walter_glover

Stefan,

<p>

I am surprised at your report of the Minolta Spotmeter F. I had

one until recently (for the odd flash assignment) and checked it

for linearity, flare, etc. against my Zone VI modeified Pentax

Digital and it kept pace really well.

<p>

I use the Zone VI Pentax for both colour (reversal & negative) and

Black & White. Its only foible - determined by testing and

checking density with a MacBeth Densitometer - is that when

reading through a 25a (Red) filter I have to give 1 more stop

exposure.

<p>

I periodically shoot in very dim areas (black-painted rear

projection booths for home theatres is an example) and I find

that the low light accuracy is totally trustable.

<p>

My linearity test uses NDs to 3.0 (10 stops in a given light level)

and the error is one LED blob ( - 1/3 stop )

<p>

Walter Glover

Thank you Miguel,

<p>

I shall look into those also.

<p>

Happy days,

<p>

Walter Glover

Tim,

<p>

Welcome to the delights of Basilico � a hero for me.

<p>

In the Bibliography of Cityscapes under the sub-head "Books

and Catalogues by Gabriele Basilico" there is a listing for 'Nelle

altre cittå, Art&, Undine, 1998. Text by Gabriele Basilico. 77

black-and-white photographs.' This would suggest that it is

another publication altogether since Cityscapes has 367

photographs and no text by Basilico but a dialogue between G.B.

and Filippo Maggia dated 24 may 1999.

<p>

If you have not seen it already, might I suggest you track down a

copy of "Venezia_Marghera" published by Edizioni Charta. ISBN:

88-8158-128-0 which is an archive study of Marghera the port city

near Venice. There were some 15 'art' photographers including

Basilico, Olivo Barbieri and Walter Niedermayr. An absolute

gem!

<p>

Walter Glover

G'day Nathan,

<p>

If you require any advice about supplies and such in Sydney

please feel free to get in contact.

<p>

Have a bonza time while your down here, sport!

<p>

Walter Glover

Peter,

<p>

I use the manfrotto (Bogen?) 410 head. Some weeks ago a post

on this forum indicated a method of tightening the rack & pinion

drives and the head works a dream for architecture where small

accurate increments are essential. However, I would not always

count on it being rigid enough for the Nikkor-M 450mm.

<p>

Walter Glover

Hello folks,

<p>

Don't get too excited, the heading of this post is not a declaration

but a suggestion.

<p>

I am a great fan of Delta 100 in 4x5 and would love the

opportunity to match the 'Delta Feel' in lower light, or with heavy

filtration, by being able to use Delta 400 as was possible in the

past.

<p>

Since there are so many favourable comments on various

forums about New Delta 400 is there sufficient interest to put

together a petition and send it to Ilford?

<p>

I realise that $0.20¢ in Australian currency isn't worth a lot of $US

these days but I put my $0.20¢ in all the same.

<p>

Walter Glover

Richard,

<p>

We are all thankful that you see fit to take upon yourself the

melancholy task of relating the news. I take it by your comments

that this was a release from suffering.

<p>

Like the others I read the Zone VI Newsletters, bought the

modified Pentax Digital spotmeter and dreamt of one day

following in Fred Picker's footsteps through Vermont, Iceland

and Easter Island - all a long way from down-under.

<p>

For me, Fred Picker's greatest lesson was his oft recited mantra:

"If you want to know what happens with this or that, don't ask me

... test it." And now he's gone to test the greatest riddle of them

all.

<p>

Like so many others I extend my commiseration and

condolensces to those loved ones left behind.

<p>

But what a fitting monument that hallowed little meter is to the

memory and legacy of a great bloke; for every time I use it the

silence will be broken by the thought: "Rest eternal grant unto

him, O Lord : and let light perpetual shine upon him."

<p>

Walter Glover

Miles,

<p>

Bob is 100% correct.

<p>

Toyo list lens panels and adapter panels for various other

makes including Graphic and Sinar.

<p>

There is a Toyo to Linhof adapter panel that would allow use of

the smaller panel.

<p>

Walter Glover

Andre,

<p>

When you experience the size and weight of the Super-Symmar

XL - particularly the rear section - your mind will be made up.

When you see the hitherto unknown realised results from the

optics you will wonder why you ever raised a doubt about it. Add

to that the fact that small 62mm filters screw into a filter thread in

the rear section and life's a breeze.

<p>

Walter Glover

Paul,

<p>

Proceed with caution. The only experience that I have had with

this lens was on a Brooks Veriwide. It only just covers 6x9 and it

screams out for a centre-filter at that. Wait and get the 47mm XL

- a perfect choice with 6x9 & 6x12 and usable at 4x5 if needed.

<p>

Walter Glover

Ben,

<p>

In the speed range that you mention i think Tri-X has a reputation

for lovely skin tones. I personally prefer Delta 100. For

skin-tones I would use either of these emulsions developed in

Ilford Perceptol 1+3.

<p>

Just $0.20 worth - which in Aussie Dollars isn't worth much I

guess.

<p>

Jock Sturgess and Irving Penn are the two guys that get creamy

skin tones in my estimation and I can't help but feel they might

be into Tri-X given the era that Penn was prolific and size that

Sturges shoots.

<p>

What my question is is this: What does Gabriele Basilico use to

get creamy cityscapes?

<p>

Walter Glover

Thanks Jorge,

<p>

Like I said, wet long weekend and an idel mind. I do think that

both 'systems' require their fair share of testing and the flare test

that davis outlines seems it would be handy with either system -

just handy to know what effect the flare is having.

<p>

But you're probably right. The sun will come out tomorrow and I'll

leave well enough alone.

<p>

Thanks again,

<p>

Walter Glover

A wet Easter weekend here in Sydney has me pondering, yet

again, the musings of Phil Davis.

<p>

Firstly, I suppose, I should ask: How many of you folk use the

BTZS techniques? How do you find it in terms of what it

delivers?

<p>

But my main point of confusion is: I have read through the

procedures of paper and film testing, flare and reciporcity

evaluation and the incident vs. spotmeter debate but I can find no

reference to callibrating your meter of choice with the system.

Am I stupid?

<p>

For the most part I can see the advantages of the Davis's

concept and I like the sound of it, but if you meter is out, how you

you know or compensate? Or is this to be done by the old AA

and MW systems I've used for years.

<p>

happy Easter, hope it's sunny where you are,

<p>

Walter Glover

Joe,

<p>

Rather foolishly I sold my 72mm and 90mm SAXLs to purchase

an 80mm SSXL. I couldn't fit the 90mm XL on my Linhof and

thought that the 80mm could wear the hats of both the 72mm

and 90mm. On further investigating the 80mm SSXL I found that

its performance was questioned by a number of users I respect

and believe. I ended up with a 90mm 1:4.5 Rodenstock which is

great, but there was still the snag that when I first got my 72mm it

became my 'standard' wide-angle for 4x5. The 90mm seldom

got a run.

<p>

So, last week I took delivery of my new 72mm SAXL and I'm back

in love. It is a sensation lens in terms of both performance and

view. As I say, it is my standard on 4x5 and on 6x9 or 6x12 it

provides great spacial rendition. There's buckets of movement

and yes, the filters are big, but so what? You get what you pay

for.

<p>

In conclusion, I should point out that I use these lenses daily in

interior and exterior photography for architects, interior

designers, landscapers and (for a strange twist at the end)

motor cycle customisers.

<p>

The focus issues that you address are alien to my experiences

with the lenses you mention and so I suggest that it might be a

matter of film plane position, alignment or flatness. Sounds like

stringent testing may be the order of the day.

<p>

Happy days,

<p>

Walter Glover

Richard,

<p>

I love this combination and find that at 1+100 with minimal

agitation there is an almost compensating effect which is very

forgiving in relation to subject brightness range. I halve the

suggested film speed of Kodak: TMX = EI 50 and TMY = EI 200.

<p>

I use a Durst L1200 with condensers and find that 9.5 minutes at

24ºC is right on the money. Constant agitation first 30 seconds

then 10 seconds every minute thereafter.

<p>

I'll be curious to hear your verdict. I find that the T-Max films

benefit from the increased acutance that Rodinal and minimal

agitation offer.

<p>

Another fine developer to try with these films is Crawley's FX-39

which is distributed by Paterson. With FX-39 the Mackie line is

such that, when viewd from the emulsion side the image sit up

in relief on the film base like old Kodachrome.

<p>

I am sure that the hangers in a deep tank will work, but I use

Jobo 2509N reels with a centre column extender to use as

handle and process in open tanks in the dark. Two reels with 12

sheets fits a Jobo tank holding 3500ml of working solution (35ml

concentrate).

<p>

Happy days,

<p>

Walter Glover

I have both the 35mm Apo-Grandagon and the 47mm Super

Angulon XL which I use on my Techni-Kardan 45S. The 47mm

will focus at infinity on a regular Linhof sunk panel. The 35mm,

however, must be mounted in a Linhof 'Double-Sunk' panel to

focus at all due to the restriction of the minimum flange focal

distance of the camerta itself. The 35mm will focus at infinity on

a flat Linhof panel on the Master Technika 2000. The double

sunk panel uses a tiny cable release to link the Quick-Release

socket to the shutter's release block.

<p>

Good luck,

<p>

Walter Glover

Rocco,

<p>

I am not able to answer your particular questions but I did make

one observation when I saw a set of Heliopan slim-line B&W

contarts filters that a colleague purchased:

<p>

If you stack them with end caps for compact transportation you

will find that they are engraved with filter factor information but

there is no indication of what the actual filter (colour) is.

<p>

As I say - just an observation.

<p>

Walter Glover

Tony,

<p>

Another irritating aspect of Ilford's reciprocity table is that it offers

no suggestions for processing modification. I think, also, that a

close inspection will indicate that they use the same graph for all

their emulsions - I might be wrong.

<p>

great film despite all of this.

<p>

Walter Glover

Steven,

<p>

As a rule the image circle of macro lenses is conservative and

may, in fact, fall short of full coverage at infinity. Having said that,

I got caught out one day shooting a skyline and needed a

120mm lens. The only one at hand was my Makro-Symmar HM

120 so i used it at infinity. It only just covered but was deliciously

sharp. (On 4x5 that is)

<p>

Walter Glover

Hi all,

<p>

I am posting this request concerning the availability of a

replacement 4x5 light mixing chamber for the Ilford Multigrade

Head system.

<p>

Can anybody advise of a source please?

<p>

Thank you in advance,

<p>

Walter Glover

Marcus,

<p>

Depending on my mode of transport I either use the Photoflex

(mentioned elsewhere here) or the Sinar 'Black Box'.

<p>

The Sinar 'Black Box' is a hard attache style case which sits flat

and has internal pockets to hold bits and pieces out of the way of

your hands. The fabric lighttight material is protected from

puncture or tearing by the hard fibreglass outer shell.

<p>

For international travel I find it a little bulky and so I opt for the

Photoflex which, whilst more vulnerable to damage, does fold

absolutely flat for packing.

<p>

Large stacks of holders are something I don't contend with in the

bags. I find that perpiration vapour from your working hands

tends to rapidly increase the humidity inside these devises and

starts to make the film grab on the septum of the holder as you

load - I limit myself to 6 holders at a time and then open for fresh

air before proceeding with the next 6.

<p>

Happy trails,

<p>

Walter Glover

There are several examples of Reinhart Wolf's work in the Sinar

published large format book series - particularly the Architecture

edition. And, of course, there is his snowy facade in the Nikkor

Large Format lens brochure.

<p>

Walter Glover

Ian,

<p>

I second the motion of bob Wheeler's site - the file is entitled

Vade Mecum.

<p>

Good luck

<p>

Walter Glover

Tony,

<p>

I use Kodak Dental Clips - they're ideal for me.

<p>

Walter Glover

Ed,

<p>

A major point to consider with the Fuji GX680 is that you only

have movements at the front and none at the rear. It has long

been my attitude that this is enough to get you into trouble and

not out of trouble.

<p>

Size, cost and the need for rechargeable power supplies are

negative points for me also.

<p>

Walter Glover