jeffrey_scott

As long as we are sort of off topic (wasn't the question about Gitzo tripods in particular) may I suggest a Ries tripod. They may be a little heavier than some Gitzos but around the same as the 4-5 series models, but their Tri-lock design will allow you to lock each leg individually to any position from 0-90 degrees and they have rubber and spiked feet. After using various Bogens, Gitzos and others, I find the Ries to be the most stable tripod I have ever used plus it is quick to set up in the field. The model I have is the J100 with the J250 double tilt head, probably the finest head made for LF cameras. Look up www.riestripod.com to learn more. They also have excellent customer service and support, why else are they called(not) "the best damn tripod in the world"!

Tim,

 

Why don't you just proofread your post before sending it!

That's odd, I thought that my going from an MT2K to the 45SU was an upgrade!

Gregory Heisler uses an Ebony. He photographed G.W.Bush with an Ebony Wide and a 135 Planar. The photo is in the current rangefinder magazine.

These are times that work well for me, I got them from John Sexton. All times are in 1/3 stop intervals. A (.) will mean 1/3 stop. Indicated / Actual(sec.= seconds) : 1 sec./1 sec.; (.)/1 1/2 sec.; (.)/2 sec., 2 sec./2 1/2 sec.; (.)/3 sec.; (.)/4 sec.; 4 sec./6 sec.; (.)/7 sec.; (.)/ 9 sec.; 8 sec./11 sec.; 10 sec./15 sec.; 12 sec./20 sec.; 15 sec./25 sec.; 20 sec./32 sec.; 25 sec./42 sec.; 30 sec./54 sec.; 40 sec./1:10(minutes:seconds); 50 sec./1:32; 1:00/1:55; 1:20/2:30; 1:40/3:20; 2:05/4:15; 2:40/5:45; 3:20/7:05; 4:10/9:00; 5:20/11:30; 6:40/14:30; 8:20/18:50; 10:40/23:45; 13:20/30:00; 16:40/37:30. As you can see this progression is in approximately 1/3 stop increments and has worked well for me the past 12 years since I started using this sequence. Good luck.

Definitely get the 45SU. It has more to offer and a year from now you will forget about the price, actually once the camera is in your hands you will forget about the price! The asymmetrical movements are a joy to use and the longer bellows draw is worth the extra price since it includes the universal bellows. I use a 58XL and I can run out of coverage with that bellows. You won't be sorry you got the 45SU, but maybe if you got the 45S you just might wonder if you were foolish not to spend the extra money for what the 45SU offers.

I had the same problem with a type IIII Kodak Readyload holder. Turned out that the metal "finger" that holds the metal clip wasn't formed correctly and only barely grabbed the clip. I opened the holder and bent the finger and it worked okay after that. I also had film movement problems with using the single sheet TMX with this same holder; I was getting double images and out of focus areas on my film that I attributed to packet thickness and pressure plate tolerance errors. The type IIII holder was supposed to be compatible with single sheet film, apparently not! I have since replaced the holder with the new single sheet holder and it is very nice. A 25 minute exposure produced an excellent negative.

I have a 35-450/f4.5-128 zoom lens that is mounted in a Copalurpronilex #1-5 shutter that requires a Sears Diehard battery to run the fully mechanical shutter speeds if any body is interested. It's image circle is 123mm but guaranteed to fully cover 12x20 when stopped down to f9 with very generous room for movement. It comes complete with an underwater housing for a Cirkut camera. Any takers?????????????? :-)

I used to use a Technika with single sheet readyloads; since replacing the camera with an Ebony 45SU I have no light leaks. Problem solved :) Give it a try yourself, you may like the results!

Is it just me or do others on this forum find the wrong information

being given out in response to members inquiries? Recently somebody

posted a thread about tele lenses and one repsonse to it was in

regard to Nikkor Tele lenses saying that beyond the 500T which is in

a #1 shutter the longer focal lengths use a #3 shutter. NOT true, go

directly to jail and hand in your sopt meter for 10 days! In fact

the Nikkor 720T is in the very same #1 shutter as the 500T; the

lenses share the same front cell and shutter, only the rear cell is

exchanged to change focal lengths. As a matter of fact even the 360T

shares the same front cell and shutter. This also applies to the

600/800/1200T combination , but in this case the same front cell is

in a # 3 shutter and you change the rear cell again to change focal

lengths.

 

Please folks, get your fact straight. This only creates confusion,

especially for the newbies. If you aren't sure of an answer say so,

perhaps by saying "as far as I know", "correct me if I am wrong",

etc. This forum is a great means of helping our fellow LFers out

there but the wrong info doesn't really help. If you think I am

wrong about this please say so, I just feel this is a rather

important point about any forum that gathers and disseminates

knowledge for the betterment of it's members. Thanks for your eyes.

Why not just call Nikon; they will send you a catalog just as they did for me! 1/800/NIKONUS

I don't use one on my 58XL.

I second the recommendation for the G-Claron. I used to have the 270mm version and currently I have the 240mm and 305mm lenses; all are awesome, with more coverage than you will probably need. It is not too large and although single coated I have never run into any problems with that.

George,

 

What I am saying is that the angle of view and the angle of coverage are about the same when the whole image circle is taken into consideration. The same focal length lens would have different angles of view depending on the film format of choice, thus a 90mm lens is a very wide lens on 4x5 but only moderately wide on 6x9 for example. Regardless of that, if you were to measure the angle of incidence in front of the lens and behind the lens they would be about the same.

My (here we go again!) Ebony 45SU works quite well with extremely short lenses because of the non-folding design of the camera along with it's built-in bag bellows on the front of the pleated bellows. Using a roll film back with this camera is just as adept as using a dedicated 6x9 camera. What is it about these Ebony cameras that folks just fall head over heels about!!! I couldn't tell you, I just use one!

As to the angle of view vs. angle of coverage I believe that the two are approximately the same. The angle of view of an image circle if projected on the film showing the complete circle would be about the same as the stated angle, ie: 100 degrees, 105 degrees, etc. If I were to make a photograph with my 90/8 SA on an 8x10 piece of film, the area seen of the subject would be 100 degrees, since the whole image circle can be seen (a circular image). But on a piece of 4x5 film it is much narrower since the whole image circle is not seen, just a section of it.

Perhaps Michael should purchase all the 67mm CFs made and test them for himself, then he can determine which one works best on the Nikkor 90/8 and let us all know what he found out. What about it Michael, sound like a plan?

I believe that filtration will depend on whether the drugs are legal or illegal!

Why do you feel that Ilfochrome "is a thing from the past"? I recently had 16x20 Ilfochromes made of some my Fuji 4x5s that look stunning, certainly better than that D word stuff. Why shouldn't traditional and digital coexist?

GRADE 5!!!

Interesting. I just received my the latest issue of Photovision in the mail and there are two articles that interrelate music and photography, one by Bruce barnbaum and the other by Charles Cramer!

I have both Rodenstock and Schneider lenses. I got them based on their specific qualities such as image circle, flange focal distance, focal length and physical size(compactness, filter size). As to your specific question I would pick the Rodenstock as it is smaller and has a bigger image circle (based on my own needs). I know you are going to a demanding school that probably expects more modern equipment from their students so stick with modern lenses as these are what you will most likely use in the future, especially if you become a commercial photographer in the industry. Now unlike Eugene Singer, I am not going downstairs for my umpteenth cup of coffee( no offense Eugene, I actually like your casual atitude on this forum) but I am going to hear a lecture by John Szarkowski at the CMA in Cleveland, Ohio. It is good to hear from the heavyweights in photography occasionally!

I realize that a straight line isn't always the goal, but I believe we are discussing normal development here.

To David Caldwell,

 

How is the AS asymmetrical? The Orbix is a lens axis tilt feature that really only is on axis with no front rise. Yes, if you used rise then the lens tilt would be "asymmetrical" but only if the tilt is in relation to the nodal point of the lens. Asymmetrical tilts and swing work best on the GG since the camera designer can measure exactly where to place the pivot point. Every lens has a different position for it's nodal point; the only camera I know of that could be adjusted for different lenses was that carbon fiber camera from a few years ago that did not stay on the market for very long.

I'd buy a Ferrari 'Enzo' in a minute just from the specs!