alex_hawley

Agree Tim. But the world is full of those infuriating comments such as "lacks sharpness" which is the basis for my using the term "indoctrinated". Just look at the comments on Domenico's current POW. There's a lot of people, viewers and photographers both, that can't get past the infinite sharpness doctrine.

 

By the way, glad to see someone from the LF community get a POW. Congratulations Domenico.

Ken -

 

That View Camera Workout routine you recommended is starting to show results. Thanks!

Domenico, Steven--

 

The way you are using the shallow DOF is intriguing; quite contrary to the "school of infinite sharpness" that most of us (at least me) get indoctrinated in. I gotsta try it!

Newbie finally got one in focus using the various movements. Had

front rise, front shift, front tilt, rear swing and rear tilt.<div></div>

Per, I would like to know your opinion on this combination, especially compared to Tri-X TXT and Hc-110 dilution B. I operate in a naturally windy region. Since moving to large format, I'm seeing shutter speeds down in the 1/4-1 second range with 100 speed film, after stopping down and adding filter factors. Awful hard to get the vegetation to hold still. I'm starting to think a couple more stops faster on the shutter would be nice.

Kodak renounces digital!! Press release says Big Yellow pledges to revive interest in film with renewed emphasis in the large format genre.

Oh NO! Speed Graphics covering another war?? Next, someone will show up with a Sherman tank (adorned with panty hose).

Per, thanks for the answer.

Hey Per, I've heard of Pyro but what's Pyro Rollo?

I was skeptical of the No Words posts at first but now I'm appreciating them. Searching the Gallery for LF photos is cumbersome and dependant on key words. The chances of catching them as they are posted is almost nil. I would support a LF gallery and be willing to pay for it.

Gene, I havent shot any tri-x 4x5 yet, but from my research on LF film/developer combinations, the Tri-X/HC110 combination is very popular with many highly regarded LF photographers. This extends from Ansel Adams who favored it in his late career to Per Volquartz, who's website I visited today.

 

From my MF and 35mm experience, I can say the Tmax 100 and Rodinal combo is nearly grainless so I would expect the same in 4x5.

 

Currently, I'm learning 4x5 with APX 100 and Rodinal 1:50. I like it; tonal range very similar to Tri-X. But living in a notoriously windy area, I think I will move to Tri-X/HC110 in the near future just to get that one stop faster on the shutter.

Wieslaw, "sweet spot" is an over-used American euphamism derived from the baseball sport. My use of was a way of simplifying the question. Maybe over-simplistic. Being new to large format, somewhat studious, and concerned for developing good technique, I became concerned that I was in danger of falling into a bad habit. The responses to my question confirmed my suspicion.

 

No, I did not know the fine points of focusing you pointed out. Your illustrative example is quite good. Very innovative too. Thanks for bringing it to the discussion. Alex

Absolutely splendid Per. Beautiful interpretations and examples to aspire to.

Thanks to all for the input. It was Tuan's compilation of Sexton's

f/stop settings that prodded me to ask this question. So far, I've just been lucky that f/22 worked for the situations I've been in. I have been using the "focus plus one" technique as some of you mentioned, but my monorail is an older one without any graduated scales on it so I've been winging it a little. Looks like my next modification to the camera is to mark scales on the rail to properly determine the aperature.

After my first few outings with the 4x5, I've noticed I'm routinely

setting the aperature at f/22 for outdoor scenic shots. Am I lulling

myself into a bad habit or is this typical? Maybe I should ask when

do you find it necessary to stop down to f/32 or f/45?

Steve; Sorry for not having any development time suggestions, but have you practiced with agitating six sheets in the tray? If not, as a fellow newbie, I would suggest no more than three or four to start out with. I did six for the first time the other night. I got through it OK but I felt it was good I had done a fewer number of sheets several times before trying six.

 

If you have six scrapped sheets, try simulating with a tray of water. Make everything else the same as if you were really doing it; total dark, timer, everything. Then run through a development cycle with the scrap sheets and water and evaluate whether you want to try it that many sheets with the real thing. Cheers!

Thanks Gene. I forgot to add; its contact printed. I don't have a LF enlarger yet.

newbie #2: graflex view, 8.25" kodak commercial ektar, f/22<div></div>

I think the argument on image quality is a valid one, but there's also one to be made about fine art B&W as many LF people prefer to do. Fine art B&W prints seldom seem to garner much praise on these websites. They just don't catch the unappreciating eye with whiz-bang colors the way the digitals do. In my own experience, I found that sepia toning attracts far more attention than a straight B&W does. Personaly, I prefer straight B&W, but if you look at my posts, most are toned, just for attraction's sake.

 

Although I love to view other LF work (especially since I just started), the main attraction to this forum for me is learning. I've found it to be extremely helpful with many accomplished professionals freely giving helpful advice to rank amateurs such as myself. I would also submit that the vast majority of regular contributors to this forum couldn't give two hoots about the point chase game.

Liz, check out the Graflex website, www.graflex.org. You will find good descriptions of all the Graflex models and a wealth of other information.

 

The basic difference between the Speed Graphic and all the others is a focal plane shutter. By modern standards, its kind of a Rube Goldberg affair but it does work.

 

I would suggest going with a Crown Graphic, one of the models without the focal plane shutter. Try to get one made in the 50's or later. The later models (designated by "Super") are very good but will cost more and are harder to find. Good luck and let us know what you do.

Sorry for not being able to respond poetically

 

My Engineer's head can only offer the following, pathetically.

 

Have you considered a sterile pressurized room, fully atmospherically controlled, 100% HEPA filtered air? Instead of loading nude and running the risk of body hair contamination (unless one shaves of course), try a biological protective bubble suit. All this is easy to sell to the spouse because it can also serve as an anthrax attack shelter.

Scott, another resource to check are the outdoor sports catalogs like Cabelas or Bass Pro. There are several hand held models available. Don't use one myself so can't make any recommendations. My Delorma atlas has GPS grid markings on all the maps.

Like you, I find the Delorme maps the most useful because they are the most detailed. They show all the roads in an area, no matter how "improved" they are. State tourism maps only show the big attractions as designated by the State's tourism office.

I would like to see some examples of this. Are there any available?

TJ, as a fellow newbie, I would recommend tray development. For me, it has been a lot easier and more straightforward than I thought it would be. Tanks and rotary systems are OK but (1) Its an added expense (2) There's more things to go wrong and fiddle with just from the mechanical apparatus. (3) Many very experienced photographers claim tray development gives the most consistent results. This includes Ansel Adams in "The Negative".

 

Have fun!