john_dey

I have a Schneider enlarger lens which is not that remarkable, but the way it is mounted seems very odd. I have a 100mm f5.6 Schneider Componon-S. This lens style is from the early 1990's up to 1999. I have pictures that match from the Calumet 1989 and 99 catalog. But the rear mount is 50mm and the front threads are 56mm. I also own the 150mm Componon-S which only has 42mm thread mount. Why is this lens in such an oversize body? The look of the lens is identical to my 50mm and 150mm Componon's. The 100mm is listed in several catalogs of the period but describe the lens as using a 39 LTM mount. Thanks for reading,

I want to use the Polaroid 405 back on my Sinar P. This will allow me to use the Fuji 100C peal apart film. The Poloid back will only fit onto the camera back in the veritcal position, with the film pointing up and the dark slide pointing down.

 

I think my Sinar back is the type for the meter probe. The P has an aluminum finish, but the very back of the camera has a black finish. Are there any Sinar backs that have enough cleanance to allow use of the Polaroid 405?

Beseler Negative Holder Question

 

Does anyone have experance with the Beseler 8346 negative holder the the 45M? It's a 2 1/4 square holder with glass. My question is this; What is the exact size of the opening. Since this is a glass holder I am hoping that the opening is a bit oversized. The glass will keep the negative flat so there is not need to make the opening small.

 

I am about ready to file out my 6x6 holder so I can print a black broader (to show off my V notches from my Hasselblad negatives). I have a file and I know how to use it. I own the 4x5 glass holder, but it has huge light spillage when only printing 6x6. I'm also worried about trying to keep 6 sufaces dust free while printing.

In the 90's I used to shoot Delta 3200 with a Hasselblad. Not a very smart thing to do. The problem with low light is that it's often no light. This image was taken in very low light, I can't even estimate the ISO but its lower than 3200. Although this is a medium format image the grain is very noticeable. The negative was very thin. I just set the camera for f2.8 and 1/60 of a second. If I were shooting 35mm I could have a little more room with f1.4 and 1/30.

Marilyn&Steve 1999

<p>Use FP4 if you are doing traditional darkroom prints, either enlargements or contract prints. Delta 100 if you are going to scan. Delta is film has a new style emulsion similar to T-grain Kodak. The modern films have flat silver grains which scan better. I know people are using Delta and Tmax in the darkroom without issues but I find these films very difficult to process and print. If you use Delta I would also recommend Kodak Xtol. Personally I shoot FP4 4x5 with D76 1:1 and enlarge to 16x20 with no grain. </p>

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<p>I've never shot one single roll of color film in any of my Leica's in 15 years. Maybe Leica knows their customers? I'm just saying.</p>

<p>My Leica M4 body got a small flat spot on its round end. The end that holds the film cartridge. The dent was slight but it was enough to keep the film cartridge from being able to exit the camera. An old photo.net article talked about the same problem. One of the recommendations was to make a wooden die and press the dent out. So I gave it try and it worked great. <br>

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<p>new technology films like Acros tend to have a dark base that needs to be washed out when processing. this could be your "over exposed look". What does the negative area around the frames look like? Is it clear or does it also have a slight purple cast? I'm sure you noticed a purple color when you dumped out the D76. I would not be so quick to blame the camera. Make a print and see how they look. I shoot BW film because I like making BW prints in the darkroom. People who scan negatives seem to say great things about Acros, T-Max and Delta films, but as a dark room printer I find these films to be very problematic. I'm sticking with to HP5, D76 1:1 which produces beautiful prints. </p>

<p>if you can scan the article that would be greatly appreciated!</p>

<p>it has an Article on coin photography. I remember reading it years ago and am looking for a copy for a friend. I sold all my old View Camera magazines years ago.</p>

<p>The Sironar N is a big lens and makes a nice wide angle for 8x10. It will work fine with 4x5 but its a big heavy expensive lens. Look for a board with a hole for a Copal #3 (2.5" or 64.2mm diameter). The SC boards are big so it should work. <br>

For 4x5 I prefer the 240mm Rodenstock Ronar. It is a very sharp lens that weighs about a third of the weight of the Sironar. Save the Sironar for your 8x10. I own both but only use the Sironar for 8x10. </p>

<p>does anyone have a copy of View Camera Magazine that they would sell? (or scan/PDF); 1995 Nov/Dec issue? <br>

thanks,</p>

<p>When considering B&W film I divide them into two categories; New technology T-grain films and Old School films. And I can not recommend any of the new films (Kodak TMX and Illford Delta films). If you have not shot B&W film for a while you should avoid the new T-grain films. They are very difficult to work with. You should not take them on a trip unless you have had a lot of practice shooting processing them. On the other hand Tri-X or FP5+ processed with D76 1:1 will give you a very printable image just by following the instructions on the box.</p>

<p>thanks for your words of wisdom and encouragement. I'll stop worrying about it and keep shooting with it.</p>

<p>My M4 has an issue with the film door. There seems to be a small gap where the door is held by the bottom plate. I can tap the door with my thumb and it makes a thump sound. But there is no issue with film fogging. The camera is light tight. Unlike the Nikons there does not seem to be any foam to replace to take up the gap. Is this just normal wear for a 45 year old camera? I don't remember my M6 having a loose back.</p>

 

<p>Thanks for all your responces they were all very helpful and fixed my problem (for now :-)<br>

Vic; Now that i know what to look for it was an easy fix. The 3 tabs were worn and smooth with the bottom of the lens. With a very hard plastic tool I was able to bend then out just a pinch until I could feel that they were not smooth (like setting the blade on a wood plane ). Now the lens stays put when in use.<br>

Stephen; Yes I do then to grab the wrong collar. This happens so much that I now set the aperture with both hands. With one on the lens body and the other on the aperture collar. I use hand held meters; I set the aperture once for a given scene. And my aperture blades are a bit sticky but I do not see any oil on them. I'll send the lens in for a CLA after vacation season.<br>

One thing that I have notice about the aperture blades on this first generation Summicron is that the gap from f2 to 2.8 is about 10mm while the gap from f11 to f16 is about 3mm. The aperture scale is not evenly spaced like the modern Leica and Zeiss lenses.</p>

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<p>I have 50mm collapsible Summicron M mount from about 1957. This lens has become one of my all time favorites. The casualty portraits I take of friends and family look great. But I have one small issue with it. The front part of the lens tends to rotate when I rotate the aperture ring. Let me put it an other way; after extending the lens and rotating it into position it does not "lock". There is no click or any other sense that the lens is locked in the extended position for taking pictures. Is there something wrong with my lens? Its the only collapsible I have ever used and since its much older than me I have never used a new one from the period.</p>

<p>The Zeiss/Contax 85mm f1.4, Zeiss/Hasselblad SWC 38mm Biogon, Leica 50mm Summicron M these are a few of my favorite things.</p>

<p>Hmm, Your list of the pinnacle of film cameras is interesting. Its more like the "last" of the film cameras. After reading that film camera sales only represent 5% of Leica sales it made me want to order a custom MP even at $5K it might be a good investment as it might be one of the last great film cameras ever made. Used prices of F6's seem to be dropping just due the shear lack of interest in film cameras.</p>

<p>Do you have a "Silver" or is it chrome? The "Silver" was a speical commerative issue of the 35S. It was made to celebrate the 1,000,000th Rollei 35S. The Silver has silver painted leather body cover, traditional Chrome finish has black leather body cover.<br>

According to Arthur Evan's "Collector's Guide to Rollei Cameras," Production unknown, but limited. Only 1500 imported into the US. The highest priced 35S's are the older German made ones which are hard to find in good condition.<br>

Prices today vary wildly for classic cameras due to the economy and due to the complete disinterest for film cameras. There are some real bargains for people who are filling holes in there collection. Your camera should list for at least $400 to $500, but I would guess that if it were on e-bay with $400 "buy it now" it would not sell. KEH 35SE EX (Singapore) priced at $349<br>

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This is dumb place to mention this, but ebay seems to have dropped the large

format lens category. The site looks re-designed so maybe someone will notice

and fix it. Hello ebay! Fix your site.

Does anyone have a summary of the available black and white papers? I am only

interested in Fiber based black and white silver gelatin paper. My local store

still sells Ilford, Berger, Forte, and Oriental. My favorite paper was the now

deceased Agfa Bravara 111 warm tone. Does anyone have a review of Kentmere paper

sold by Freestyle in LA ? Aside from reviews, what is the longevity of the

companies making the paper. I would like to start printing with a paper that

will be available for at least a few years.

 

thanks,