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joseph_e._forks

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Posts posted by joseph_e._forks

    RZ 220 ProII Back problem

    in Medium Format

    Posted

    With the back removed I held down the dark slide release pin, removed dark slide, then wiggled the dark slide switch, put the dark slide back in, remounted the back, and it now works perfectly.

     

    Many thanks to Danny Cirillo and Jean Louis.

     

    Best

    Joe

    RZ 220 ProII Back problem

    in Medium Format

    Posted

    Thanks for taking the time to run through that. I'll will go through the list today and report back with my findings.

     

    But before I do, I can tell you these things:

     

    1) It's Pro II Body and Pro II 220 Back

    2) Camera operates normally with other backs

    3) By stopped working I mean a) shutter will not release b) red light illuminated in viewfinder with darkslide removed c) film IS advanced to frame #1

    4) as far as I know it happened between rolls of film but I do not recall the last time I used this particular back.

     

    Thanks again, I will run through that list this afternoon and report back my findings. In particular I believe it will relate to one of the following, but we'll see

     

    quote:

     

    - Check the darkslide release pin on the magazine. The magazine removed, the inside part of the magazine facing you, this pin is at 11 o'clock, under the rotating ring. Look what happens to this pin while inserting and removing the darkslide.(Maybe number one)

    - Check an eventual override of the magazine's automatic lock. (The lock release lever has been pulled toward the holder lock lever - both under the magazine).

     

    unquote

     

    Best

    Joe

    RZ 220 ProII Back problem

    in Medium Format

    Posted

    One of my backs stopped working, a 220 Pro II. I think I've got the problem

    isolated to the fact that the back does not recognize that I have pulled the

    dark slide. I've been digging for info and thought I'd check here too (didn't

    see it in searches).

     

    What is supposed to happen inside that back when the darkslide is pulled?

    Hopefully I can fix it myself.

     

    Thanks in advance for any insight.

     

    Best

    Joe

    Anyone use these pre-cut RB67 light seals?

    in Medium Format

    Posted

    Jeffrey,

    If you feel more comfortable with the pre-cut kits you should go that route.

    I will add that it took me about an hour and a half in total to do two RZ backs with the interslice kit and it was rather "easy" for me. Both of the backs leaked light prior to the new seals, and both backs are now light tight.

    I think it's more important that you feel comfortable with the job, and the pre-cut kit should be easier and provide the same excellent results. Let us know which route you go and how it turns out.

     

    Best

    Joe

    90 vs 110 vs 127s RZ lenses

    in Medium Format

    Posted

    I have all three of those lenses but only have 110mm files that were drum scanned up to 9000 x 12000 pixels, 8 bit 300 MB. They look pretty durn good but I'm not sure I'd go any larger than that.

     

    Are you going to scan 16 bit, or are you going with more pixels?

     

    I think most will say the 110mm is the better lenses, but IMO they are all really nice lenses, nice and sharp that is.

     

    Forks

    Ilford SFX and the Contax meter

    in Medium Format

    Posted

    The problem here is that your meter is reading ambient light even through the filter but the film is recording near infrared light.

     

    For example, when exposing Konica 750IR through a Hoya R72 on an RZ67 I set the ISO to 100 even though the base is ISO 32 or something and the filter factor would suggest lowering the ISO - it's backwards!

     

    The solution is to take a test roll and calibrate your setup. Take notes on each exposure and examine your negs. When properly exposed your negs will look great, even 1/3 stop over and your highlights will go and the negs will be difficult or impossible to print.

     

    Even after you establish a good base you should bracket your shots because it's difficult to judge just how much IR or near IR light is being reflected.

     

    That's my experience anyway, how do your negs look?

     

    Forky

    Wide field 8x10 lenses

    in Large Format

    Posted

    Troy,

    Sorry to hijack your thread, but I'm in a quandry for a lens in the 200-210 range and stuck between the 200 F8 NIKKOR-M COPAL and a 210 F9 G-CLARON COPAL. The G-claron is cheaper by over $100 and according to you plenty sharp. I guess I just just need reassurance because I don't see test numbers for the claron, but the test numbers for the Nikkor look real good. It's for a 4x5 BTW. Thanks for your thoughts.

     

    I guess I could throw that 200 F8 Nikkor-M out for your consideration as well :)

     

    Forks

    rz dual cable confusion.

    in Medium Format

    Posted

    I have a copy of the instructions here. I'm not seeing where it says the black tip locks the mirror up, and at any rate that isn't the case.

     

    As you first stated, the chrome tip goes to the shutter release button, and the black tip into the lens. There is a timing adjustment screw on the chrome tip, you may need to adjust it.

    Depress the plunger slowly and the chrome tip trips the shutter button which locks the mirror up, then pressing further the black tip operates the shutter via the lens.

     

    Try adjusting it first, then pressing it slowly, and completely to observe the two stage action.

     

    Hope this was clear enough.

    Forks

    Sharpness diff between 645 and 4x5

    in Large Format

    Posted

    Troy,

    Can we expand on this a little? This statement really hits home with me after my first test with LF

     

    >>Yes, but your technique has to be good, and it takes a super sharp LF lens. If you have an average lens, film not so flat etc, you could loose the advantage of 4x5 over 6x7.

     

    By technique I assume you mean 1) ability to focus correctly, 2) mastery of the cameras movements to aid to this end, 3) setting widest acceptable aperture to avoid difraction, 4) locking down all the movements, 5) weighting down the tripod, 6) using a sturdy tripod to begin with, 7) using ultra fine grain film, and what else might I be missing in this list ... oh sharp lenses, any comments on a Nikkor 135mm W f5.6?

     

    Thanks in advance

    Joe

    Toyo 45CF Fresnel Screen placement...

    in Large Format

    Posted

    Thank you Jim,

    Your answer, and the fact that I took it apart again makes enough sense now.

     

    What I see is that the spacer is built-in to the Toyo 45CF, thus the missing part(s) or so I thought. The GG can only sit on one plane and the Fresnel lays in the groove on the frame under the GG (on the lens side of the GG). Fresnel or not, the GG will always be on that exact same plane.

     

    So thanks for that.

     

    Forks

    Limitation of the Toyo 45CF

    in Large Format

    Posted

    Milan,

    I'm new to the Toyo 45CF and LF too, but I believe I can help you with this question.

     

    At least several folks consider the limited movements a hinderance, for expample see this post http://www.macuserforums.com/webx?50@81.9YNyanYxs8p.1@.1dce10f9

     

    For a simple explanation of exactly what each movement will accomplish for you check the toyo Web site, on this page:

    http://www.toyoview.com/LargeFrmtTech/lgformat.html

     

    I believe the 45CF will be a great starter LFC for us to get our feet wet. The beauty is that if we move to another body later on all our film holders, lenses, and light meter will not go to waste.

     

    Best

    Joe

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