matt miller cambridge, ia

I use the <a href="http://www.f64camerabags.com/backpacks.html" >F64 BPX</a> backpack to carry my 8x10 field camera & all accessories. The pack comes with tons of dividers that you can modify to fit your gear. It's a huge pack with lots of room. You'd have no problem fitting all of your gear in it. It's pretty reasonably priced as well. I called the factory and bought directly from them. I believe it was under $200. The pack comes with two removable pouches that are sized for 4x5 film holders. I use them to carry water. A couple cans of beer fit in nicely as well.

How are the keeping properties of the Paterson developers? The shelf life of opened bottles of F09/Rodinal are phenomenal. Some developers can get expensive if you have to dump them because they've been sitting around for too long?

I've not tried them, but thank you for the suggestion. I just read <a href="http://www.largeformatphotography.info/chasing-magic-bullet.html" >this</a>, so I probably won't be trying them any time soon.

The thermo cord should be left plugged in during your entire printing session. It keeps the bulb warm to ensure more consistent printing. Your inconsistency is probably caused by the different light intensity output as the bulb warms during exposure. I have the Aristo D-2 HI and leave the thermo cord plugged in the entire printing session. I don't notice the inconsistency you speak of.

"I do not use this inferior developer"

 

Thank Goodness! More for me! F09 is great stuff.

 

Marek - Aside from dilution strength to acheive the same results, I notice no difference between Rodinal & F09. The reason I use F09 is because I buy it from the same place I buy my film (J&C).

Badger carries the Fujinon CMW 125 f5.6 for $635.

I shoot XP2 in 35mm & 120 quite a bit. In my experience, rating it around 200 gets best results under normal shooting circumstances. Which paper you plan to print on doesn't determine how you rate the film. The film prints well on color paper, but you can definitely see some funky colors. I've had rolls processed at drug store minilabs that have produced pink, yellow, sepia, etc. I recommend taking the film to a digital (Frontier, Agfa D lab, etc) lab. They can usually control the color shift, and print in grayscale if that's what you prefer. I like to get the proofs with a light sepia tone. For enlargments, I usually print myself onto B&W paper at home. XP2 negs print very nicely onto B&W paper.

Try some Diafine. With Forte's thick emulsion, you should definitely see a speed increase. I've been itching to try J&C 200 8x10 in Diafine, so if you go this route, please let me know how it turns out.

 

Matt

Daniel, to answer your original question, yes, you should let your film holders warm up before removing them from the sealed bag and exposing them to the warm air. Just as, when removing your film from the freezer, you (should) let it warm up before opening the box. The film holders would probably protect the film from condensation, but why chance it.

Cooling your gear down before use in cold weather is bad advice. No reason for it that I can see. Condensation only happens when going from a cold environment to a warm one. Never the other way around. I'm with John on this one, keep your stuff warm as long a possible.

I understand protecting your equipment while it is warming to prevent condensation, but why should you "pre-cool" it?

I'm planning to use J&C Classic 200 in 8x10 and develop it in F09 to

make contact prints. I am wondering what other's experiences are

with this combination?

I have a Graphic View II, which is a monorail camera that doesn't fold. It hangs upside down in a large case. When I go hiking, I mount the camera on the tripod and carry it over my shoulder. Film holders, meter, darkcloth, beer, all go in a backpack. It's a heavy load, but I'm a big guy. Set up time to take a shot is very quick since the camera is already mounted & ready to go. When hiking through lots of brush, I wrap the darkcloth around the camera. I'm selling the GVII to go to 8x10, which might actually be lighter.

I have 2 lenses for the 4x5. The 135 gets used 90% of the time. The 254 gets the other 10%. Just happen to be selling both to fund an 8x10 purchase.

Tri-X if great in Diafine. Easy too. Check it out.

Actually, I just read the whole thread. Be sure to check out the chart at the end.

Somewhere in <a href="http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=001ilK" >this thread</a> is a formula to convert Kodak's print grain index to RMS. Might help you find a place to start your testing.

 

Like John, I'm curious about your 3 8x10 July 4th experiment too.

Here's some info on <a href="http://www.kodak.com/global/en/professional/support/techPubs/e58/e58.jhtml" >Kodak's</a> films, scroll to the bottom. And <a href="http://www.fujifilm.com/JSP/fuji/epartners/bin/AF3-809E.pdf" >Fuji's</a>.

I'm with Frank. I know Ebony's are beautiful, but...

At <a href="http://www.photo.net/photo/1661272" >night</a>

Do a clip test and adjust from there.

Todd, I'm in the same boat you are (poor). I have to carefully plan each purchase too. About a year ago I decided on the Fuji Quickload instead of the Kodak, mainly because of Velvia & Astia. I'm shooting more B&W now. I mostly use Tri-X sheets in holders, but have just started using some of the Fuji Acros in Quickload. It is really a great film. Very close to TMAX in every way, as far as my eye can tell. More expensive though. I've read too much on the problems with mixing quickloads/readyloads/polaroids and I don't want to go through that.

"Why use large format??"

 

Detail, tonality, movements, the sheer joy of a large neg/tranny, focusing on a ground glass with 2 eyes instead of a viewfinder with 1. Lots of reasons besides the possibility of huge enlargements.

I think it's the heat.

I wish I was in your shoes...poor guy