artie_kapell

A recent posting on Omega enlargers jogged my memory into asking this question about my Omega D5500 with the D5500 color head.

 

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There is a button on the controller that both moves the filters out of the lights path and zeros out the enlarger. After pushing the buttons, the controller is supposed to eventually show zero on each of the three colors. Unfortunately, on two of the light multiplier boxes I have it sounds as if the motors controlling the filters are heaving away but it never zeros out. In addition, the one light multiplier box, for the 4X5, used to be able to zero out but now just whirs around like the others. Anyone experience this problem and know how to fix/adjust it?

Michael - In the book Post Exposure by Ctein (sorry, don't remember

his first name) there is a chart where the author has given the

optimum f-stop for enlarging lenses. They are definitely not in the

F16 to 22 range, most being, as I remember, in the 5.6 or 8 range. I

was pretty surprised, and spent a bit more time making sure my

enlarger was aligned after reading that. Given that however, if

you're using longer exposure times for b&w papers (and I assume for

color) there are reciprocity effects that can be encountered. I

believe I have found a document on Ilfords web site that gives the

appropriate compensations.

I have a Super Technika 23 and do use it hand held. Although it can

be done, it's a bit difficult for a few reasons. Unlike a 35 mm

camera (or one of the larger format through-the-lens cameras), I can't

just look through the lens, read the meter, make the necessary lens

adjustments, and shoot - all without moving my eyes from the

viewfinder.

 

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I first read the meter, set the f stop and speed, look through the

rangefinder to focus, and look through the multifocus viewfinder to

make sure the image is lined up (also making sure that I have an

approximation of the distance set in the multifocus finder to correct

for parallax). Then, because my hands are small, it's hard for me to

reach the shutter release on top of the grip.

 

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It can be done, but with a lot of steps. In spite of all this, I have

great fun with it using it on the streets. If I'm not in practice

with the camera, I lose a lot of shots using it this way. And I get a

lot of people who are curious about what kind of camera I'm using.

 

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The weight has not been a problem. I do carry along a monopod when

using it for street shots. And obviously, when using it in this manner

you are not going to be using any of the view-camera abilities of the

camera.

I have just returned from a trip to Ecuador with my Linhof (what a load to lug around, but hopefully worth it) and have a lot of slides (6X7) that I would like to process. I'll be using Ilfochrome to do the darkroom work and would like to know if there's any discernable difference up to 11X14 between the RC papers and the deluxe papers. I know the deluxe comes in 3 contrasts and the RC only medium, but it is twice as expensive. I have also not worked with contrast masks, which from what I read seems difficult, and was thinking of using the RC for medium contrast and deluxe for low. Any comments appreciated.

I have found that no matter how upsetting the reality and images of

events in NYC have been, I have been continuously watching TV or

radio from Richmond, VA in absolute disbelief. New York was my

home city and I can't imagine the suffering and chaos that has taken

place there. Maybe it is through these images that I hope to

internalize what is otherwise an incomprehensible event. In this way,

I am grateful that there are people out there with cameras capturing

the events.

 

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I had communicated with Geoffrey Chen a number of months ago about

things photographic and otherwise. I am sorry to hear of his injuries

and all others.

Thanks for the info. I was able to print out a lot of information

from the links provided as well as from the building section of this

forum. I'm sure once I have my workshop set up and am beginning the

process I'll have a whole range of other questions.

Dan had asked a message or so ago about the best wood for building a view camera. Well I am moving soon and re-setting up a woodworking shop (no room where we are now) and have thought about building a view camera. I know a lot of folks contributed to the question of what woods are best used for making a view camera, but I'd like to know if there are any sources for actually making/designing a camera. As my metal folding linhof doesn't quite lend itself to copying I can't really use what I have as a model. Thanks.

 

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Artie

Andrew - you've got me a bit confused with the sticking on the 8th

frame. As you've stated it's a 120 back there should only be 10 shots

per roll on a 6x7 back - so on the 8th frame you should have only 3

left. A 220 back will accomodate(however that's spelled) 20 shots.

In terms of the orientation of the winder, I think that with the back

as you described my lever is on the right.

Andrew - You are correct in assuming that the film is initially wound

until you can see the arrow in the oval window. It is suggested that

the film be loaded in low light, although are times when one cannot

obviously find a low light location. I have never had any problems

with the fogging of the film. The counter also resets automatically,

so that once the back is closed it should bring it to the beginning of

the roll and indicate the first exposure. I have never tried to

reverse the winder lever so I can't answer your question concerning

that. Also, as a final word, I had recently purchased an older rollex

for 6x9 and found that the frames overlapped one another. As it turns

out, there is a small metal piece with grooves cut into it that

controls all spacing and once it's worn is not replaceable, making the

whole thing worthless except as a source of parts. So I'll not be

buying any rollexes again to save money.

Can anyone tell me if any of the Linhof shades or any other manufacturer's shades will fit on a Super Technika 2x3? Thanks.

I've done extended traveling in Asia, including a couple of months of

hiking in Nepal. Although I'd love to have some pictures on 4X5, I am

very glad that I have carried both 35mm and medium format cameras -

there are lots of people shots that would have been too hard to

get with a 4X5. And I am very happy to be able to work with roll

film because of the weight - I'd rather be able to have a lot of

bracketed shots. However, one option for hiking in Nepal which

allows you to negate weight is to hire a porter to carry some of your

stuff - there are lots and lots of people doing the popular hikes in

Nepal and many people hire someone to help. I would not

definitely not rely on sending myself anything by mail in Nepal in

terms of sending film - I had a major crisis trying with a plane

ticket mailed to me not getting to Nepal. And don't forget that

there'll be a shift in color at much higher altitudes. Best of luck.

I was unlucky enough to have purchased a linhof 6x9 rollex back on ebay that has worn interior parts resulting in the frames running together (it's for a 6x9 image frame). Does anyone know if it's possible to get replacement parts for these very old backs? Many thanks.

 

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Artie Kapell

Hi! I've been using Super Rollex backs and just got my first Rollex because it was a lot cheaper. I was surprised to find that it did not automatically set the counter to zero when the back is opened and that the only way to set it to zero is by turning the winder until it reaches that point. Have I not found the secret to zeroing it out? Thanks.