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kinesisphotogear

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Posts posted by kinesisphotogear

    Using enlarger to make internegative?

    in Large Format

    Posted

    I tried to make my own 35mm to 4x5" (using an enlarger) and 35mm to 6x7cm (using a view camera/roll film back) internegatives (not positives like you want)

    with T-MAX 100. The results were dismal. Very soft for some reason, even with a macro lens on the view camera. After checking with my lab they had similar

    problems and went to using Super XX, which is now defunct I believe. The lab was stocking up and freezing a lot of this film for this purpose. That was a few

    years ago and I'm not sure what they use now. Why not use Scala or Scalia film which is a direct positive film? It may only be available in 35mm.

    Rollei SL66 vs Hassleblad 500C

    in Medium Format

    Posted

    I used to own the SL66 system back in the 70s. I REALLY LOVED it, except for one major issue as mentioned above�flash sync speed. I especially like the tilting front for depth of field (it does NOT control perspective however). As I understand it, the glass is the same on both cameras--both made by Zeiss. Because of the flash sync speed issue I finally switched to Hassy. I purchased a used ELM and the same three lenses (CF) I had with the SL66 system (50, 80 & 150). I cannot tell any difference in optical quality (except I purchased the newer 50mm "FE" lens which appears to better for close ups than the original Zeiss 50, but then who does macro work with a wide angle anyway?) . Eventual resale on the SL66 would or should not be near as high as the Hassy.

    Polaroid 550 holder

    in Large Format

    Posted

    I have two of the 550s. They only take pack film. Just open the box and shove it in with the opening of the film toward the dark slide on the back. I suspect that

    Polaroid has made them so they will only go in one direction. After inserting the film, pull the black leader paper out (make sure the dark slide is in place).

    Calumet C-2 and C-2-N film holders

    in Large Format

    Posted

    I have made several posts on this forum (or the Medium Format forum of photo.net) about this very issue. Rather than repeat in detail, let me say:

    C2 ( I have two of them) has spacing problems, only 9 good frames per roll (not 10). Both C2 and C2N have film flatness problems which took me forever to

    detect (I thought it was my new/used 65/4 lens and/or board). The flatness was fixed by a little gaffer tape (seriously). Email me for further info.

    Center Filters alternatives

    in Large Format

    Posted

    I have used a graduated 4x5" N.D. filter sucessfully on both 65/4 and 90/4.5 lenses for extensive shifts or rises on architecture. Basically one places the darkest

    part of the filter on the inner side of the frame, thus helping to make the whole scene even density.

    Super Angulon 47mm suitability

    in Large Format

    Posted

    I have the old style 47 and use it with a 6x7cm back on a Sinar. A recessed board is required and of course bag bellows. It is barely wide enough for some

    interiors, but perfect for most. As previously mentioned I find the 47mm too wide for exteriors -- the 65mm seems to work well for this application on 6x7cm. A

    center filters is nice for exteriors where the sky will noticably go dark, but I wouldn't think it would be much value for interiors (not to mention the light it eats up).

    I have used a ND grad filter for exteriors acting as a center filter to control or even out the fall off.

    LF perspective control with MF equipment?

    in Medium Format

    Posted

    I personally own a Sinar P (a tank to take on location) and have six LF lenses from 47mm to 300mm. The nice thing about LF is the variety of lenses available. On the used market, most are $400-600, compared to a $2000+ for a Hassy lens (much less for Bronica I guess). The problem with MF film on a LF camera is that 43 or 47mm is a good length for interiors, but that usually requires a recessed lens board. I had mine custom made for the 47mm. I haven't used 6x7 or 6x9 rail cameras, but the lens boards are smaller making a recessed board difficult to operate (if they are needed). I use the old Calumet C2 6x7 roll backs. Avoid this old model and purchase the newer C2N model. The old models have frame spacing and film flatness problems. The newer ones have better gears, but still may have suffer from the film flatness problem.

    Nikkor-M or G-Claron

    in Large Format

    Posted

    I have the Nikon 300/9 and use it for 4x5 copywork. I considered the G-Claron but with the larger image circle of the G-Claron appeared to be designed for the

    vertical (extreme wide coverage and possbily some fall off) process cameras. Lenses designed for the horizontal cameras were always better. The Nikon 300 with

    it's smaller image circle means that your 4x5" image would get more lines per mm resolution (in theory). I have a PDF file listing of many USA dealers that

    specialize in LF gear -- drop me an e-mail if you want it.

    Interest in lens boxes

    in Large Format

    Posted

    As a bag maker and a large format shooter (Sinar -- commercial "car travel" type shooting) I have also wondered what would the be ultimate solution. The

    problem with the ABS or HDPE plastic case approach is the slight weight increase over straight foam. According to the above comments, the people that want or

    need this type of container are the those using it in the backcountry and this group needs the weight savings. Would the ulimate container be a long case for

    serveral (3-5) lenses stacked end to end or a shorter 1 or 2 lens version? Would the partitions prevent the lens board from shifting, or would the partitions be

    foam and just pad between the front and rear elements? We make some quality long lens (for 35mm 300/2.8+) cases and possibly the same materials may work

    for LF lenses.

    Sekonic L-508 vs three meters

    in Large Format

    Posted

    I have used Sekonic meters for 15 years now. I now have the 508 too. One word to the wise...they (Sekonic incidents) all underexpose by about 2/3s a stop

    (using the sunny 16 rule and other Minolta meters as a benchmark). The 508 has an EV compensation mode which I set at 7/10s of a stop to compensate for this.

    I have read other threads on this forum and on photo.net that confirm this problem.

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