parsnip lee

Looking for Shortdated 4x5 b/w film in the NYC area. Anyone know

where I might begin looking? Any help is greatly appreciated, thanks.

Didnt see you're question about Stephen Shore, yes he did apply movements in most of his pictures, but tilt rather than shift. If you look at some of the portrait/still lifes you'll notice it in the excessive elongation of tabletops, chairs, etc. I love his photography as well, thanks for bringing him up, I hadnt looked at the book in a while.

I think that if you're happy with the end result using 6x9 and you've printed a reasonably large print that turned out to your satisfaction, there is no need to change. I personally like the control I have in the field, I've used 35, MF and now shoot almost entirely LF. I find the extra time setting up aides in my compositional/exposure choices and overall end result. Sorry to not give a definitive answer, but ultimately its up to you to decide if the change would be worthwhile. You might want to checkout renting a camera and lens and pick up some film, then run a side-by-side test. While you're at it, even post the results, I'd be interested to see the difference.

One last thing, just to clarify. This diagram is by no means tailored to your lens selection, and the apertures and DoF that I have chosen are totally arbitrary, just meant as a visual representaion of the effect.

I personally prefer the visual method for determining tilt (via scheimpflug's), eventhough my sinar has a built in tilt calc. No offense to you Ellis, but while your written description is quite good, the diagram might confuse a bit more than it helps. So, here's my go at it. As described before, there is a point of convergence at which all of the planes (film, lens and focal) should meet. This plane reacts to aperture change in the same way as a orthagonal setup would, as I have attempted to demostrate. Hope this helps. Sean<div></div>

I got lucky and found someone on my campus who was selling his (slightly-)used Pelican 1560, which actually ran a bit more than DIY would have been, but I feel very comfortable that my kit is secure. Everything fits in except film holders and filters, which will go in a small backpackl. Testing this thing out, it even doubles as a step stool with 2 heights, and although its a bit heavy when full, the wheels seem more than adequate for the roughest of sidewalks and even slightest of off-road action. I'll post a pic with everything inside. Thanks everyone for your quick answers, you have been more than helpful.<div></div>

Pico and Vick, I'm with you, nothing better or more custom than something built by hand. Pico, would you mind divulging more specifics on your build? The breakaway wheels sound great. Thanks everyone for your answers.

I am in search of a means to comfortably carry my sinar F2 and lenses,

etc while working in big cities, Manhattan for instance. I am leaning

towards a rolling case, as that would be the best option for ease of

transport and time to load, unload. So my question is, are the

lowepros worth the cash? or should I just find myself a cheap-ish

roller from a regular luggage store and retro-fit the inside. I've

owned a couple of lowepros and have never felt they were worth the

price I paid, not to mention the backpacks are extremely uncomfortable

(and I thought it was started by a backpacker, what gives?) Are there

any other good companies out there? at better prices? And if anyone

has gone the retrofit route, would you mind posting pics? Thanks in

advance.

checkout this article <a href="http://www.luminous-landscape.com/tutorials/hdr.shtml">The Luminous-Landscape</a>, that should give you some answers.

Exposing for highlights and shadows is one thing, an HDR image and its creation is something else. The real power of an HDR image comes about when more than 2 images are blended together, say 6 images all 2 stops apart. An image of this nature, although very vibrant on your computer screen cannot be displayed to its full potential without an HDR screen, which are amazingly brighter than your average or even prosumer computer monitor. Do a search on google, and you'll find some pretty amazing stuff out there. Hope this helps.

Lathes and Mills can only go so far, you need a personal fabricator like a stereolitography machine. Instant (almost) gratification.

I've used old sheet film boxes to protect against light, inside a small rubbermaid container with some desiccant in it. With that you should be able to keep the exposed film in a cool place, or even a refrigerator without worry of moisture.

You can get a rod and 2 bellows clips which allows you to use an accordian bellows or bag bellows as a lens hood. I'll attach a pic for clarity, the great thing about this is that if you have one of each bellows type one always acts as your lens shade.<div></div>

Sorry, <a href="http://yandr.50megs.com/sinar/f/page14-15.htm">1960s User Manual</a>

Although it may not be quite as portable as a field camera, the sinar f can be folded down quite small. Check out this <a href="s.com/sinar/f/page29-30.htm">1960s User Manual</a>. On page 14/15 you'll find instructions on how to fold it down to a reasonably manageable size.

It's probably too late for this, but for future reference. I had the same problem, the film seemed to be getting caught on something when I tried to insert it into the holder. I opened it up, using the aforementioned technique, to find that the metal springs, that keep the film flat, were getting in the way of the film loading. The silver piece that normally removes the negative from the sleeve was not holding them down correctly (to clarify: the springs are attached via a rivet, 3/4 of the spring holds down the film, the other 1/4 applies pressure to the silver plate that rips the film from the sleeve, the later 1/4 was getting in the way of the film loading process). So I took the silver plate, put it into its groove, making sure it was resting on the springs, and taped it down using some light-masking tape, making sure to leave a leader out of the opening where the negative is exposed. I then put it all back together, and once it was all secure, carefully removed the tape and all was fine. Works as smoothly as ever. I may have just rambled on a bit, let me know if this need clarification.

Thanks everyone, the service you have provided has been invaluable. I guess I'll just keep on shopping around, as they say everything is slower with LF.

I am in search of a good go between for my 90mm and 210mm lenses and

came across a <a

href="http://cgi.ebay.com/4X5-SCHNEIDER-KREUZNACH-SUMMAR-S-150MM-F5-6-MC-LENS_W0QQitemZ7608337324QQcategoryZ15247QQrdZ1QQcmdZViewItem">

SCHNEIDER-KREUZNACH SYMMAR-S 150MM F5.6 MC LENS</a>. Just wondering

if anyone has any experience with one of these and whether the buy it

now price they're listing is a good deal. Thanks in advance.

Are lensboards generally interchangeable? I got a lens on e**y that

has a toyo board and am wondering if it will fit on my sinar f2. If

not, will I have to take the lens somewhere to get it dismounted then

mounted again? Can I do it on my own? Can I make a lensboard easily if

need be? Thanks in advance.

Great, thanks.

Just about to delve into some Type 55 film and I came across 4 strange

canisters in the packaging, in another box next to the film. What am

I to do with these little guys? (not actually sure of their gender,

but since they're rather phalic I've decided on male) Thanks in advance.

Thanks everyone for the prompt replies. I have found one on ebay, to end by this evening, which is at $510 right now. From the pictures it appears to be in great shape. <a href="http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=7606375664&rd=1&sspagename=STRK%3AMEBI%3AIT&rd=1">Rodenstock 90mm</a> What I am wondering is, where should I place my high bid? Going over $700 is a bit out of my range, and if that's the case I'll check out the other lenses you have recommended. Thanks again.

Is the Rodenstock 90mm f6.8 Grandagon a good starter lens for

landscape/architectural work? Thanks in advance.

I am looking to get into LF photography, have shot 35 and MF for a

while, but yearn for the vast adaptability and maneuvrability that

only Large Format can offer. I have been looking around, reading up

and the like and have decided that I would like a light-ish monorail

that I can take into the field, ala the Arca Swiss F-Classic or

Discovery or a Sinar F1 or 2. I plan to take the camera into the

field, for landscapes, and even on the occasional backpacking outing.

I would also like to be able to use the camera in the city for

Architectural work, mainly exteriors. The question here is, are these

good choices for a newcomer to LF? I want something I can grow into,

and learn without being hindered by too many shortcomings. Finally,

with that in mind, what also would be a good starter lens for such a

camera? something reasonably wide, and not extremely pricey? Thanks.

"2)how would you achieve focus? (viewing lens tilt would not be the same as taking lens. Different distances to film vs gg)"

 

While I'm at it, why dont I just convert it all into an SLR that shoots 6x12 negatives. Thanks for bringing that up, I guess I would have to create some sort of paramender thing that would be able to place my taking lens at the same place as my viewing lens. It's becoming too complicated too quickly, but still intriguing.