andrea_milano

Bosscreen doesn't provide silverline for all cameras, as far as I know

they only provide silverline if already in stock but the last time I

bought one at the factory(I work in the Hague-The Netherlands....) they

told that they discontinued the production of silverline and unless

things changed from last spring ........ .

I have a silverline and I have had 2 black print.

Basically it is only a metter of looks they are both great and there is

no functional difference.

Silverline looks neater and more expensive!

Bubbles only happen if the glass gets too hot, I never had any troubles

and needed no fresnel up until 75mm.

Polaroid is a huge concern whose revenues come frome different sources,

one of them being the photographic one. The market of instant

photography is a very special one, we paid for years huge prices just

because Polaroid was ....Polaroid, the other sectors, not last the

digital one, are under huge price and market pressure.

I trust Polaroid to survive this one too!

Good luck

It very much depends on what is the results which you wan to achieve,

you aim at a good positive 32 ISO is a good speed, if on the other hand

you aim at a good negative, I'd rather expose for iso 25 but it depends

on your enlarger as well.

I'd like to put an extra question to you and the readers, and tha is

can you expose for say 100 ISO and thefore develop longer or "warmer"

or a combination of the two?, I've read opposite opinions about this

and would like some direct experience reports.

In some cases I've seen work of photographers where clearly the

exposure exceeded the emulsion limits, how do they do that?

OOOOPS! it was another thread which spoke about poor grammar and typing

skills, the point is valid anyway!

In the case of your Horseman, if I were you, I would get in touch with

Jin Yamaguchi at Horseman in Japan, he will be able to advise the best

procedure. As far as I am aware , Horseman cameras mount fresnel at the

back of the GG, therefore facing the photographer, just slightly

unscrew the retainers and slip the fresnel underneath, then screw tight

and voila'! At least this is what I did on my Horseman EM, other models

might have a different construction.

<p>

Film and GG allinement have been in the past widely discussed onn this

site and you should find in the archives all the necessary information.

<p>

Concerning the poor grammar and typing skills of the contibutor of any

site, which another contributor to this thread quoted, I am afraid

that an International and well-meaning array of contributors produces

contributions to the best of their abilities, in other words the

content is more important than its form.

I think that your best option is to replace your current lens boards

with Linhof T. model and buy an adapter for these on your Sinar,it is

true that this costs quite a bit of money but at the end, it opens new

possibilities.

However, if most of 4"x5" use Linhof(like) boards, it is equally true

that many 8"x!0" use Sinar(like) boards, so why don't you grow up to

this format, especially if you already have lots of 4x5 maybe it could

offer you a nice expansion of your activities, clients like real large

ground glasses!

I am very happy about the answer that which the previous contributor,

Tomas, gave, i second it and I hope that the people would stop saying

lots of nonses about flat -field lenses and how they should be ,

supposingly inapt to be used for general photography!

the problem is that 550 is a lot less widely spread than the back which

takes 669, pola pro and so forth, so why not changing your polaback

altogether? It is true that the film size almost covers 4"x5" but

finding films is a pain in the neck. Here in Holland and in general in

europe 550 films can be found only at professional shops while 669 and

silimar can be found around the corner because the local shop uses it

for the passport photographs, a distinct advantage!

Good luck.

I know somebody who imports both cameras, why don't you ask him?

http://www.johndesq.com

greetings

Hot light is very good and (can be) inexpesive, if you choose a

professioal system the only advantage is the number of accessories

which somebodyelse has been already inventing for you, but that comes

to a price.

If, on the other hand, you are good in DIY then many adaptations of

cheap light sources will be at your service.

<p>

Natural light is the best source if you can understand it and master

it, reflection screens and mirrors work wonders and cost nothing.

Portraits with natural light are the best.

use high speed films, large format films hardly show any grain

whatsoever.

<p>

Flash units, strobes, are great and if old can be very inexpensive, I

bought many different brands and currently own a Balcar Jazz 750W.s

(great for close-up portraits) and a Bläsing traveller 1000w.sec with

lots of accessories (fresnel spot, striplight, )

only buy reputable second hand, sturdy studio sets like Bläsing or

Strobe can be surprisingly cheap when second hand, because they look

old fashioned and bulky but they are stunningly good and powerful.

I have a Kaiser 4 blades and it is great!Dunco is also very

good.Greetings

maybe you could adapt the beautiful Linhof solution to your board, this

"paperclip" and its holder maneges to reach and be adapted to most

lenses or better said shutters releases. This is not the only recessed

lens board (maybe the best, I hear Bob think) if you need another one

look around.

Good luck!

Novoflex has the best ball head I ever used (not cheap!), comes in two

sizes, larger one fits large format just fine.

alternatively, why don't you use a tripod with a buit-in ball-joint? I

mean a tripod such as Berlebach which has a ball joint at he base of

the column, you can fit a quick shoe (many brands available) and in so

doing saving a lot of unnecessary weight. Unless you need to tilt the

camera vertically the ideal solution

it is a great idea, infact, most people do it! If you process on site

the chance that dust particles or hair will glue to the emulsion is

relatively high. I disagree with the previous contributor because the

Polaroid film qualities (its special feel and general appearence)

cannot be compared to normal film, moreover if you have some problems

with having a darkroom this system gives you the opportunity to shoot

and develop without messing around mith chemicals and so on.

Refrigerating the film is not too much of a problem, actually drying

out of the film (or rather its paper envelope) is more of a problem

because in my experience generates edges which aren't clear cut, but

hey! Polaroid is all about wear things isn't it? I assume you are

experienced with the removing of the film after the exposure, practice

it if not, it can be tricky at first.

your lens won't cover 4x5 but as it has been said before you can use it

in cose up photography, you'll enjoy it!

I made a mistake, as other people pointed out the difference is in the

micrometic movement, I was talking about a wooden Wista DX

The two Wistas are very different cameras, the VX is a metal field

particularly versatile if you want a very rigid camera, the other one

has a very nice light construction and a soft bellows, I'd buy the SP

(I owned a VX for threeyears.....) if I didn't have already a Shen Hao.

Dear Paul,

no I didn't use a 240mm Iston, infact, I believe that you refer to a

barrel lens which might have been equipping one of their "atelier

camera", unusual though it might seem, these barrel lenses can be

surprisingly bright (3,5 my word.....), generally tessars with good

results in portraiture, if they are cheap always buy....

Steve,

150mm XL would have to be the best quality and most modern choice(but

very,very expensive) or alternatively a 165mm (wideangle construction)

angulon or super angulon, depending on how much cash you've got, if you

are really skinned of cash, then, a repro-camera lens would do the

job(150mm mounted on Agfa repro-cameras) they cover the format and have

no shutter and are really cheap!

Good luck

Dear All,

does anybody have any experience with this developer, have you got other diluition/developing times for 8x10 tri-x other than the too short 3 minutes suggested? any ideas? please do not guess but just provide facts if in your possession, I can guess on my own.......

Thanks!

unless you need to fillyour format (slides for viewing .....or

something like that), it is a lot better to crop your image and let

the lens alone (Armin is right it is the front element you should

remove.....)the lens performs as a longer lens allright but with a

tremendous loss of quality, enlarging is a better option. Most

portraits on large formats are done with shorter lenses than the small

format, for a number of reasons....

Dear Andy,

if you read the different entries concerning Shen-Hao, you know I have

been somehow involved importing a small number of cameras , my opinion

on the cameras was and id very good but I have my reservations

concerning some Shen-Hao products and this includes the 6x12cm

rollfilm back, save a little more and get youself something better,

horseman was my choice but if you want to buy something even

more "excellent" (so to speak...) buy Sinar, other than that Calumet

has risen many doubts and wouldn't bother.

Good luck

Bosscreen-Stabilix, as I mentioned time and time again, many

previously entries on this forum

good luck

Paul,

they don't really have a e-mail address or site!!!!!

(Small and traditional company.....).

Their telephone number is the one quoted already, you might mention my

name I come there to buy thing every now and then and Mr. Schreuder is

the brother of a collegue of mine.

Regards