richard baznik

I've used the Combi-Plan tank for about three years after having used trays and then the justifiably-maligned Yankee tanks. The Combi does in fact leak (sorry, Bob, but I have no idea which component is causing the leak -- it's probably the seal around the lid) and the filling and draining times drive me crazy.

 

But fear not, I've found a way around my concerns with the Combi. I develop the film, by far the longest element of the process, in room light. Then I turn off the room light and use two extra utility tanks to do a dip-and-dunk routine in the dark with the loaded Combi frame for the stop bath and fixer, both relatively short times.

 

Even with these limitations, I find the Combi to be the best solution thus far. I suppose a Jobo system would be better, but I'm an amateur and I derive no income from my image-making, so I try to keep the outlay as low as I can.

I have for many years photographed in a large urban park system near my home. I've used three systems to do this: Bronica GS-1, Leica M, and a K. B. Canham 4x5 field camera. An elderly European gentleman who frequently hikes in the park has come up to me several times when I was using each of the systems and asked. "Linhof?"

During a visit to Ankara, Turkey, in 2000, my wife and I wandered into a little eatery, drawn by the amazing aromas drifting out onto the street. The interior was very dark, but the young man behind the counter quickly saw I was carrying a Leica (an M3) and began asking me about it. He said he was interested in photography and knew that Leicas were "the best." He asked if I could take his picture so he could tell his friends he'd been photographed by a Leica. I did, and I sent him a print later.

 

The shop was so dark I had to guess at focus and exposure. This is on T400 CN with a wide-open 35mm Summilux (pre-ASPH).<div></div>

Thinking back years to my first Bronica (a GS-1), I would say that remembering whether the dark slide is in or out is something to watch. One of my backs -- all purchased used -- was not in good tune, and the electronic "lock-out" feature didn't reliably prevent me from releasing the shutter if the dark slide was still in. A later CLA fixed that problem.

 

Happy shooting!

Here's another vote for Merrill David in Cleveland, primarily for MF. Excellent quality and service. They have left clip or chain marks on my 4x5 film, however.

I agree with all the good things that have been said about dealing with Jim. The only thing better than communicating with him by phone or email is visiting the store in person. It's a real throw-back to an earlier and more supportive style of doing business.

 

As for formats other than LF, I have also purchased MF and 35mm gear from Midwest, and in all cases have been satisfied.

Here's another vote for Wilberg's. Prices float with the exchange rate, of course, but that will be true at any store.

Yes. You don't need an AE prism to use the TTL function. You only need an AE prism to use the auto-exposure function in non-flash shooting. The flash unit you want is the "Speedlight G." KEH often has them in good condition.

Yes. The TTL function is not dependent on using an AE prism. You only need the AE prism to get the auto-exposure function for non-TTL shooting. The flash unit you want is called the "Speedlight G." KEH often has them in good condition.

John is right, though you can also get the constant view with a MF rangefinder such as the Bronica RF645 or the Mamiya 7II. I've been using a GS-1 system for about eight years now and have never found the vanishing image to be a problem, particularly with the speed grip (almost a necessity if you're going to shoot hand-held).

Kowa Six.

I use a Bronica GS-1 system, not a Hassie, but I think I can help you. I have 18mm and 36mm tubes for the Bronica, and they work very well with my 65mm, 100mm, and 150mm lenses in shooting closeups in nature. You probably already know this, but note that this kind of photography requires having a way to stabilize your subjects, since the depth of field becomes VERY short with the tubes.

I've done B&W 4x5 processing in trays (takes too long), the infamous Yankee tanks (uneven development), and the HP Combi-Plan. By a large margin I prefer the Combi-Plan. I use the C-P tank for developing (with the lights on, HC110-B or E dilution), then turn off the lights and do a dip-and-dunk for stop bath and fixing in two auxiliary tanks I bought from Adorama, then rinse in the open-top C-P tank.

 

BTW, I invert the C-P tank for agitation rather than simply rocking it on its base as directed. Since I don't use either of the spigots on the tank, the only leakage I get is a bit from where the lid meets the top rim of the tank.

Mike:

 

Your last entry raises the interesting possibility that film that was fresh when you started the exposure could become outdated during the exposure!

 

In a more serious vein, my experience suggests that reciprocity is likely to fail more precipitously with old film than with fresh film. My experience is strictly limited to maximum exposures of three to five minutes, however.

The image area for 120 fim is considerably larger than that of 35mm film (which is why we like MF, of course). A 35mm enlarger is set up to project the smaller image area onto the paper -- the lens it uses has a smaller coverage area, and the light stage above the lens is smaller as well. To get good prints from the entire image area of 120 film, you really need an enlarger that can accommodate MF film -- or even LF. Sorry.

I have that lens and it's always made that noise -- as do all my other Bronica lenses. It's the cocking mechanism sliding loosely in its channel. It tightens up once the lens is placed on the camera body.

With my Bronica GS-1, I use an 18mm tube with either the 150mm or 200mm lens and get good results on portraits. DOF is shallower than without a tube, though, so focusing becomes a bit more tricky.

I have the Fuji 250 6.3 and it never disappoints. Good movements, sharp, and reasonably sized.

#1, then #2. #3 makes no sense to me. Thanks for asking.

I have a GS-1 system and have used 18mm and 36mm tubes stacked together for years with no problems. When stacking, I put the 36mm tube closest to the body.

I haven't used the Luna, but I've been using an L-508 for about three years and find it very satisfactory.

The Combi-Plan tank is not perfect, but it's MUCH better than the Yankee tank. Remember the saying, "the perfect is the enemy of the good." I'd get the Combi- and regain your sanity while searching for tank nirvana, whatever that may be.

I've seen the catalogue from the show and it's stunning. It actually includes several more images than appear in the show.

 

Mr. Namkung is a very senior photographer with a fascinating background -- he was originally a musician -- and has a wonderful perspective on life and image-making. I'd love to see the actual show and would encourage anyone within reach of Seattle to do so.

I have two of these Yankee tanks and have stopped using them after continued problems with uneven development. I've switched to an HP Combi-Plan tank, which holds six sheets at a time and uses a bit less chemistry. I may ultimately wind up with a Jobo set-up, but for now I'm much happier with the results.

I use mine mostly for B&W and have found it's more than adequate, but my new/used 135mm APO Symmar has now relegated the 120 to back-up status. For color, the 120 is just not ready for prime time.