charlie_strack

If you are really looking to control development of individual images

you are a candidate for large format using sheets (or roll film

adapters with individual adapters for different development times).

<p>

That said, bulk film for 35mm is fine. Keep everything clean, and

prepare to waste a couple of extra images at either end of the

cassette for frames exposed in the loading process.

Pete:

<p>

The reason for concern I would assume, is for macro work, where a

spot meter might be advantageous for small areas at close distance.

<p>

Charlie

While the meter doesn't care if the image is in focus, an out of

focus image will not be metered as accurately. Say a high value and

low value are adjacent. If the image is out of focus, the

values "dilute" each other and your metering is out of focus.

<p>

Yes, a close up lens will help. Note that the meter, though, doesn't

account for reciprocity failure nor bellows factor.

<p>

The close up lens will also help you see what you are aiming at.

You can:

<p>

1. Open up (stop down) the lens 1/3 stop from the 400 speed to

represent 1/3 stop slower (faster) film, i.e., 320 (500).

<p>

OR

<p>

2. Change the film speed on the meter and re-read. If light hasn't

changed, you should get the same net exposure. If you don't your

meter isn't linear, and needs fixing or replacing.

Keeble & Shuchat in Palo Alto has a very complete darkroom &

professional department. In addition they do all the consumer stuff,

too. They carry quite a bit of Photographer's Formulary chemistry.

<p>

San Jose camera usually has the best prices on equipment, but isn't

as well stocked for pro & darkroom stuff.

T-Max, if I recall, is intended for single use. T-Max RS is a

replenishable developer and can be re-used. Kodak's info sheet

provides details on this.

<p>

Any fixer can be used more than once.

<p>

Developer can safely be put down the drain. Fixer contains silver, a

metal contaminant and should not be put down the drain in some areas.

It depends where your drain water goes. I live in the San Francisco

bay area, and waste water ends up in the bay. Fixer is not permitted,

but our county hazardous waste recylcing facility accepts it. Check

with your county or city hazardous waste department for information.

<p>

Fixer can be put down the drain if the silver is removed, but this

involves some equipment and may not be worth the cost or trouble

unless you use lots of it.

If you can use 120 size, use Verichrome Pan. Filters would depend on

the background, but probably not. Fill flash, depends on the nature

of the existing light. Generally not if you've got soft light.

I concur with Carl. The Ries J will hold an 8x10. But I recommend the

Bogen 3057 head.

If the 203 produces results comparable to your current 135 Caltar II

S, then keep the 203. If the results are not as good, consider

replacing it. Also, if you're having shutter problems you might

consider replacing.

<p>

But if your results are good and it performs well, why replace it?

I've dealt with Calumet for longer than I care to remember--at least

as far back as mid 70's. They've got decent customer service, so

here's a plug for them and having these lenses at very nice prices!

I'd tell you but you're better of if you figure it out yourself. I'll

give you a hint: It won't work.

<p>

Try it using a sheet of photo paper and report your results.

Your question is a little ambiguous.

<p>

Are you looking for a VC head with blue & green grids, or a single

grid suitable for use with VC filters.

<p>

Usually the "high intensity" lights are blue only, not suitable for

use with VC papers.

<p>

To my knowledge the W54 lamp is not available from Zone VI, only from

Aristo directly. But I suggest you contact Calumet (owners of the

Zone VI name) and discuss with their sales staff. Since they sell

both, they could identify which product best suits your needs.

There is a chance you have bad lenses. They don't all come out

perfect! Take Bob Solomon up on his offer to check your lens out.

<p>

(Having 2 bad lenses, each from a different supplier seems unlikely,

but it is possible.)

<p>

Charlie

Finally, if you can afford it, Calumet has the Caltar II 135/5.6 for

$470ish. It's a Rodenstock Sironar, and a bit longer than you're

looking for, but I've always likes Sironars.

A friend gave me a 90mm Schneider Angulon (not Super), and it's

performed very well for me. Apparently some Angulons are better than

others. Get a money-back-if-not-not-satisified guarantee, which I

recommend for all used lenses. Be sure the lens is coated if you buy

an Angulon.

Since we haven't nailed it yet, look for the obvious.

<p>

1. Using a tripod with the 4x5? Is it heavy enough to stabilize the

camera?

<p>

2. Any chance of camera motion?

<p>

3. Any chance of subject motion? (You didn't say what the subject

was.)

<p>

4. Using a cable release?

<p>

4. Do the lenses project a sharp image? Try this at night: open the

shutter, and focus the image of a bright light source (street light,

moon, porch light, whatever)on a matt sheet of paper--can you get the

image in focus?

<p>

Do you have an experienced LF friend close by who could look at your

equipment & technique?

<p>

While MF lenses are better than LF, no way should any LF negative

have unacceptable sharpness when things are aligned & used right. My

simple 4x5 portraits just bowl me over compared to MF & 35mm. In

fact, I think LF has generally been underappreciated in portraiture.

Suberb tonality and detail. Sorry you're not seeing it yet.

<p>

If, by chance, you're in the SF Bay area, & you can't figure it out,

I offer to meet you to help see what's going on.

Sorry, but the lifetime warranty went away with Fred Picker. Calumet

no longer provides this, but I believe they honor the warranty for

people who bought from Zone VI.

<p>

Charlie

I owned a Zone VI-II 5x7 for a few years, but sold it.

<p>

I didn't see any deterioration in the foam over those years, but I've

seen it happen on many other products with foam. The problem, from

what I've heard, is that there is a fungus that attacks the foam and

deteriorates it. You should inquire with Calumet to see if they

incorporate a fungicide in the foam.

<p>

While the Zone VI performed well for 4x5 (and I didn't use the "out-

straight" carrier) I had the following complaints.

<p>

1. The lens height adjustment lost its grip, especially with high

compression of the bellows. Ask Calumet to show you (not explain) how

the adjustment is made to tighten this. Unless you're hands are half

the size of mine, you won't be able to get at it. You'll be lucky if

you can even find someone at Calumet who can tell you how to adjust

it. Their tech support on these products stinks.

<p>

2. If you follow the wall mount kit instructions provided (at least

at the time I bought mine), the turnbuckle rods will form an arc. I

tried to explain this to them over the phone to see what I did wrong,

and couldn't get a competent response. Again, the Zone VI tech

support is less than admirable.

<p>

3. For anything negative smaller than 4x5, the enlarger is mediocre.

The light is dim, and it's difficult to focus and compose.

<p>

Simple math explains part of the problem. The following shows the %

of total light output used for each image size.

<p>

4x5 = 57%

6x9 = 23%

6x7 = 18%

6x6 = 15%

4.5 x 6 = 11%

35mm = 3%

<p>

The other part of the problem is the eye is most sensitive to yellow

light, and the enlarger produces virtually no yellow light.

<p>

The VC head, however, was easy to used & very consistent.

<p>

My current enalrger is a Saunders 4500-II and I like it much better.

I've used Orbit bath, and treat it as if it were Kodak's Hypo

Clearing Agent. No problems.

<p>

The film times are OK to use, but I invariably wash my film longer,

since I use the wash time to clean up the darkroom and that always

takes longer than 5 minutes.

<p>

The only time I'd use a wash as short as 5 minutes for paper is for

RC. For FB, follow the HCA instruction. I doubt it can wash DW FB

papers in 5 minutes.

This is a process of eliminating variables to find the culprit.

<p>

Check the negative itself, not the print. Is it sharp? (Using

transparencies as suggested is also an option). If the negative is

sharp, then the fault lies in the enlarging process, not the camera

nor camera lens. Problems can be ... well, you probably know what can

cause an unsharp enlargement. Post again, if you don't.

The other posts are right. But, don't use regular fixer for 15

minutes. That's over fixing, and likely to start damaging the image.

<p>

You can try HCA (hypo clearing agent) first to see if it clears. If

it doesn't, rinse for 5 minutes, then re-fix, then HCA, then wash.

There are no real practical differences among the materials for a

home darkroom. For a professional, SS probably holds up better for

sheer abrasion resistance.

<p>

The best sink is the biggest you can fit in your darkroom that you

can get at the best price.

<p>

Check Calumet, Delta, Leedal, and Arkay. Any may have overstock, or

something custom that was cancelled for the best prices. Some of the

bigger dealers might have stock, too, and it's been around long and

hasn't sold, they'll probably give you a good price for it.

<p>

I bought fiberglass (Arkay). It fit best, and cost the least for what

I got. Make sure the SS is photo-grade (usually 316L). That makes a

big difference. Other grades won't hold up to the chemicals.

Built my darkroom about 5 years ago and did some serious work on

investigating sinks.

<p>

1. There is no bargain SS sink.

<p>

2. The alternative I found was a 7' x 2' fiberglass sink from Arkay.

It cost me about a grand & included stand. It has a nice built-in

backsplash. I couldn't do any better. Seven foot seemed odd, but

turns out to be very practical. I'm glad I got exactly this sink.

<p>

Things to consider.

<p>

*I had a specific space to fit. Getting more space was my most

expensive option, so I spend more on the sink than I wanted. I would

have like a 30 or 36 inch depth, but have found I don't miss it. If I

ever decide to do a lot of 16x20's, I figure I can buy SS trays that

will fit. They are expensive, of course, but cheaper than finding

more space for a 30 or 36 inch sink.

<p>

MOST IMPORTANT: Design your layout on paper. Do this about a dozen

times over to make sure you've got the design that's good for you.

Then see what equipment fits. Make a template on cardboard of the

layout, and make paper cut-outs of the equipment to see how it fits.

<p>

Watch out for ABS plastic sinks. The material is fine, but Delta, for

example, has spots for faucets that reduce the width in different

places. Where the reduction occurs, you can't fit bigger trays, so it

wastes space. This is where the cutouts can help you.

<p>

Make your aisle at least 3 ft wide between wet & dry sides. Give

yourself enough space to breathe & be comfortable. Think about enough

room for 2 people in case you want to teach someone or show a friend

your process.

<p>

Safelights: I bought a Thomas Duplex. Big mistake. Too much light. I

found an Aristo Red safelight on EBay for $50. Very nice. Even at the

new price, I think I would prefer it. I like red, but not everybody

does. Thing is, it's safe for virtually all B&W papers. Not all amber

lights are.

<p>

Make sure the working surface height is good for you. Make it too

low, and you'll get a backache.

<p>

If you're in the SF bay area, come see my darkroom. You'll figure out

what you like & don't.

<p>

I've got lots more suggestions, but am rambling.

I like the Toyo 45A-II. I've owned it's older version the 45-A since

the mid 80's. A very rugged, stable little beast. Great for

landscapes, but limited close-up capability. Choose a shorter lens

for macro work.

<p>

To do it right, however, go to a camera shop & try each out. It's the

only way to find out if the camera is right for you.

The Zone I exposure from your zone system film speed test gives you

the info you need to make your pre-exposure. Pre-exposure is most

easily done in-camera.

<p>

Without knowing your own film speed, you can't really account for

variables, such as shutter efficiency and accuracy.