light-zone

You can take the ocular piece off the housing, and attach it to a bag bellows. Then attach the bag bellows to the ground glass. This give you an "eye level" viewing method, perfectly sealed around the ground glass, and without being under a dark cloth. I use this method all the time in the studio, but the sinar does not go on location so it this is practical in the field, you'll just have to try it and find out.

My reccomendation would be to construct a make-shift lensboard out of cardboard and try exposing a couple sheets of film using a lens cap as a shutter. It might give you enough information to determine wether or not investing in a costly shutter assembly will be worth it. If the negs turn out to your liking, well, next stop is Mr Grimes. He can not only do the work for you if necessary, but is a wealth of information regarding older lenses.

I use an older Schneider 210mm Angulon with my 8X10. The lens is small, light weight, razor sharp and has plenty of coverage for 8X10, in fact, I believe it'll cover 11X14" as well. They're hard to find and not cheap, but it's one of the finest lenses I've ever owned.

 

No, mine is NOT for sale ;-)

I have to agree with George on this one, with the exception of his last comment. When I'm transporting 50 to 60 framed "beauties" to a show, I do indeed notice the cumulative weight.

Well I'm certainly relieved to see the responses on this portion of the Spam threads. I was feeling a bit lonely on "Part I".

Dean, to get the definitive answer to your question, try asking it at:

 

http://www.ilford.com/cgi/Ilfopro/ilfopro.pl

 

An Ilford Teckie will answer your question.

Look for a used Tilt-all tripod. It'll more than handle your equipment and will fit in with the "retro-look" of a press camera.

Cory, there is a thing called Liquid Light. A liquid emulsion that can be painted on a variety of surfaces, making them light sensitive. I'm sure a quick Google search will point you to where it can be purchased.

Hi Martin,

 

You don't say, but can I assume you are talking about 4X5" format?

If so, I would have to suggest the 150mm as your first lens. It's going to provide you with more flexibility than the 210mm. Resign yourself to the fact that no one lens is going to do everything. The important thing at this point is to get a good "normal" lens and to get yourself acquainted with using a LF camera. You will quickly see there is plenty to learn, so don't get too hung up on lens selection before you get even "get your feet wet". Who knows, you might even decide LF is not your cup of tee.

Absolutly normal. An AD who has seen LF transparencies before will not even notice the marks.

Michael, I have to disagree. I think the static chjarge is more likely to occure with plastic than metal. In fact, I have some older 8X10" filmholders that have metal darkslides.

 

As far as repairs are concerned, I've repaired smaller cracks by taping over them with a piece of black gaffers tape on both sides of the crack. It's worked for me.

As David said, it's not rocket science. I made one for a 5X7 film holder. No leaks no muss no fuss. One suggestion though, when planning the height of the panorama, take into account that you'll want to cut the two images apart, so plan the seperation between the two images accordingly.

This topic has been covered ad nauseum...try doing a search and you'll be AMAZED at the amount of info you'll find.

Did you forget to pull the darkslide before exposing the film?

 

Depending onhow long the exposures were, and how dark the subject matter was, even if the film were put in backwards, there should be a slight image.

Hi Art,

 

I have what you called a receiver (never heard that term before). What I do is once a week I empty the holding tank by opening the safety valve. This removes condensed water and other gunk) from the tank and prolongs the life of the compressor.

If this lens is going to be a long time piece of equipment for you, and you were happy witht he price, then forget about it. If you think you might be selling it in the near future, then you might want to return it, because another buyer might just use this imperfection as bargaining leverage.

I use one and can not imagine a darkroom without one. The canned air is a waste of money IMO.

 

Check your hardware store or a hobby store. Mine is made by a company called Jun-air, and has, I believe, 8psi. Get a pistol from the hardware store. They are cheaper and to blast film, you don't need a precision instrument.

Bach or Beethoven.....hmmmmI like Brahms, no wait...Wagner, yeah, Wagner.

TMY is T-Max either ASA 400 or 100

I'm sure the glass will work. There is some "play" in the thickness of glass that can be used.

Lensboards are easily self-made, so I wouldn't let that be a determining factor.

The hardware looks the same as the Tachihara.

David,

I'm not 100% sure, but I do believe Wista (I have a Wista 8X10") and Tachihara are in essence the same, and the parts may be interchangable top some degree. Atleast as far as a back is concerned, if it's not an exact fit, you could probably make it work with a minimum amount of modifications.

Thank you for that wealth of information. I'm putting together a C220 and your site has already been very helpful!

I don't know, but I can let you know when I get back on Saturday the 28th.

Theo,

 

although your camera is new, I can say from personal experience that the cheapest part of any Sinar camera has to be those play toy type levels. We have 4 Sinar P2 and the levels all read differently because of the fact that they are either pressed or glued into that holder, and become loose quite easily.

 

Trust the GG not necessarily the levels. They do provide a starting point for setting up, but then forget 'em and believe what you see on the ground glass.