bennie_nickolas_hinojos

<p>I would say skip the quick load. You do spend a little less time with the cleaning of the holder and you have less to worry about dust ruining a shot. But I just went on Ebay and bought a lot of film holds for 30 bucks and if I am going to go out on a trip I load them all up which gives me 50 shots to work with. IF i need to shoot more I always bring my old empty box of film and my new pack along with a can of compressed air to be able to reload my film holders at the motel I am staying later on at night.</p>

<p>LOL "Are lens boards a standard size..." That would be fantastic if they were! I have collected a few LF cameras and I have different lenses mounted on each of them so I tend to bring 2 cameras with me to help prepare for what I may want to take a picture of. But I wouldn't worry too much about which cameras work for what lens boards. I tend to go on ebay and locate someone selling a lens board I need for about 20 bucks. So I would look around and try to find a camera that you are able to get a great deal on. I had picked up a Graphic View II and Calumet 400 series cameras with a Schneider 135mm and Schneider 240mm Symmar lenses for 350. Which I am able to find parts for both cameras to allow me to mount any lens I want. But I had many of the same questions you have when I first started out. Film holders are universal so you can buy used one from Riteway, Graflex, Lisco...etc and they will work in a LF camera. (with the exception of a Grafmatic) Also Lenses are pretty universal too, what dictates the size of mounting hole is the size of the shutter, which most commonly are 0, 1, and 3. Which you just usually buy the mounting board that fits your camera and is drilled out to the correct size for your shutter.<br>

The lens is probably the most expensive part of your camera which people are selling their camera bodies really cheap, usually less than they are selling their lenses! I say check out ebay, KEH, and your local craigslist and you'll stumble on a nice deal and from there you can just pick up a lens board to match your camera. Just focus more on getting a used camera that is in good condition. Make sure to inspect the bellows for any cracks, tears....anything to leak light. Make sure the camera adjustment knobs move freely and are able to be locked to prevent movement after you have to camera set up and want to load your film to take your shot. And make sure it comes with a mount to attach it to your tripod. not every camera that is being sold comes with the adapter which hooks onto your monorail and allows you to attach whatever "puck" that your tripod head uses. But good luck and let us know how your LF life progresses.</p>

<p>I personal would have started off with 4x5 negative format. Yes lenses for large format cameras are interchangeable, all you need is the correct lens board and correct hole size on your board to install the lens. You'll run into problems with being able to cast a large enough image to print on the entire 8x10 neg. which I heard you start off with a 240mm lens as a starting point. Also the increase weight of a large format camera, a heavy duty tripod to be able to hold the extra weight and be able to spread the post out enough to have it steady when you have the camera in awkward positions. I think mainly I would stay clear of 8x10 would be just the price of the negative, and the equipment needed for printing. I have a Beseler 45MXT with color dichro head and that is large enough in the small room I have converted as a dark room, I think I would have to divorce the wife so I can turn the bed room into a full fledged darkroom large enough to handle that gigantic enlarger. I still do prints onto paper and have not gotten into the digital age with scanning the neg. and using photoshop so I am not familiar with any question on that aspect of photography even though I would love to start getting into that soon. But whatever you choose I would love to see some of your prints that you do using ALT processing. I have zero experience with such things as I still consider myself a novice.</p>

<p>Steve I agree with "who cares" and I would understand that post, I just wanted to relate film in a way that they would be able to understand. It was great to speak to several students afterward because they wanted to know more about the camera, or how much. But it also gave them a slight understanding on how things use to be and that you had to take your time to compose you shot and take necessary measurements to set up your aperture and shutter so that you'll have a usable negative, instead of "click, click, click,...etc" and then looking at them in 5 minutes and choosing which they want to include on their facebook or myspace. I know the question I was asking did not have a real answer due to all these variables but I merely wanted something relate the possible resolution of a 4x5 neg compared to a digital image sensor resolution...something to get me in the ballpark so when I bring it up I didn't want to be completely making this up but be able to state it as a fact. Even though I stated the number as a generalization and did mention how it would vary with film type. But speech is over and the people loved it, even though I felt it was a shame to only skim over the camera because I had a rather short time frame to present my speech. So again thank you everyone for your input.</p>

<p>Ben</p>

<p>Bob I was only looking for a rough estimate. Just something for my speech....by the way I got a bunch of "wows" with the 100+ megapixel comment. That was all I wanted, I personally do not care about this conversion and I enjoy using film and processing that film onto paper and experimenting with various types of product from different manufactures just to see how results vary from paper to paper and neg. to neg. So Bob I appreciate the passion you have, but I wasn't looking to get into a debate, or get into depth about about the business and making accurate comparisions with each type of neg, paper, with different types of enlarging lenses....etc. That wasn't my question. I was not evoking a debate of digital vs. film. I merely needed something for people who only understand digital MP resolutions to understand the image quality you can get from a 4x5 neg. But I wanted to thank everyone again people loved the speech and they were talking with me afterwards about LF cameras, how much, what do you need for them...etc. Which I thought was awesome! Take care everyone!</p>

<p>Ben</p>

<p>Thanks everyone, I just needed a ball park figure to throw in there. I wasn't looking for something exact because I already know that this isn't really a valid question. But this helps me able to relate film to people who only think in megapixels. Thank you everyone. </p>

<p>I was curious just if you were to compare the image quality of a Ilford Delta 100 ISO 4x5 negative and convert it to megapixels. What would that number be? I am a student and I am doing a speech demonstrating my view camera. I love working with film but I know that 90% of youth today are into digital cameras, higher megapixels in a smaller configuration so they can take pics at the disco and then post them the following morning on their Facebook page. I know I need to reference the image quality of a 4x5 neg to megepixels in order to make them understand. But I was having some trouble trying to find a accurate source stating this conversion. I am not looking for exact conversions but something that I can incorporate in my speech. Because it just will catch their attention to hear about this old fashion camera kicking the butt of their tiny little micro cameras and how technology doesn't always mean better. Thanks for those who help me out. Also wish me luck on my speech. I am one of those fear of public speaking type of people!</p>

<p>Ben</p>

<p>Paul you couldn't be more right! I have my Hasselblad and have needed to have the body serviced...been sitting for way too long and now the rear aux shutter that is closest to the film back will get caught against itself so instead of laying flat one on top of the other, they would hit while they were closing and make kind of a pyramid which them I would have to pop off the back move one of the shutters, and reassemble before I was able to advance the film again.</p>

<p>If you are in the situation that I was in when I took my large format class then I'll tell you about the things I ran into since I didn't know anything about Large Format and using sheet film. First off I didn't know that every part of the camera comes separate! You ahve your camera body then sometimes you have to get a mount for the tripod, and you have to get a nice tripod to be able to handle the heavier camera, especiall when you have the bellows extended and the weight can be shifted to one end of the camera.<br>

Lenses have the shutters in them if you didn't know that already..(i didn't when I started) and you would like to get a Copal shutter and not the older Compur shutters which are getting harder and harder to find a place to fix and parts are very hard to get. You want to start off at 210mm-240mm lens which gives you a large image on the back of the focusing glass to be able to do the movements that camera is able to do without venetting. If you are buying a lens and it is not new, you are going to want to have the shutter speed tested to make sure that it is accurate so you are not setting up everything to your light meter only to find out the what the numbers on the lens says and what it really does are two different things. (found out the hard way)<br>

Film holder....i was looking around and didn't know if you needed certain types to fit into certain camera.....no! A film holder will fit into most LF camera. I first thought that each one had their own shape, cut out, groove...like the lens board does. You'll want a nice big focusing cloth..either something you made or bought, just get some clips and weigh down the edges so that the wind doesn't frustrate you too much if you are shooting outside. You'll also want a nice light meter and spot meter especially if you are shooting outside. You'll want a cheap roll up tape measurer to measure bellow extension, for example a 210mm lens will be at infinite focus at about 8.25 inches (which is 210mm converted to inches) and if you want to focus closer you have to extend the bellows and every inch you extend it past it's infinite focus spot you'll have to open up the ampeture or slow the shutter 1/3 of a stop.<br>

Last thing that I think you will need to keep an eye on is dust....if you are loading your own sheets in the holders and not getting the quick loads from fuji for triple the cost, you'll have to make sure the holders are clean and the dark slides are clean. A speck of dust can really piss you off when you are printing and find this dark spot on your prints and you look at your neg and you have these clear spots that the dust blocked the image at that point. You'll also want to get into a routine about shooting with your camera. Good word of advise is whatever you do just make your last step "removing the dark slide" You're shutter can misfire if you don't cock it right and if your slide is out you just wasted a sheet of film. Also when you remove the dark slide pinch the rear standard to the camera body, because if the spring that holds it up against the film holder is weak and you yank out the dark slide at an angle you can pull back the film holder and fog your film as you remove the dark slide.<br>

I am sorry that this is a long post, and yes you being general with your question made it hard to help you in any certain area, or maybe you were like me and didn't know anything and were just looking for help in all categories? Well which ever it is, just take your time setting up your camera and taking your shots. Also another good book "Photography" by John Upton. You are going to want an older edition I believe the 5th edition which you can find on Half.com for about 20 bucks. I think it is the 1994 published edition. Take care</p>

<p>I saw you need to take in the lens assembly to a local camera repair place and see if they won't just do a quick shutter speed test for you. My place doesn't charge me and I now know what my shutter speeds.....REALLY are. But then I also had a problem with the governor that slows the shutter speed to the setting I set it at, it would not always catch and I would be shotting at 1/200th instead of 1/10th of a second. Which made me upset being how many sheets of film it took before I figure out what the problem was.</p>

<p>I really enjoyed the photos that you provided with that link. I just wanted to stop by and thank you on that.</p>

<p>poor sad Bob</p>

<p>I think everyone here has touched on what the differences are. Pretty much both are excellent cameras to own. The monorail one is more geared for a studio in my opinion with all the movements, while not to say you don't use them out in the field just more common with portraits of some kind. The field camera is much lighter, able to be carried easier and further and you don't always need so much movement when doing landscape. I guess this was the camera of choice too in early 20th century for journalism... before roll film came along. But your question is only the start in getting into LF world. Lenses are another major one but I hope that all the info provided from everyone was helpful.</p>

<p>I know this can be a heated debate, but I was curious to getting input from people who have dealt with either of the brands, especially the lenses. Because I know the Lenses are going to be the larger investment and I will be able to use them later on on other bodies that would appear in the future. So I Was wondering about lenses, if the Nikon image stabilizer better compared to Canon? Can the canon focus quicker than a Nikon? Image clarity with the optics.....is one lens known to have a slight distortion while the other does not? It is hard to get these answers, and it would be an expensive trial and error test to get the answers myself...one I don't have the money for. Hence why I am on here, but I like the input about the controls for the Canon not being so well placed as the Nikon. I also heard the the Canon F4 lenses are better than the Nikon, but Nikon's F2.8 lenses are better than Canon's....image wise. But I am sure that the differences are ever so slight that I couldn't tell, but a more established professional might. Help please</p>

<p>Everyone here has mentioned clips that you can get from just about anywhere. Hardware supply, office supply, as long as they have good tension and will not damage the negative. As far as fingerprints, you might want to invest in some gloves. I didn't use any when I was learning LF because I knew my quality of prints would be more of an issue than finger prints. But if you are going to be serious about this, wearing gloves to prevent finger prints during all aspects of film developing process and printing process. I found it more of a pain getting some good trays when I was tray processing each negative. But I am sure you'll be fine with the info you have received already on here.</p>

<p>I would use a heavy material black cloth.... just go to a fabric store and get a good size, and you might want to double up on the material to add extra light protection and weight to prevent it blowing away. Then you want to go to a hardware store and pick up some thick heavy flat metal washers about a dozen or so. Shouldn't be much money at all. WHat you are going to do is fold them into the fabric and sew them in place. This will keep the focusing close tight around that camera for the fraction of the price of what you get that is exactly the same from the Calumet store.</p>

<p>Yes I know I am asking the age old question! Personally I am more of a Nikon guy than canon. But with the release of the 5D mark II and the D3X I am not sure what would be the smarter purchase? I know that the Nikon is much more expensive also a photographer friend made the switch from Nikon to Canon when the Mark II came out which got me to wonder. I am not really interested in the HD movie feature of the canon and I am making the switch from film to digital. I love my 4x5 and Hasselblad but other than that I have lost interest with my 35mm cameras. I normally operate fully manual cameras.. started with Pentax K1000 and now have Olympus OM-4T and Nikon FM3a. I really want to get into digital and I have convinced my wife on the investment of a good DSLR camera that I would love to get into the industry with. I am not looking at getting a starter camera and then upgrading to a full frame DSLR. The camera I want that I can use professionally for landscape, indoor studio, weddings, and outdoor portraits. I know that the capabilities of the camera are going to be beyond my own and that is what I want, I just wouldn’t be able to afford a second camera for a long time afterwards. I am interested in the Lens selection for each camera if there is an advantage with one companies lens that the other has trouble competing against? Also camera features and the realistic use of them…for example the Nikon is a low ISO setting than the Canon which makes the Canon look better…but how much noise do you get when you hit 25,600 ISO….so is that just a feature to capture your attention even though it will never be used? Any help anyone can give me will be greatly appreciated….also I ask for unbiased opinions too. Everyone has their brand that they love and think that it is superior because it is a name they are partial to… which in reality yes it may be better in some areas and lacking in others. I strive to know these differences, and I also have time before I purchase… especially with the Canon being out of stock at everyplace I look at so far. So thank you again everyone for reading my novel and helping me out. Greatly appreciate it. Take care and God Bless.<br>

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Bennie Hinojos</p>

 

<p>I would definitely take both, I would almost say that you should leave the Canon at home just because it seems that if you have both with you, even though you want to take LF negs you tend to go for convenience and whip out the DSLR. Someone earlier mentioned that it forces you to slow down, think about your composition and taking the correct readings for a proper exposure. Instead of just being able to snap away frame after frame of digital and filtering what you want to keep afterwards. Besides 4x5 negs are still better than what digital is better to offer. So just take both but make a clear cut decision on one of your days that this will be your 4x5 day only and don't touch the digital. Besides that, your trip sounds great and I hope you have a great time. Take care</p>

<p>Thats what I figured. Just trying to find a place that I am willing to trust. My local place I have taken my small format and large format has not impressed me. Seemed that I had to make too many returning trips to fix the little things that I thought should have been noticed while working on the equipment.</p>

<p>Hello, I have a 500CM body with the stander 80mm Carl Ziess CF lens. This camera has been sitting for many many years and it was handed down to me. I have taken it out and I have noticed a couple of issues. One is the rear secondary shutter that is up against the film back will get caught. What I mean is you all know they they are two large flaps that swing open to expose the film back to what you are shooting. But it seems at times when this shutter is closing that instead of resting with one on top of the other they seem to hit each other as they are closing and they hold each other open. I guess think of it as two people trying to walk through a door way together and getting stuck. This jams my camera and I have to remove the film back and just very lightly poke the shutter and it returns to its resting position.<br>

Second issue is when the rear shutter was giving me problems I was going over the camera and I find that the shutter leafs in the lens are not opening all the way. I set the shutter to "B" and I am able to see 3 leafs of the shutter when looking through the lens. It has not messed up image quality on my negatives, but I know it isn't right, oh and also the depth of field viewer knob gets stuck. I know this camera is a closet queen, but has it been sitting in there too long? Would a simple clean and service solve my problem? I am in the middle of trying to locate a good Hassy repair shop. Just wanted to get some insight thanks everyone.</p>

<p>Albert I am going to have to agree with Doremus. It does sound like you are just getting into this format and you are not sure what you are getting into. I was there several months ago, and I took a large format class at my local college. There I learned about the techniques that make this camera so unique and amazing. You will get remarkable quality out of your negs or transparencies, but you have to also be familiar with the cost needed to use these cameras. First off film is at least $1 per negative, and you have to load each sheet of film in complete darkness. You have to buy holders for your negatives and they only hold two at a time. So you either buy a lot of negative holders and go out with the ability to shoot many photos, or you can put your trust into a changing bag and hope that no dust inside the bag lands on your film and can ruin a lovely shot. Also a nice thing about going to school first was being able to use different focal length lenses, different types of camera bodies, and even the use of older shutter types. It got my very familiar with this type of camera and I realized how stupid I was wanting to just go out buying without any knowledge.<br>

To answer some of your questions, the #0,#1, #3 means your shutter size. safe to say that the larger the lens (longer focal lengths) the larger the shutter will be. #3 shutter is about 5 inches wide, while a #0 is about 2 inches. If you are buying everything separately then you need to know what shutter your lens will come with, and it will tell you in the description usually. Your lens board merely there for the lens to mount onto and you focus by moving the lens closer or further away from the back of the camera where the film is. The closer you are to something the further the lens has to be in relation to the back in order to bring into focus. If you don't have enough movement with the camera you can get the offset lensboard to be able to move the lens further away from the camera back while not having to fully extend your bellows.<br>

One book you may want to look at Photography by John Upton, but you want to try and find yourself an older addition which was published in 1994. This book has more view camera material instead of the new edition that has more digital. I hope my info was able to help. And good luck starting your LF experience.</p>

<p>yeah Rodeo Joe, I figured that out and it appears I figured out how to get the flash metering function now. My main mistake was to test the metering function while the flash was too close to the meter and I guess when it is outside the EV range the meter can read it just doesn't give you EV reading or even an error message just returns to the previous setting. Once I tried it with the flash some distance from the meter then I got a reading and was able to now understand this meter. Thank you all for your help </p>

<p>I want to shoot some portraits with my LF. I have a Calumet 45NXT, Calumet 400 series, and a Graflex Graphic View II camera bodies with Schneider 240mm lens and 135mm lens. I mostly have been shooting landscape so far and have done some in studio shots while using constant light lighting. Or outdoor and use just a refelctor since I am still a student and can't really afford anymore equipment. But I am glad to hear about your portrait with LF camera</p>

 

<p>Sorry, I guess I wasn't clear about which meter I have. It was the Gossen Digiflash meter, which looks identical to my Gossen Digisix just with a color change. Sorry Henry about me being unclear, and thank you for your help.</p>

<p>Strobes are great for portable reasons. I also use it in low light situations and especially light to pretty much burn the image on the neg with a pop of the flash and then extending the exposure afterwards to get the right density on the neg. I can do this several times and have multiple images of the same person throughout the image. I love constant lights though for studio, especially for beginners which I am. It allows me to be able to see what the light is doing to my model and able to manipulate it easier since I am able to see what it is doing. Once you get comfortable with this and you are able to arrange your strobes and know what cast shadows you are going to get then strobes are great. I work with film so strobes are harder for me to know what I am doing since I don't have that lovely little screen on the back of the camera showing me my image. Also I heard a book my Joe McNally <strong >The Hot Shoe Diaries: Big Light From Small Flashes. </strong> This talks about small flash units techniques which I am eager to buy once I have some spare money.....photography is an expensive hobby</p>