zarrir_junior

<p>If i take the same film, shoot the same scene for all of them, develop films using the full strength dilution of each of the above developers, giving normal development time, what would be the most obvious differences i would see in prints (lets suppose same RC paper for all)? Medium format film at 8x10 and larger 16x20 enlargements.</p>

<p>I´ve heard of many different techniques for repairing bellows holes or pinholes. Most people agree that they are only temporary solutions and that in the end the bellows should be replaced. Of the possible fixes, seems like black silicone and black tool dip solution (liquid rubber) are the best ones. What if a homemade bag bellows is produced (in cloth or plastic) to be placed around the original bellows? If the holes are really tiny, then there is a good chance light will not pass through the "double" bellows. Anyone tried that? Besides the camera becoming ugly, i dont see a reason why not doing it.</p>

How important is film grain if i intend to contact print 8x10 negatives, not to enlarge them? Would there be a big

difference in a contact print with ASA 100 film and ASA 400? Also, with the departure of AZO and non-availability of

LODIMA, what is the most recommended paper to do this?

<p>I usually put the ice on the lower trough and leave it there. I then set the Jobo temperature regulator to 20 Celsius. I will only remove the ice when the temperature starts rising.</p>

<p>Nice tip Ron! There is one on the auction site bidded up to U$ 90! People should read photo.net posts more often... I develop 2.25 x 3.25 in my Jobo processor. You need the 2509n reel. But you have to cut it in halves , removing aproximately 2mm of plastic from the center core and then glueing it together again. This is because it was designed for the European 6x9cm which is a little larger than American 2.25 x 3.25</p>

<p>James, when you mention the cooling property of dry ice would be twice as great do you also mean the dry ice will also last two times longer than regular ice? Robert, how would you mount such a thing on a CPP-2? It looks as if a hole must be drilled on the processor??<br>

I was thinking i could place the dry ice inside a bag then inside the processor with a hose coming out of the bag to direct the carbon dioxide away from the beakers. But this mess would only be worth if dry ice lasts "forever" inside the tempering bath.</p>

<p>Brazilian tap water during the Summer is at about 27 degrees Celsius in my region. I usually use two or three Jobo bottles filled with ice to cool down to 20 degrees. I happens that the temperature quickly rises again, i have to change the ice many times during a session. My question is, has anybody ever used dry ice to cool the tempering water? Is it effective? How much ice to use?</p>

<p>I have just received answer from Rockland (makers of Liquid Light). I was told to use a blue acetate over the light meter because Liquid Light will behave like a very slow film, sensitive to blue light only. Will post results in a couple of weeks.</p>

<p>I found a couple of these holders at a flea market. My question is: Can i use these on a 8x10 camera with regular 8x10 film? Or are they exclusive for Polaroid film use?</p>

<p>On glazed ceramics you need to use melt gelatin as subbing, this provides the best results. For non-glazed ceramics you must use glossy poliurethane varnish (do not use matte)</p>

<p>Dennis, how do you develop your sheets? I have a Jobo processor with a 2509n reel that will take 6.5 x 9cm sheet film so i am on the lucky side.</p>

<p>Yes, blue cloth lining on the inside. I will cut some thin leather tomorrow and will give it a try with silicone. Thanks for the tip.</p>

<p>Dennis correct again, the right size is 2.5x3.5 and yes, it is available at Freestyle. Efke offers the 6.5 x 9cm which is the exact equivalent of 2.5x3.5 in, only in (European) metric version. Tomorrow i will order some alluminum sheets in this size. I will order some polished and some black coated (anodized). Sounds like i will have some fun next week. I have searched a lot but could not find any reference to people using the plate adapters for this purpose. If it works for glass it will work for metal too. Best of all: If exposure time was not correct one can simply bleach the plate and coat it with Liquid Light again.</p>

<p>Sorry, i meant 1minute + 30 seconds. My darkroom, which is a tiny room unders some stairs doesn´t have any space left. Not even for the Jobo. Also poor ventilation so i could never use it for chemicals. This is also the reason i need to use the processor for smaller prints. So i placed the Jobo next to a bathtub, pretty much relieving when i get out of the darkroom to develop some prints...and breath some air.</p>

<p>John, that was the idea on my mind. I thought of getting a thin leather strip to glue it inside the hinge. Do you think the silicone glue will hold it? Or should it be stitched there? Good reference to the Yashicas. Japanese copy and perfect almost everything. Even german Rolleiflex technology for LEATHER CASES (no flames, please, i said LEATHER CASES).<br>

Peter, unfortunately I am too far away from Malcolm to give him a try. But excellent tip anyway.</p>

<p>Thanks Dennis for sharing your experience, pretty much what i needed to know. I thought the thickness of the material was critical. So as long as it fits the bracket i have nothing to worry (provided the overall size is 2.5x3.5 inches). Dennis, commercial film is available at 2.25 x 3.25 inches, isnt it the correct size? I think i misused the word Tintype. I was not referring to wet collodion process, but actually to dry plate process, alluminum or steel plates coated with Liquid Light or some other emulsion.</p>

<p>I have just received a Rolleiflex plate adapter kit recently aquired. It did not come with instructions and i was wondering if someone has any experience with it to be able to answer me: What are the exact dimensions (including thickness) of a coated medium (tintype or glass) that should be inserted into the adapters to be in perfect focal plane? Also, if i use sheet film, what kind of spacer should i use?</p>

<p>I have a couple of mint condition rolleiflex eveready cases, except for the bottom crease (where the front unfolds) which are tearing apart. Does anybody know an easy (or even the $hard$) way to fix those tears? Thank you.</p>

<p>Lex, i actually purchased the Jobo because my main objective is to print 16x20 regularly. I have a 2850 drum for that purpose. Yesterday i did my first test using a fine grain 6x6 negative. I used Dektol 1:2 dilution on Foma Variant Speed III matte paper. Wow, i like to play with that toy! I developed for 1:30 minutes and the result was pretty much acceptable. Kind of darkened but i guess i overexposed it a little on the enlarger. One thing i disliked though was the texture of the Foma matte paper. Very thin and soft, looks like a commercial print you find anywhere for U$ 9. Think i will try Ilford 16x20 glossy next.</p>

<p>Thanks Nicholas. Test printing is for exposure times, not for developing, correct? The reason i asked about the developing chart for papers is because i want to start using drums (jobo), so i will not be able to see the process happening.</p>

<p>Hi, is there a chart live the Massive Dev chart in a version for paper developing, instead of the film version? Would make an excellent start point for the newbie. Searched the Internet, nothing found.</p>

<p>Robert, according to your measurements i want to build a wooden box camera to take it to the field with the Sironar. I want to build it without a ground glass, with a ready setup for infinity focus. Am i correct to say that the black box should measure 8x10x15 inches, being the rear the film holder itself?</p>

<p>No previous history available. Since the rail is currently 29" long, then it would have been a monster! Perhaps the front half would have extra movements? Anyway, being half an Ansco, i could make a good custom box for it to turn it into a poor man´s field camera?</p>

<p>Hi Jim, so i actually bought... half a camera?? A liposucked Ansco! Is it even supposed to be working this way, without the second bellows? Can i still achieve good results?</p>

<p>Lovely picture! It does not have the stand but i intend to produce one myself. I actually purchased the camera but i am now in doubt about the lens. I found a Symmar-S 360mm much cheaper. It happens that it is mounted to a smaller lensboard, apparently stuck there. I tried with a spanner but could not remove it from it. Is it easy to simply keep the lens and shutter there and build a "complementary" lens board around it up to 9x9 inches?</p><div></div>