xosni

398mm at infinity?!! Why? This is not a retrofocus lens, is it?

thanks

I was wondering if anybody has any experience with this lens. This

is the old single coated version. I want to know how does it perform

at close range (around 1:2). Is it possible to reverse the lens for

macro work?

thanks

I was wondering if this lens is optically optimised for 1:1

reproduction ratio. yes i know its max. magnification without tubes

is 1:3 and with tubes 1:1, but is it optically optimised for these

degrees? in other words, is it a real macro lens or jus on of those

lenses that focuses a little closer and labeled macro? Would I be

better off with a reverse ring? ( I already had great results with

such technique)

thanks

Xosni

I think there is a misconception here: bigger formats are not made for larger prints, they are made for the same size prints with less degree of enlargement. That's why the ultimate print is a contact print. Also, sharpness in terms of lpi is not everything: tonality adds up to the overall degree of sharpness, lesser degrees of enlargements ALWAYS have better tonality.

Xosni

I want to know what is the differences between these two designs? Both

are wide angle design and they feature the same image circle ang angle

of coverage more or less. What are the downs and ups of each of those

designs?

regards

Thanks Bill! Your answer came just the right timme for me.

But what about the temperature?

Thanks Huib, thanks Niel,

Well, for field work the weight is not a problem since I use 4x4 car for my field work (Egyptian desert). I want to use it in studio as well hence I'm considering a monorail rather than field camera. There are three points I want you to help me on:

1- the camera comes with the standard rail (I guess it's 40cm+), if I'm planning to use a 300mm lens for close up would this rail be sufficient?

2. The price: the camera comes with the standard+ the wide anfle bellows+ 4 lens boards+ 2 film holders. The price is $1,200 circa. Is it over priced? Yes it's in excelent shape. I live in Egypt and the second hand market is not as big as the US so I can accept a little higher than average prices compared to the US prices. How much would you pay for this package in the US?

3. Availability of accessories: I was searching thru different american vendors for Cambo but I realised that there are not a lot of items out there; how available are the accessories?

best regards,

Ahmad Hosni

I'm considering buying a used Cambo SC Classic from a friend who is

selling it. I want to know what are the ups and downs of this design.

Sorry, I'm not that knowlegable about LF cameras!

regards,

Xosni

Hello,

I have a chance to buy one of those two Pentax 67 lenses, one is SMC

165/F2.8, the other is Pentax67 200/F4. Which one should I go for?

Notice

that one is SMC (the 165mm) and the other (the 200mm) is not. Does it

make a

difference? which is sharper?

I'm also going to buy extension tubes. I noticed that there are three

designs available: the Helical one, the set of three tubes, and the

auto

extension tubes. what are the differences exactly ( nothing is

mentioned on

the Pentax site!)? In the Pentax 67 lens manual it is mentioned that

the

auto extension tubes can't be used with the 200mm lens, I wonder if I

can

still use the helical one with that lens?

thanks

ahmad hosni

Cairo-Egypt

Anybody had an experience with the new Delta 400 in PMK, rated at 200?

I heard that Delta stains well in Pyro and I's finelly grained enough to stand Pyro.

What are the developing times for such a combination?

Any advice?

<p>

regards

Xosni

What we really need to know is creamy means in 'technical terms',

then it'll be easy figure out how to achieve creamy results. Does it

mean smooth gradation in highlights? Slightly washed out highlights?

<p>

Xosni

I never tried Bergger films, but I use Fortepan a lot. If you are

looking for fine grain, forget about this kind of films. I use it in

120 format. The tonal rendition is definetly superior to any of the

new technology films. As a rule, never use a superfine grain

developer with this kind of films; you will get a muchy grain. I like

to develop in Rodinal, and DK-50 1:1- really sparkling high lights

with high acutance. I also found that normal grade paper (2-3) are

not able to exploit the best tonality of this film (I'm talking about

Fortepan 200 and 400). I like to over develop a little- don't worry

about that- and print on grade one.

<p>

The only films that come closer in terms of tonality, but with much

finer grain, are APX and Verichrome pan (now discontinued!). I lost

any hope with Kodak!

<p>

Xosni

I was about to ask a question about glass carriers. I don't use them

as I use a condeser enlarger. I know by keeping the negative flat

will improve the sharpness, but isn't it by keeping a glass piece in

front of the projected image will lower the resolution?

<p>

And are there any kind of special glass to use as a carrier?

<p>

regards

<p>

Xosni

Sorry but someone from this list sent me the email address of (the

British) B&W Photography Magazine. It seems I lost it. Can anybody

help me with that?

<p>

regards

Xosni

I wonder if there are any lenses other than Pentax that adapt to the Pentax body. Do Mamiya, Rollei, HB, etc. lenses fit?

<p>

regards

Xosni

Now there are two B&W magazines:

One is monthlly published, from the UK, technically oriented:

http://www.gmcmags.com/

<p>

The second is bimonthly published, from the US, art oriented:

http://www.bandwmag.com/

<p>

Now I'm gonna settle on PhotoTechnique, PhotoVision, and B&W

Photography (from the UK).

<p>

I want to choose one from LensWork and B&W (from the US) for art-

oriented publication. Which one?

<p>

Xosni

So there are two magazines called B&W. Obviously it's not the same

one as www.bandwmag.com.

<p>

So, do they have a website? IS it bimonthy published? Give me more

details please, I'm interested!

<p>

regards

Xosni

Are there any technique oriented periodicals specialized in B&W photography?

I found one site

http://www.bandwmag.com/

but the magazine seems to be lacking the technical aspect. The subtitle is "For Collectors of Fine Photography". ANy suggestions?

<p>

regards

Xosni

It can be ortho film or heavy filtration, but ortho films are not

necessarily lith films. Maco (maybe the best B&W films available on

the planet) has continuous-tone ortho films in 120 at 25, 100, and

400.

<p>

Xosni

Rodinal renders a very special tonlity of antique look. I think using

a larger format is a must with Rodinal. Use a slow non-T grain film

(Verichrome is great with Rodinal, APX, FP4, PanF plus). It's true

that there is some kind constriction in tonality with Rodinal esp.

with shadow and midtones, but highlight offer very smooth and

beautiful gradation. Overexpose by 1/2-1 F-stop. It's graet with

portraiture but not other kind of photography.

<p>

The issue of tonality is very poorly discuused in any book you'd

read. It's something that you have to find yourself.

<p>

Xosni

Older emulsions used to contain more silver, and it used to render

richer tones in terms of microcontrast that modern films will never

match. They used to have lower resolution and coarser grain tho. This

applies to Fortepan, Efke, Fomapan, and Kodak's VP for example. This

is on eof the least reasearched areas in photography. Manufacturers

tend to keep the silver content to the minimum as it costs more; I

think that's the reason.

<p>

Xosni

I agree that the "Film Developing Cookbook" is a must-have, but it's

impossible to find something dealing with the most important element

in B&W: tonality. All the literature dealing with developers are

restricted to graininess and speed but nothing about tonality and the

effect of different developers on film curve.

I didn't shoot a lot of Acros but I shot some rolls (120) and

developed in Rodinal 1:50 and Perceptol 1:3 (rated 50-64 EI). It's

really sharp; I believe it's sharper than TMX. But I don't think it's

identical to TMX. It has less of high value separation and the tonal

range is not that wide. I think it's something between a coventional

25 ISO film and T-grain straight curve film. I'll try shooting at EI

100 and develop in ID11 1:3 and my favourite DK-50 1:1. I guess I'll

get better resluts.