zarrir_junior

<p>Hi, yes, i understand all the limitations of using a View camera (8x10 specially) for shooting daylight candids. Anyway, i was curious to check if somebody here actually does it. If so, i would be very interested in knowing the workflow for it.</p>

Hi,i have two Miniportrait cameras. Beautiful and sturdy construction. One is equipped with the Classic Schneider

Radionar Radionar 1:8/125 lenses. Only today i noticed that the second one is equipped with Frankonar (!!!) 1:8/125

lenses. Has anyone ever heard of this?Or are these only rebadged Radionars?

<p>Thank you Bob, i gave up. To which point grinding my own groundglass with aluminum oxide (there is a nice HOW TO on the NET), will produce a good , bright usable product?</p>

<p>Thanks guys! Any possible online source for <strong>affordable </strong>8x10 fresnels?</p>

<p>Joe, i have re-read my post entirely and found no suggestions there. I only found a QUESTION which seems pretty much reasonable. What makes you think that the screens would be joined together irregularly, not making a perfectly plain board? Maybe you are not familiar with home made works or newest adhesion products? Maybe you think Mamiya produced defective or bowed screens for professional photographers? Do you have a faint idea on how bright these screens are? Have you ever seen one?<br>

Ok, i will take the same product you are on and let us both wait for another contributor to this thread.</p>

<p>I have a couple of 8x10 view cameras with very dim groundglasses and i have been offered a lot of 10 Mamiya (very bright) medium format focusing screens. The lot is pretty cheaply priced. My question is, glued together, would they make a bright ground glass replacement for a large format camera?</p>

<p>Stephen Anchell, in the Film Developing Cookbook, discorages the use of Rotary Processors (like Jobo CPA, CPP) for sheet film processing. According to him, continuous agitation supresses the adjacency effects that enhance film sharpness and exaggerates highlight development at the expense of shadow development, resulting in a shorter tonal scale. I´d like to know what you guys can say about this. Aren´t there specific speeds of rotary action for sheet film processing that would inhibit this side effect? Is this loss of sharpness really noticeable? According to the author, this adjacency effect is caused during the still periods of development.</p>

<p>Well, it is the only one left to try. Fuji PA-45. Apparently only the 545 single sheet holder will do the job on the Pressman D. Polaroid is belly up so if the pa-45 does not fit, the Pressman is an orphan.</p>

<p>Excellent! I thought i would have to send the whole package for calibration. Shouldn´t i be able to join both elements together even without the shutter? I cant do that, there are retaining rings on both sides.</p>

<p>Sorry, i meant the aperture plates.</p>

<p>I have inherited a Caltar II N 240mm f 5.6 lens. It is not mounted in a shutter. Instead, the two halves are apart. I can see two retaining rings, one on each half. They prevent me from connecting one side to the other. Is that normal? The aperture and speed plates came with the pack.<br>

I understand this lens must be mounted on a Copal 3 shutter only. Found one locally that has an aperture range of f 9 to f 90. If i buy it, can i install the lens on it myself or do i need to have it calibrated? If i find a Copal 3 shutter with maximum aperture of f 5.6 can i install the lens there without calibration?</p>

<p>Just in time, i was bidding on a 550 at this very moment! So that statement reduces my options to just one: FUJI PA-45. Is that correct?</p>

<p>Thanks Paul, this is the best reply i could get. For the archives! Do you happen to know any online store that sells the FP-100B 45 ?</p>

<p>Hi, i´ve read some controversial articles about the use of a Polaroid back on a Pressman D. Some say that only single sheet holders will fit. I´d like to know if it is possible to use Fuji FP-100C on the Pressman without any back modification. Anyone knows which Polaroid back models will fit the 4x5 Pressman?</p>

<p>Michael, got the head today, looks very sturdy but the upper camera platform seems a little small. Would you like some more pictures?</p>

<p>Hi WT, i actually own those chinese tripods, good enough for a Rolleiflex or even a Pentax 67, but definitely not designed to support a Gitzo head. Is it possible to build up a base myself? Any plans around?</p>

<p>Forgot to mention the format i am using: 8x10</p>

<p>I have just purchased the bellow Gitzo tripod head on the auction site. I only bought it because it was cheap, no bids on it and i came across it when there was only one minute left for the auction to end. I have just recently started into Large Format and i am mainly using an Ansco Number 5 Studio Outfit. I have just received my first View camera (an old Ansco too) and therefore i need a tripod for it. By looking at the bellow picture, how bad was my move? I have not received it yet but i would like some tips on how to mount this head onto a tripod base. Never done such thing before, i only have commercial tripods for medium format at home. Any plans for a home made wooden base? Any pictures i could take a look at? The auction did not state the Gitzo head model, only said "nice shape".</p>

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<p>Thank you Lynn, will try to contact them.</p>

<p>I have recently purchased my first large format Ansco Studio camera (8x10). I had to bore a hole on a 9x9 custom made wooden lensboard to put a heavy (3 pounds /1.5 kilos) Rodenstock 360mm Sironar lens which was already attached to a (light) Toyo metal lensboard. I fastened up everything together and placed the heavy pack on to the Ansco. My question is: Can i leave the lens on all the time? Also, because i made the lensboard myself, it looks as if the lensboard seated fine on the front frame, except for the upper part where it seems to be protruding a little, even after i attached the metal plate with the tiny screws. Is there a way i can test for perfect perpendicularity of the lens related to the film plane other than start shooting?</p>

<p>Thanks Bob for the heads up. It is in fact an APO-Sironar N and it has a 105mm thread size! Any high quality options? I do not want to mess with any grease..</p>

<p>Chinese glass = cheap glass filters. From the items above, it looks as if tulle or netting could be the better choices for not degrading so much of the lens quality. Anyone agrees or disagrees?</p>

<p>Besides women´s socks, what are the portrait filter options for a 360mm Rodenstock Sironar N, 112mm filter thread? Please do not recommend any chinese glass.</p>

<p>Lex, so i guess i would make a good choice if i choose PMK for a large format negative (8x10), contact printing in mind? Apparently it results in very detailed highlighs. Unfortunately i could not find a single example of this on the web, not a single scan. I will definitely give a try on a home brew Rodinal recipe and PMK.</p>

<p>Thank you guys, thank you John for your time. Lex, in my country i do not hava access to Rodinal, Microdol or Amidol. This i the reason i asked this question. I need to know if it is worth to try to import these chemicals. It is weird how i searched the net and found very little practical results of Pyro. I would like to see how the stains translate into prints. Any links? Michael, i just ordered the Film developing Cookbook, thank you. I will probably have to buy Vol1 too...</p>