jim_norman4

<p>Easy decision: The Sinar. Huge system with accessories that are widely available. Terrific quality. I agree with Ellis on the yaw-free off axis tilt and swing. Love the calculators, too.</p>

<p>You might give some thought to one of the Pyro developers. My own Acros developer is Pyrocat MC.</p>

<p>C41 is used to develop chromogenic black and white films. I'm not a big fan of them for reasons beyond the scope of this question. The C41 chemistry is much more expensive than typical black and white developers. The convenience factor of having your BW film developed at a one-hour place is the draw for some people.</p>

<p>XTOL has a problem with cold temperatures (mixing or storage) or water in the mix with certain minerals. To isolate the problem, mix up your next batch with distilled water.</p>

<p>If you have a late model Jobo, they are fabulous. They are heavy, and you need the heavier motors, etc. that were put in CPP-2 models above serial number 22,000.</p>

<p>I agree with Peter. Acros in pyro.</p>

<p>XTOL at the dilution of your choice between 1+1 and 1+3.</p>

<p>For studio work, a Sinar P2 is about as good as it gets. There's also a conversion kit to let you shoot 8x10 with only a back change. The micrometer drives and all the Sinar accessories makes it a winner.</p>

<p>I use 240, 360 and 600 in 8x10.</p>

<p>I strip holders before I send the film. I use old 4x5 film boxes (all 3 pieces) and mark the box "EXPOSED FILM" with my name, etc. on the label. I seal the box with tape and rubber band my instruction letter. I then use a small FedEx box (not envelope) with solid sides to ship in. The labs that do a mail order business are used to getting film this way. Some labs charge to strip holders. They also handle (and charge for) return shipping. I don't use the lead foil and have never had a problem.<br>

You could also pick up a Jobo CPP2 and do your own black & white and E-6. I send my color out, but do my own black & white.</p>

<p>You left out 6x17. As others have said, it's a matter of preference. I shoot 6x6 (Hasselblad), 6x12 (Noblex) and 6x17 (Da Yi back on Linhof Master Technica 2000). Yes, lens selection is important, as is your intended composition. They're all good.</p>

<p>I wish I'd thought to test it before reassembling it in the tub. Sometimes, being lucky helps. Next time I will check it with your suggested procedure.</p>

<p>Thanks to all for some great info. <br>

An update: I opened the pump and it seemed pretty clean, but I cleaned it up again, anyway. When I reinstalled it and put it together, I got the same buzzing sound, but then the cold water solenoid kicked in and the pump started up. It was quite noisy, but after running for a few minutes, the noise got back to normal. None of this seems logical, but I'm happy it's working again. Hopefully, I now have some time to find a replacement Jobo pump or something for an aquarium or from Granger that will be an adequate substitute. I'm sure the pump will fail (or die completely) before too long, but you never know.</p>

<p>While Acros is my film of choice (EI64), Tri-X pulled one or two stops works very well. In fact, I normally expose Tri-X at 160, so a one stop pull should work well for you. I would definitely experiment to get your developer time/dilution right before you shoot anything serious. If you've not used TMax100 before (most people rate it at 80), you should also run plenty of testing. I found the best results for this fussy, inherently contrasty film, are from TMax RS developer used on a one-shot basis.</p>

<p>I checked the fuses and the lines. All are OK. Is there a circuit breaker, as well?</p>

<p>My Jobo CPP-2 seems to be working in all respects <em>other</em> than the water pump. When I turn the pump switch on, all I hear is a buzzing sound, but no water is pumped. The LEDs light up for temperature and the motor will rotate the drum. Any suggestions for diagnosing the problem or repair? I understand Jobo parts and repairs are really tough to come by these days. Thanks, Jim</p>

The best advice is to test another roll or two, using a couple of developers and maybe stand development before you

do your keeper roll.

<p>Rumors of the demise of LF film are premature and exaggerated. There may be fewer choices, but where digital can replace 35mm and MAYBE even MF, the unique qualities of "big film" will always appeal to artists, including those who've grown up on digital, and there will be enough of a niche market for someone to fill.</p>

<p>Shooting a ring with an 8x10 is a bit like using a cannon to kill a fly. You will need plenty of bellows extension, probably more than you have unless you're using a monorail that lets you add bellows. Don't forget to compensate for your bellows extension. Also, because of the shallow depth of field inherent in 8x10, you'll need to stop down to at least f32. In a studio setting, you'll need multiple pops of the strobes to get to that aperture. While a longer lens would have the obvious advantages, it also means you'll need more and more bellows for any added focal length. I've done jewelery with a 300 and also 360. Either should work, but you do have some challenges.</p>

<p>They're not for traditional photography. Please see:<br>

<a href="http://www.ilfordphoto.com/products/product.asp?n=56">http://www.ilfordphoto.com/products/product.asp?n=56</a></p>

<p>I would suggest a 4x5. Architectural work demands a camera with movements and a the ability to hold position perfectly. That means a tripod. Even the best neurosurgeon can't hold a camera as steadily as a tripod.</p>

<p>Whether or not you signed a release, and what that release says makes all the difference in the world. See a lawyer after you find out what you signed, if anything.</p>

<p>I've used the BTSZ 8x10 tubes (there's a video on YouTube showing the process) and currently use a Jobo CPP-2 with an 8x10 Expert tank. My developers are XTOL and Pyrocat. Both the tubes and the Jobo work very well. The Jobo is a much more expensive way to go, but you do get temperature control, and a total daylight process. It's a matter of preference and budget.</p>

<p>Sounds expensive for an F. The F2 is considerably better. The lens is only OK. The Polaroid holder is for single sheets. The Fuji is pack film and requires a different holder. Is the rail the 6" one that comes with the camera, or is it an extension rail? You didn't mention the rail clamp. You'll need that. For your own benefit, look at closed sales on eBay for the same items. You might conclude it's not a bad deal, or you might conclude that something less than $1200 is all you should pay.</p>

<p>Process the film in tubes. I recommend the Beyond the Zone System tubes from the View Camera store. They also show up on eBay. Then, until you have a darkroom and enlarger, scan the negatives and print digitally. Have fun. Large format is special, as you will see.</p>