounting produces the best result, but it doesn't complete the second frame scan and causes the scanner to lock up. This doesn't always happen, but it's a pain when it does. This is realy a pitty considering the cost of the Image Mechanics tray. Image Mechanics say it's Nikon's problem an Nikon won't do anything about it, because it's a modified tray. </p>

    Scanning 617 Panoramic Images

    in Large Format

    Posted

    <p>While you can get acceptable results scanning 6x17 film with a flatbed scanner, you will get far superior results using a film scanner; I use a Nikon 9000. The Nikon will not scan the entire 17mm, so you have to make 2 scans and stitch the images together, but the results are incredible.</p>

    11x14 box camera/lens help?

    in Large Format

    Posted

    9" at infinity focus translates to about 228mm, to focus closer than infinity you need more distance between the lens and film, which you don't have. One lens that I'm aware of in this focal length that will cover 11x14 is the 240mm Computar, which can be found from time to time on e-Bay. IMHO unless you figure out a way to focus the lens (change the lens to film distance) you're much better off sticking with a pinhole.

     

    Regards, Pete

    Crystal Mill lens limitation

    in Large Format

    Posted

    It depends on the type shot you're looking for. I've used a 355mm lens on 8x10, which roughly equals a 165mm lens on 4x5 with good success. Your 135 should work fine.

     

    It's been a few years since I've been there, so I can't speak to current road conditions, but there are places along the road where two vehicles cannot pass each other; that's where knowing how to drive in these situations is important. The uphill vehicle has the right of way and if two vehicles find themselves at one of these spots at the same time, someone will have to back up.

     

    It a great place and a beautiful trip, have a great time!

     

    Regards, Pete

    Negatives for Albumen

    in Black & White Practice

    Posted

    By expanded development I mean + development: if N is normal development then by expanded development I mean N+ or N+2, etc.

     

    In a Jobo with constant rotary agitation and Pyrocat HD at 2:2:100 dillution, TMY goes about 10 minutes at 24C to print beautifully on Albumen.

     

    Regards, Pete

    Negatives for Albumen

    in Black & White Practice

    Posted

    Hi Jan,

     

    I print albumen as well as other processes. Albumen requires a negative with lots of contrast. I don't use WD2D so I don't know what its properties are, but I do use pyro developers. The thing to be concerned about with pyro developers for any alt process is building too much base stain. Excessive base stain will decrease contrast and make printing times very loooong.

     

    You didn't mention the format you're using, but if 8x10 or smaller one of the best film/developer combos you could be using is Kodak Tmax 400 in Pyrocat HD. This combination produces a very clean negative, low base stain and through expanded development sufficient density for any process. The added benefit of Pyrocat HD is that you will most likely get at least full film speed.

     

    Some other films that I have found to be very good for alt processes are: Ilford FP4+, Efke PL25 & PL100 and Photowarehouse Ultrafine 125 (supposedly Ilford FP4, but currently unavalible.) In 8x10 I use Kodak Tmax 400 (TMY) and use Efke films in larger sizes, all are developed in Pyrocat HD. *x10 and smaller are rotary processed in a Jobo and larger formats are developed in tubes, either rotary or semi-stand.

     

    Albumen being a POP is somewhat self masking, so you want to make sure not to overexpose the negative, because that will just push the highlights well into the bullet proof range, especially with expanded development.

     

    I hope that helps, let me know if you have other Q's or need further clarification. It's nice to know others are doing albumen too.

     

    Regards, Pete

    For those who print BO, which papers do you like the best?

    in The Digital Darkroom: Process, Technique & Printing

    Posted

    Paper choice is usually a matter of prefence and style, but my favorite for BO with eboni is Hahnamulle William Turner and Innova cold press. I like texture and these papers perform nicely.

     

    13x19 from 35 depends largely on the quality of the original, the quality of the scan and your criteria. For me, I probably wouldn't go that large. I routinely go that size, but it's from 120 or 4x5 negatives. Printing on textured papers will help with images that are less than perfect, because the texture will inhinbit some of the papers resolving capability, so you may be OK with 35.

     

    Good luck!

    Regards, Pete

    8x10 Enlarger

    in Large Format

    Posted

    I had a Durst 184 shipped from the east coast of the US to the Rocky Mountains and it cost a total of about $800. I had to depend on 3rd parties to crate it, so they shipped it without taking it apart. All they did was remove the head. It was properly crated, so it survived the trip across country.

     

    If I had to do it again, I would certianly take it apart to make it more compact, but proper crating is essential. As you guess, these beasts are quite heavy and are usually transported by large trucks that are accostomed to handling crated/palleted objects. Don't expect any special care, unless you pay for special handling which will cost a small fortune. Most fork lift operators know how to move these large heavy objects, but don't take chances; accidents can and do happen.

     

    Craters & Freighters may be able to help - they're on the WEB.

     

    Regards, Pete

    efke 25 or 100 in 5x7

    in Large Format

    Posted

    Either of those films will provide more than ample sharpness for fine art photographic prints. I suspect you observe Efke 25 as being sharper because of its contrast. Efke 25 is a very contrasty film and contrast will enhance the appearance of sharpness, but it doesn?t mean it is sharper.

     

    Both of these films are nice, but Efke 25 is more of a specialty film; it is not capable of great expansion/contraction and is best suited for low contrast scenes. I suggest you give PL100 a try in 5x7 and you won?t be disappointed.

     

    Regards, Pete

    MF for Expedition Travel

    in Medium Format

    Posted

    Greetings,

     

    I haven?t been to Antarctica (yet) but I have done some traveling with photo gear. My normal preference is to use very big camera, but I realize they?re not always practical for travel. Having traveled with both 35mm and 120 systems I can tell you that it?s more of a pain when using two systems. I would seriously consider opting for one or the other and not both. There?s a good chance that one system will sit unused and you?ll have to lug it around along with film. Only you can decide what will suit your style, subjects and goals. With that said here are a few observations?

     

    Bring a tripod, but also plan on shooting hand held. A cheap tripod capable of holding a Hasselblad is Velbon?s MAXI343. There are many nicer and pricier tripods, but if you lose this one, or it gets stolen you won?t be too worried and it?s light and packs easily.

     

    Before you decide on your camera, think about film. You?ll more than likely have to pack all the film you need and 120 film is bulky; 220 film gets you twice the number of images for the same size roll. A camera that can shoot both types is more versatile.

     

    Cameras like the Mamyia RB/RZ are big and heavy. The Hasselblad V series is smaller and lighter, but being an SLR makes quite a bit of noise when the shutter trips, this can be a real concern when photographing wildlife.

     

    Another consideration should be the environment and the part of the world you?ll be shooting in. IMHO simplicity is what you want. You don?t want to have to worry about batteries or malfunctions in the hinterland. A simple mechanical camera is what I?d opt for. The advantage of the Mamyia 7 are the interchangeable lenses, but I?ve heard these cameras can be temperamental and are quite complex; not something I would take to that part of the world ? not without backup.

     

    I do like having a bigger negative to work with, so what would I take? I?d take a manual Hasselblad (only because I already have one) and I?d take a Fuji GW670, or 690. If I had the capability to take more, then I would grab my 4x5 or 8x10 and take that too.

     

    Good luck and have a great trip!

     

    Regards, Pete

    do Compur electronic shutters eat batteries?

    in Large Format

    Posted

    Greetings,

     

    I think you have a faulty shutter. I have a 360 S in a compur 3 electronic shutter. I bought it used and the guy I got if from told me he hadn't used it in a couple of years, but the battery was still in it and it still worked. I've been using it for the past few months, with the same battery and it still works fine.

     

    I'd appreciate knowing your source for the batteries; feel free to contact me directly.

     

    Regards, Pete

    Canham DLC vs. Arca Swiss Basic - dump the arca?

    in Large Format

    Posted

    Greetings Tim,

     

    I agree with most of the comments expressed above, though I have never used an Arca.

     

    I disagree with Michael?s assessment WRT using the 72XL. I took Keith Canham?s advice when I inquired about getting a bag bellows. Keith told me I didn?t need it and said don?t worry about ruining the bellows; it will bend and flex as needed. I took that advice and had to distort the bellows, but I got maximum front rise with the 72XL and even managed to exceed the 72?s image circle, which is huge. Now if I had to shoot architecture every day, I would certainly invest in the bag bellows, but for mixed use the standard bellows works fine and it pops right back into shape when finished.

     

    For an all-around camera, with cross functionality between a monorail and a field camera the DLC can?t be beat ? I recommend it in a heart beat. Good luck!

     

    Regards, Pete

    18"x24" Colour slide film?

    in Large Format

    Posted

    Greetings,

     

    18"x24" was never a "standard" size, but 18x22 and 20x24 were. No one is currently offering transparency film in these sizes and I seriously doubt you will be able to get Kodak, Fuji or Agfa to make some. The best you can hope for are 9 to 9.5" rolls and piece two strips together.

     

    Regards, Pete

    Has anyone found color reversal film in 7x17?

    in Large Format

    Posted

    Greetings,

     

    When I acquired my 8x20 camera, the gentleman I bought it from gave me a few sheets of Ektachrome that he used with it. He told me Kodak sells it as Digital Output Film in roll form: 9.5" x 50', but it's really ISO 100 Ektachrome and uses standard E6 processing. I have a few of the sheets that he cut down, but I haven't tried acquiring any myself. I did see a few enlarged murals that were made by this guy a few years ago hanging in DIA Airport - they were incredible.

     

    Regards, Pete

    Wide-Angle compared with Telephoto Lens for Close-Up LF 4x5 Images?

    in Large Format

    Posted

    Greetings,

     

    Both of the previous answers are correct, but I'll add a bit more... For 1:1 close up's, that is 1" in real life equals 1" on film, you'll need 2x the focal length of your lens. A 300mm lens would require 600mm or 24" for 1:1, but a tele lens would require a bit less. A 90mm lens only requires 180mm of extension for 1:1 and your camera with 12" of bellows would be able to accommodate. The distance the front of your lens is from the subject would be quite different using a 90mm vs a 300mm.

     

    I took an extreme close up of a candle flame once at much more than 1:1. In order to do it with 24" of bellows, I used a 72mm lens, but the candle flame was only about 1" from the front of the lens.

     

    Regards, Pete

    What is the SMALLEST Focal Length you can use on a 8x10 camera?

    in Large Format

    Posted

    Greetings,

     

    The Schneider 110 XL does indeed cover 8x10 when stopped down to f22. If you search this forum about a year ago I made two posts; one with a picture showing that the 110 does not cover (that's because there was a stepup ring mounted to the lens which I overlooked) and a second post with a picture showing it does indeed cover. There's about 1 stop loss from center to edge - that's a guess I haven't measured it.

     

    Regards, Pete

    Photoflood as UV light for Kallitype?

    in Black & White Practice

    Posted

    Greetings,

     

    The amount of UV light required for alt processes depends on the process and the density of the negative. With that said, it's not uncommon to need 5-10 minutes of full sunlight for a Kallitype or Van Dyke. The amount of UV containined in 500W photofloods, or that from 12V source is woefully inadequate. In addition to using the sun, I also have a 1000W UV Mecury exposure system and I have print times that range from several minutes to more than 20 minutes. On wwww.unblinkingeye.com you can find an article by Sandy King on UV light sources.

     

    Regards, Pete

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