jeffrey_scott

If you want the best pick the Ebony of your choice! I have a 45SU and lenses ranging from a 58XL to a 305 G-Claron that are well suited to this model. Without a doubt the 45SU is the best for wide angle work due to the built in bag bellows and non folding design of the camera which is ideal for short lenses. Therefore the 45SU is great for architecture (I do primarily landscapes with it but I do dabble in some architecture). The asymmetrical tilt and swing on the rear are a joy to use and make setting up shots a breeze. The Ebony cameras will last a lifetime. Since you are interested in the "LOOK, FEEl and SMELL" of a camera look no further!

I haven't tried the Bergger graded paper but I have used their variable contrast warm tone paper. It is quite slow but the tonal range is excellent; there is an amazing amount of shadow detail available plus it tones very nicely in Selenium toner.

Michael,

 

I have used the AS to Technika LB adapter and generally it works fine but the release control is not very easy to use and is extremely difficult to get to when you have a lens with a Copal 3 shutter on the adapter.

By the way I have four flat and one recessed new-style Linhof Technika LBs that I use on my Ebony 45SU that do fit very well. Comparing the MT2K to other Technikas there are three machined points across the top of the front standard on the MT2K that the LB must mate with vs. only one on the older cameras, this may be where the problem is in regard to mounting LBs on the MT2K.

I concur with Huib on the fitting of the new Linhof Technika lensboards (LB) MT2K. I had a MT2K for only a few days and I had a lot of trouble getting the new Technika LBs to fit properly onto the camera. The older Linhof LBs did fit fine howerver. You can tell the difference by looking at the back of the LB, the older ones say West-Germany, the new ones say Germany.

 

I have compared Linhof, Horseman, Nikon, Wista and no-name generic LBs and I do find the Linhofs fit noticably better in general, re my previous comment above as to the MT2K. This is in relation to the folding Technikas, I have little experience with the TK series of Linhofs.

Another source for the dust could be the bellows. As you pull the darkslide static electricity can build up and pull dust from inside the bellows onto the film.

Looks to me like the new film has an even straighter characteristic curve, seems good to me. Granted, developing times my have to be cut down to bring the highlights back into line but so what, just do it and get on with your lives!

I agree, try both the 80 and a 58; since getting my 58XL it has become my most used lens.

I have used a Grandagon 6.8 on a Technika V and because the flange focal distance is shorter than that on the f8 SA you may find the front standard hanging off the back of the focusing track, I sure did! The SA works better in this regard; actually if you are looking to replace the SA try the 110 SS XL. Works like a charm and has a much larger image circle.

I have the Ebony 45SU and it is extremely quick to set up and the asymmetrical rear tilt and swing make getting the subject in focus a snap. The knobs are large and the focusing screen is the brightest I have ever used. A friend of mine has an Arca Swiss F Metric with the Orbix feature that I am familiar with, if you contact me I can go over the various pros and cons of the cameras you are looking into. Call me at Labwork-the Black & White Lab: 216/621-7567 ET. A few minutes on the phone can go a long way to getting at the crux of this decision of yours.

Kevin,

 

I too occasionally vaccilate between music and photography favoring one over the other. In my case though it probably stems from the fact that I do photography for a living running a custom b&w photo lab, so on weekends sometimes I'd rather do something other than photography. Last weekend I layed some bass tracks for a friend's CD that he is working on. I have a Rick Turner Rennaisance RB5-FL fretless and two custom Zon 5/1 basses, the fretless has a Splalted Maple top and the fretted has a Burl California Walnut top, both are passive with only a volume control and both sport Hipshot Ultralite tuners and A style bridges. I run then through a Walter Woods Super-Hi-Power amplifier or an Ampeg Portabass 250 head through a 1-10 or 2-10 Electrovoice cabinet or a 1968 Sunn 2-15 cabinet.

 

As to cameras I have an Ebony 45SU with lenses ranging from a 58XL SA through a 305 G-Claron; I do mostly landscape photography but on occasion do architecture.

One of the advantages of a LF camera is the graflock back. I would certainly hope that future digital backs(DB) would utilize this feature making it possible to mount a DB on any camera so equipped. There already are DBs that fit in a camera just like a film holder, the Betterlight scanning backs and I believe there is at least one other brand but the make escapes me at the moment. Get whatever camera you desire and do not worry about future compatibility.

Good luck! I used to sell these things when I was a dealer in LA, as far as I know we usually sold both halfs as a unit. They are no longer made; finding just the wash/dry unit may be tough. Have you tried contacting an Ilford sales rep, perhaps they may know of a person or lab that might have one to sell, but my guess is that you would probably have to buy a complete setup. Not so bad really as then you would have spare parts.

Back in the early 80's I was an engineer in a small recording studio where we recorded to a half track Ampex ATR-102 and various AG-440 recorders running Dolby A. We had a very nice selection of Neumann, AKG, Shoeps and other various vintage RCA and Altec microphones, both tube and solid state. Mostly we recorded small classical and jazz ensembles, on occasion we would record the Columbus Symphony Orchestra. We also recorded various programs for NPR like "All Things Considered" and music programs such as "Adventures in Good Music" with Carl Haas. It is nice to know that we can be creative in various endeavors artistically.

I tried that several years ago but it was a pain because you have to make sure you keep your head just the right distance from the GG so that the image will be in focus.

I am curious whether any of you are musicians as it seems many

photographers are or were also musicians such as St. Ansel, who in

fact was a musician first just as I was/am. I play electric bass semi

professionally, see www.rareblend.net . What do you play , did it

come first, do you see any connection, etc? Want to jam?

My guess would be around $350.00 to $600.00 based on my later version. I bought my Tech III for $550.00 with four lensboards and some accesories including a sports finder(both parts), and some cams and extra knobs for the tilt/swing back. It was in good shape but I did take it apart and cleaned it up and re-dyed some of the leather. That was in 1993. When I sold it last December it went for $900.00 including a new original Linhof bellows and a Beattie Intenscreen and all the extra bits that I had for it. Just my $0.02 worth.

Yes it is a Technika III, an older one than the version I had. Mine was from 1956 and had the current style of bed that is multi-faceted and had two focusing knobs, not one like the camera in the photo.

Actually the later prints were done by his son Cole Weston.

The 5x7 Linhof Technikas do not have graflock backs; a friend of mine has a Technika V 5x7 and it certainly does not, however if anybody is interested, it is available! Great camera!

I have been using the same black/red braided cable releases for decades. They are very well made and have never failed me. They are distributed in this country by Dotline and I have been purchasing mine from Tempe Camera in the Phoenix, Az. area. I think the one you got from Calumet is the same; it is 20" long and has a disc type of lock on it, right?

Hoffman Camera Corporation,

19 Grand Avenue, Farmingdale, New York,

11735-6315,

631/694-4470 phone,

516/935-0748 fax

There was an article in View Camera magazine several years ago on tele lenses that you should look for in their archives (my magazines are packed up and not readily accessible). Calculating bellows extension factors are not as easy as just measuring the bellows eztension as you normally would with non-tele lenses because tele lenses have a different size entrance pupil and exit pupil, whereas regular lenses have same size entrance/exit pupils. This tends to screw up the relationship of bellows extension to exposure compensation required.

If you are going to use a polarizer avoid using it with wide angle lenses as the sky will be uneven due to the way polarizers work. As you change direction relative to the sun the effect will be weaker or stronger, so the wider the field of view the greater variation in the polarizer's effect on the sky.

Are there any normal people using LF?