george_huczek

Azo has extremely good keeping qualities, even when stored at room

temperature. As was mentioned, it is a single weight silver chloride

contact printing paper, well respected for its extended tonal range.

It prints very well with amidol, as well as with other developers

like dektol. For good information on Azo, check out this website:

<http://www.michaelandpaula.com/> and follow the links to the

articles.

It is a common vantage point. Ansel Adams took a photo from nearly

the same position, commenting as well on Sullivan's photo, and how

similar his interpretation of it was to Sullivan's. Whether or not

you were aware that this had been done before doesn't really have

much to do with ethics at all.

Does anyone have any experience in using the 9-volt adapter from

nine-volt.com for the EL/ELM/ELX as a replacement for the Vartas?

Use distilled water when mixing the spotone. You have to get the

colour just right or it will be noticeable. You may have to mix

different colours of spotone. What type of RC paper are you using,

and what kind of paper surface is it? Glossy prints are not easy to

retouch.

 

<p>

 

Try a laquer spray over the retouched work if you are using a glossy

surface.

 

<p>

 

If all else fails, use fibre-based paper. It retouches well. The

trouble with retouching RC prints is that the retouching inks remain

on the surface. Build up your retouched area with several

applications. In some areas, like clear skies, it is hard to keep a

retouched area from showing. You might also try dusting off the

negative and reprinting. It may take less time than trying to retouch

a badly spotted print.

When you place wet negs in the photoflo/distilled water rinsing bath,

after a few sheets there will be some minerals in the water. If you

have a large number of prints to wash, try replacing your distilled

water/photoflo bath more often. You didn't mention if the stained

negatives were the last ones processed. If they were, I'll bet that

you are getting an accumulation of dissolved minerals transferred to

the final rinse bath.

I'm not really sure what you need to know. I had an opportunity to

try one. In point form, here are some things I found:

- very stable, long extension

- extremely good range of movements - more than you need, really

- precision manufacture

- reasonable weight

- smooth movements (with low friction materials)

- exceptional woodworking

- beautiful materials, aesthetic appeal

- fast, logically positioned controls - sets up rapidly

- front standard was an adjustable tilt after it has been locked dowm,

so tilt can be adjusted while looking through the gg, as long as the

extension is not too long to reach. No need to fuss with tilt while

trying to keep the lens from rising and falling at the same time.

- shift and swing movements are very nice.

- rear swing - tight reach to controls due to knob placement between

the bottom of the rear standard and the baseplate.

- Reasonably lightweight for its class.

- Slightly high priced compared to the competition.

- does not fold up as compactly as a Wisner or a Deardorff. May be a

consideration when backpacking. Slight bulk added to protruding parts

when folded up.

- Controls are easy to use, with four-cornered star-shaped ends. The

ends protrude slightly, even when the camera is folded up.

- If folded up without the lens, it would be advisable to put on a

blank, uncut lensboard to keep dust out of the inside of the bellows.

With the open design, the camera should also be stored and carried in

a dustjacket of some sort.

- The baseplate is nicely designed, with a weight-saving design.

 

<p>

 

- This is one very nice camera! It is expensive, but well worth the

price. It has the traditional appeal of most LF designs, with modern

technology added to improve functionality.

I use various B&W filters on it with no problems.

I haven't had anyone reply to this yet. Still waiting for an answer...

A am looking for slide labels for 6x6 slide mounts. The size needed

is about 70mm by 7mm. I checked Avery's labels, and they carry a 1

3/4 by 1/4" label which would be suitable for 35mm slides, but nothing

that would work on a 6 x 6 Gepe mount.

I am now just using individual 8 1/2 x 11" label pages and

hand-cutting labels with a paper cutter, but this is laborious and

inexact.. Can someone please direct me to a supplier who has medium

format slide labels? Thanks in advance.

From: Jack Chase <jgchase@intrastar.net>

It will run on one nicad battery, but you have the option of carrying a second battery within the compartment for back-up, or running the two batteries at the same time.[cut]

::::::

Can someone explain how the second battery is loaded in the compartment without drawing any power from it? I normally use either one Nicad alone, or two connected so they both are working, but how do you store the spare battery inside the compartment without it being used?

Can someone tell me what the difference is between the Hasselblad

Acute Matte focusing screens compared to the newer ones they now call

the Acute Matte D screens?

Hi Jack (sorry ... bad pun)

If at all you can avoid it, build your darkroom somewhere other than

in your kitchen. It is probably the worst place you could build it.

There are too many hazardous chemicals in darkroom use. There is a

strong likelihood that you will end up contaminating your food.

The liquids and the fumes WILL end up on your food, in spite of

whatever efforts you take to avoid that. Also, because you have to

eat, it will be a real inconvenience to interrupt your darkroom work

to eat ... again, food contamination is a serious problem.

If you are in an apartment, try using your washroom instead. You

will have less space, but you will not have to worry about rotting

your liver.

Take a couple of empty film spools and go to your local department

store. Find the right size of Tupperware that will hold as much film

as you plan to carry. These containers are cheap. Buy two or three

for the cost of one fancy film can. Get different sizes, and

colours to match your camera bag;) They fit in the freezer for storage

before processing, in the beer cooler on location, and they are great

for hand inspecting film at airports.

As far as light leaks are concerned, just wrap the paper trailer

tightly before sealing, and do so in subdued light. Once the film

goes back into the beer cooler, remove a few cans of beer and drink

them to make room for the film.

I use a Gitzo 320 with an Arca B1 head. I have not found any of the

problems that Tony Harrison mentioned about this combination (head has

lousy ergonomics, not sufficiently rigid).

The combination of 320 and B1 head works fine for me with a

Hasselblad, which, weightwise would probably equal your P67.

I like the precise machining of the 320 tripod. When you collapse

the legs, you can hear the air being drawn out, like in a bicycle

pump. It is a sturdy combination, yet not excessively heavy for

carrying around. I'm tall as well, and this combo extends higher than

I need it with a 45 degree prism. The extra height does come in handy

with 35mm cameras.

Has anyone else seen this lately on APX? The sticky trailer at the end of the paper is stuck completely on the paper, so you can't lick it and stick it when the exposed film is wound on the reel. You have to wrap the roll with a piece of scoth tape or an elastic band to keep the paper from unwinding. Is this a bad batch? Anyone else had the same misfortune?

A few responses that came in to the question need to be challenged.

One recommendation was to use Windex. This is not a good idea. It contains ammonia, and may damage lens coatings.

Another was to use an alcohol-based solvent. My experience with this has not been satisfactory. I tried using isopropyl alcohol (rubbing alcohol) from a pharmacy. It left a thin white film on the glass. I suspect it has something to do with the purity of the solvent I used. Also, alcohols may penetrate around the lens edges, if used too liberally, and affect the lubricants as well as the lens cement.

I tried ROR yesterday for the first time and I am very pleased with it, having used Kodak lens cleaner prior to that. The trouble I find with Kodak lens cleaner is that I have to clean the lens twice: once with the lens cleaner to remove what is on the lens, and a second time with clean lens tissue to remove the thin film left by the lens cleaner itself.

I also recommend using Kimwipes EX-L tissues. You can order them in small boxes of 280 sheets. They are perfect for the darkroom. They are single-ply, extra-low lint wipes, similar to Kodak's lens cleaning tissue, but less expensive.

Check the archives under the topic, "Hasselblad Nicads -- No More", and my reply on Aug. 28, 1997:

 

<p>

 

500 El, EL/M, and ELX owners can send their cameras in to a Hasselblad service centre for a modification/conversion. They install a 553ELX mounting plate with contact spring, a AA battery compartment to hold 5 AA batteries like the 553ELX, and a 553ELX battery cover (black or chrome to match your body). The cost is very reasonable, about $240 in Canadian funds. Note that the battery charger should not be plugged in if non-rechargeable AA batteries are used. If you are interested in getting rechageable Varta-style NiCads, I picked up two new ones at a very good price. These are available at: The Power Source 2284 Old Middlefild Way Mountain View, Ca 94043 (415) 960 0700 USQ

Order item: V5/V500RH, 6 volt 500 mAH Varta Battery

They cost $32.50 each (US funds) which is a real bargain compared to what Hassy dealers used to sell them for.

I was printing some 35mm b&w negatives earlier today and experienced some serious light falloff problems at the corners. I wonder if anyone can help. I was using a 45MX condenser on a 4x5 Beseler enlarger with a 50mm enlarging lens, aperture set at f/8. The print size was roughly 11 x 16", and I was getting more than 2 stops of light falloff at the ends, moreso on one side of the print than another. Alignment is OK. Everything is sharp throughout.

I tried adjusting the negative stage (the bellows section above the negative carrier) up and down, but light falloff did not seem to improve. Could there be something wrong inside the condenser head ... like a lens out of position or something?

If anyone is using one of these enlargers, I am missing the negative stage guide. Could you measure and please send me the distance settings to use to set the negative stage when printing a) 35mm, b) 2 1/4 sq and c) 4x5.

I tried burning in the corners but it was too difficult to get the burn even so that there was no perceptible difference in tone across the print.

My local dealer informs me that BayI filters are only to be found on the used market. Is that so?

I am looking for some BayI colour filters for Rolleiflex/Yashicamat lens mounts. Does anyone happen to have any of these that they would be willing to part with for a reasonable price? Alternatively, I need to know if I can find a filter mount converter to be able to use thread mount filters, or a supplier who I can contact to buy BayI filters, if they can still be found anywhere.

The plane mirror used with the viewing lens laterally reverses the image, much like what happens when you try to shave with a razor by looking into a mirror. It takes some getting used to.

Reflex cameras do the same thing with most waist level finders. The prism that is part of their viewing system laterally inverts the image a second time, causing is to be corrected.

You may find it difficult to follow moving objects in the viewfinder, or trying to line something up by looking in the viewfinder. This will take some practice. Some people argue that the reversed image allows them to thing differently about the photograph, allowing them to concentrate on subject tones and composition. It may be so for them.

If you want to see what awaits you if you go to an even larger format, hold your TLR sideways. Everything will be upside down.

I need some advice on TLRs. I use Hasselblads, but I'm interested in purchasing a used TLR for my son, who has expressed an interest in photography. It will be his first camera (smart boy ... going medium format!).

Anyway, I don't know much about TLRs. Jack squat. I have been looking at Mamiya, Yashica and Rolleiflex cameras. If it were for me, I'd go with a Rolleiflex with a 2.8 Zeiss planar. For him, I want a good "starter" camera with a simple waist lever finder, and no frills. A bult-in meter is not essential, because I want him to develop some proper technical discipline in the basics.

What would be a good TLR starter, with reasonably good optics and a reasonably decent price? BTW, if anyone has something like what I am looking for that is in excellent condition, please email me privately if you would like to give it a good home.

Its use depends on why you would need it. If you want B&W slides, your choices are limited. If you want it for special effects in printing, like producing interesting "toned" monocolor prints, using Ilfochrome, then give it a try.

It behaves like slide films ... contrasty, with a steep curve. It doesn't give you the same latitude as a B&W negative to print from. Printing in B&W is also nonconventional, since you are working with a positive image transparency.

It is also expensive, and so is its processing. It is not the film to use if rapid turnaround is required, since there are only a few places which process it, and it will take time to get it to and from the lab. Add in the extra courier costs for shipping and slide mounting, and in 120 format it costs a few bucks a shot once you add up all of the costs.

Whether or not you really need this film depends on your application. I can do without it. Other photographers, no doubt, will disagree, but I am not interested in producing B&W slides. You should give it a try at least if B&W slides are of interest to you.

500 El, EL/M, and ELX owners can send their cameras in to a Hasselblad service centre for a modification/conversion. They install a 553ELX mounting plate with contact spring, a AA battery compartment to hold 5 AA batteries like the 553ELX, and a 553ELX battery cover (black or chrome to match your body). The cost is very reasonable, about $240 in Canadian funds.

Note that the battery charger should not be plugged in if non-rechargeable AA batteries are used.

If you are interested in getting rechageable Varta-style NiCads, I picked up two new ones at a very good price.

These are available at:

The Power Source

2284 Old Middlefild Way

Mountain View, Ca 94043

(415) 960 0700

USQ

 

<p>

 

Order item: V5/V500RH, 6 volt 500 mAH Varta Battery

 

<p>

 

They cost $32.50 each (US funds) which is a real bargain compared to what Hassy dealers used to sell them for.