rick_durbin

I've gotten some good results with stand development using

FP4+ with pyrocat HD or rodinal. I've determined my EI using the

development times and developer concentrations from the

"recipes" I've found on the web. But then when I test print for

normal development (Z8), the highlights are compressed. Now,

I'm not sure of how to proceed. Should I be increasing time or

perhaps changing concentration? Or is this just a normal result

of the method? Any ball-park ideas on how much I should alter

exposure and development times for + and - development?

Thanks. Rick Durbin

I can only add a few comments as an owner of a SU45. Nothing

could be easier than it to set up. Lenses from 80 to 300mm can

remain on the closed camera so all that is needed is to attach

the tripod and extend the standard bellows. I've used it for

extended times at temperatures below zero and around a

hundred degrees without a problem. As a beginning LF

photographer, I've found the asymmetric feature to be very useful

and the camera is certainly sturdy. The dual knobs worked fine

after I applied loc-tight to the threads of the screws that hold

them on the shafts.

If possible, I would like to store my film, paper, processed

negatives and camera equipment in the darkroom (with exhaust

fan). I use pyrocat HD, a water stop, TF-4 and assorted toners

but not Se. Are any of my materials safe in there?

Anchell suggests leaving out sulfite in the fixer when developing

with pyro because it reduces image stain. However, many

photographers seem quite pleased with TF-4 alkaline fixer

whose properties suggest it contains an appreciable amount of

sulfite. My question is have any of you made direct comparisons

of images, say using TF-3, between sulfite-containing and

non-sulfite-containing batches? Does anyone have any other

thoughts which bear on this question? Thanks.

A bathroom can easily double as a darkroom if it can be made

light tight. You have a source of water, ventilation and a tub to do

developing in. I mounted my enlarger on a table with wheels

and a shelf; it ordinarily stays on the back porch. I made it so

that its height is just right for me to sit on the toilet while using

the enlarger. The safelight is clamped on the shower rod. A

radio helps. Kind of cramped but the price is right! Rick

I've found that the printing and toning books by Tim Rudman

have been very useful. "Way Beyond Monochrome" by Ralph

Lambrecht and Chris Woodhouse, if your not afraid of simple

mathmatics and figures, is excellent for advanced B/W

techniques too.

Rosenstock also had a nice article on his photography in the

March/April, 2002 issue of View Camera. Rick Durbin

Actually, there's already a fee and permit system in operation for

Coyote Buttes. See the web for details. But the surrounding

country, both inside and outside of the two permit areas, is also

full of wonderful scenes. You could spend a lifetime

photographing them.

Would like to get some suggestions for a light-weight,

summer-type. photo vest. I mostly backpack on 1-2 day trips

using a Photo Trekker for my LF gear. Thanks, Rick Durbin

OK guys, let's have one for the road! Thanks to you all for some

very useful information. Rick

Normally, I use 64 and 320 for these two films in 4x5. Now I

need to use these films in 35mm (which I have never done

before). Should I continue to use my personal EI's or the speeds

recommended by Ilford? IOW, are the emulsions the same for

both formats?

I plan to visit Bisti Badlands in NW New Mexico towards the end

of March, shooting Velvia and Provia Quickloads and FP4+. I can

get to the parking lot at the entrance OK, but from there I haven't a

clue about which direction and how far away the weird

formations and hills are located. Prior posts haven't helped

much. Any suggestions would be appreciated. Thanks. Rick

Doug, I'm curious as to where you placed the transition. I would

have thought at the horizon, but on my monitor I can't see any

transition on the rock, which I thought I would with a 3 stop hard

filter.

There is a pdf file on Ebony's site, www.ebonycamera.com, that

may be of some help.

Dykinga's book pictures both the Lowepro trekker and

super-trekker carrying 4x5 gear. His article in March-April of View

Camera really illustrates a super-trekker. I have used both and

therte's no way you can get by with the smaller bag if you decide

to take all the gear you mentioned. No problem with the latter

bag, but by the time you add a tripod, water, some food, etc. , it'll

be quite a heavy load. Hope you're young and STRONG.

Check Jack Dykinga's article in March-April View Camera on

carrying an AS in the field. Also, his book, LF Nature

Photography. The Ebony is a wonderful camera too; about its

only possible drawback, dependinbg upon usage, is a 365 mm

bellows draw. But it can handle 35 mm to 500 mm telephoto

lens. Being non-folding , it sets up very quickly and is extremely

solid. You can get by with one size smaller Lowe Pro pack with

the Ebony too.

I'll be photographing at Cedar Breaks next month and am

interested to see the bristlecone pines in nearby Ashdown

Gorge Wilderness Area. Are they worth the time? Anyone know

how to get there once you're at the WA and what time of day is

best for photography? Thanks.

Sounds like there's almost a quorum in wisconsin! I live in the madison area and would be interested in attending some midwest workshops too.

My experience was the same as Noshir's. Having said this

though, the quality of the case was outstanding and worth the

wait, especially considering the alternatives.

Using modern, high quality lenses optimized for infinity

reproduction, approximately how close can one use these

lenses (in terms of relationship to focal length) for close-up

shots without a lot of distortion? I realize this is a rather

subjective question, but being new to LF, I haven't a clue. Also,

how should bellows be stored, closed up or somewhat

extended?

You don't need a guide. Just visit the Paria ranger station west of

the Whitehouse campground on highway 89. They have maps and pictures.

You can also contact them for info on getting the required daily

permit for entry into the restricted area where the Wave i

Hand inspection of roll film in zip-lock bags may work OK, but what

about LF sheet film? I'd think security would want to see what's

inside a large lead pouch. Any other suggestions?

Being new to LF, I started reading Steve Simmons' book on using view cameras. He recommends holding the filter in front of the exposure meter when taking readings, and then adding a filter factor to the exposure determined from the reading (p,28, rev. edit.). What am I missing? Doesn't this method add the filter factor twice? Is this idea of holding the filter in front of the meter a good method to use?

Am interested in photographing wildflowers while I'm in Colorado (south

of I 70 during latter part of June). Suggestions for locations and

books or websites giving useful information would be appreciated.