sean_yates

An 11 X 14 Deardorff weighs around 30 lbs. A Ries Model A weighs

around 15 lbs. with the head. Guess what size the tripod screw is?

My first darkroom was a portion of the basement with no windows. The

door was light proofed with a large piece of Duvytene and the other

"finished" room had to have the lights of so they wouldn't leek

through the cheap panel job the owner had installed. I set the trays

on a large piece of 3/4 ply on top of the washing machine and dryer.

The enlarger sat on a homemade work bench - cast off top of an old

kitchen table and legs made of 4 X 4's.

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My most recent darkroom is a 6' X 6' X 6' walk-in cedar closet in

the basement with no running water. Electricity comes from a power

strip, the cord run through a hole drilled in the door. The trays are

on a shelf that used to hold clothes and the Beseler 4 X 5 sits on the

floor. All washing and mixing of chemistry occurs in the two

chambered deep sink that came with the house. I still have to use the

Duvytene to block the light when developing film.

I am pretty sure Kodak stopped making lenses before multi-coating

came into practice. "Luminized" Ektars are single coated.

Unfortunatley, no one will ever know beyond doubt what Chief Seattle

said.

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http://www.synaptic.bc.ca/ejournal/wslibrry.htm

Congrats Micah on asking a question which has generated a lot of

discussion!

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As I recall one of the major problems NPS faces is congress-beings

too willing to vote for preservation of area "X" but not willing

enough to vote for an NPS budget increase. They are holding things

together with spit and binders twine and a lot of unpaid overtime and

volunteer hours.

You can front mount a Packard as well. Does the LUC have a

particular advantage?

What about renting llamas?

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Weren't they suppossed to be the answer to trail damage by hooved

stock? Couldn't some entreprenuer make some $ and the Park Service

grant licenses (and also make some $) to vendors who would include

insurance and lessons for those who find the shuttle route

unacceptable?

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I dunno, just a thought

The review is for the 5 X 7 or 4 X 5 special which has an extension

of 22". The catalog page refers to the extension of the 8 X 10 model

which is 30".

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For more info go

here:http://members.nbci.com/_XOOM/Deardorffcam/indexa.html

I don't believe it. Someone came into the library today and asked a photography question. Unfortunatley I couldn't answer and they were far from Net oriented.

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What film and developer does/did Hamish Fulton (British photographer/artist/walker) use in the book "Landscape Theory". I think we may be getting it I.L.L.'d from a university but somehow I don't think the technique topic is going to be in it.

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Any suggestions?

Alan - both Bill Johnson and I noticed this with our prints at the

workshop. Bill also had an Amidol print which was more neutral to

just slightly warm. He also thinks that the fixer plays a part in

the image tone. I've got his e-mail address if you need it.

I second Doug, for the Calumet C series a Majestic or Saltzman is the

way to go. Brett and Cole used 'em on a Ries, but as you say,

there's a cost factor involved. When you search Ebay for your

Majestic, make sure to search the entire site, not just photography.

I found a good one in "hand tools" and won it for $30.00

Grey Wolf, Able Fox Five here, Over.

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At least two well known large format photogs I know of do not/did not

use loupes. With a fresnel I find I don't need a loupe with my 8 X

10.

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The last studio I worked in seemed evenly split - some of the

shooters used 'em allatime, some used 'em only when shooting 4 X 5,

and some never used 'em. No one ever singled out one shooters work

as sharper than anothers and no client ever complained. The studio

before that used 'em, but not with any degree of consistancy - i.e.

if the G.G. was too dark, out came the loupe. The first studio I

worked in used an old process lens.

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Others have suggested you use the 50mm lens from your 35mm reversed.

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Edward Weston used his pince nez glasses. Ron Wisner uses (and

sells) a linen tester - not the same as those coated multi-element

mega-buck loupes. I have bought lenses that cost less.

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If it works and you are satisfied with your prints, then it's good

enough. If you are a worrier, or obsessive, or whatever, buy one if

it'll make you more confident. I kinda doubt someone will stop dead

in their tracks and point an accusing finger "You didn't use a loupe

on that one! It's no good!" If the image is strong, no one will

care how you got it.

The last studio I worked in shot furniture almsot exclusively -

although they did do things from machine parts to tractor trailers on

occassion. All their cameras were Horesman - most 8 X 10, but they

did have 2 or 3 of the 4 X 5's.

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We never used the calculator. I never heard anyone complain about

them. Smooth, solid, flexible. If we ever had a gripe it was that

you had to have a really solid stand under them because the L

standards seemed to pick up any vibration and magnify it. There was

one stand we wound up using more than we wanted to because of this

and we always had to waaaaaa-aaaaa-aaaaa-it for it to settle down

before actually opening the shutter.

Edward Weston used century universal in 8 x 10 and graflex super d in

5 x 7.

-- kevin kolosky (kjkolosky@kjkolosky.com), August 24, 2000.

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You sure about that Kev? I know Weston had a 2.25 X 3.25 and a 4 X 5

Graflex, but I've seen no citations on a 5 X 7. Did Graflex even

make a 5 X 7 Super D? I know Strand used a 5 X 7 Graflex. What's

your source?

I never met A.A. either. And I'm not a member of A.A.

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or A.A.A.

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I don't even have an M.A. I once saw an A.A. gun though.

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Anyway, the two most famous A.A. Aspens were shot with an 8 X 10. I

think you wouldn't be too far off the mark to say that Adams

owned/used/borrowed one of almost any camera you can think of at one

time or another. Anyone have any shots of him with an Argus C-3?

p.s. Do I get credit in a citation? It's gonna look kinda wierd to

say "...some guy on the net wrote...."

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for the record, pg. 15 ISBN 082121750x

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"In the early 30's my excursions were more cautious, and I used my

camera with serious intent. My cameras of that period were 4 X 5

Korona View, 5 X 7 and 3.25 X 4.25 Zeis Juwels, 5 X 7 Linhof, 5 X 7

Deardorff, 4 X 5 speed Graphic, 2.25 X 2.25 Zeiss Super-Ikonta B and

a 35mm COntax - not all possessed at one time!"

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I also now recall seeing a self-portrait of him with a Century

Universal

Hasselblad, Contax, Ansco, Kodak Commercial B, Horseman, the famous

Zeis Juwel, at least one Deardorff.....

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Get a copy of "Examples, the Making of 40 Photographs"

It's called the Kodak Masterview - not to be confused with the Kodak

Master Camera 8 X 10

Charles,

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Nathan Congdon has written a thorough and detailed review here:

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http://www.cs.berkeley.edu/~qtluong/photography/lf/ebony.html

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I'm sure he would be willing to discuss the camera in detail and

answer any questions you might have. Nathan showed me his camera

when I was in Bal-mer last March. With all do respect to Mr. Wisner,

I would have to agree that the Ebony is the most solid woody I have

seen.

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Any camera will brake under the right conditions. When I was in

Tunisia I lost my Wisner to a concrete abuttment. I couldn't count

on getting it back if I shipped it from Tunis to Massachusetts for

repair. I could however find all kinds of skilled craftsmen right

there who could fix that wooden camera even though they weren't sure

what it was.

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I have a metal camera now and am nervous enough about it that I don't

like being without a spare. I know when/if I break that 'un - it'll

probably be less expensive to buy another used than to get it fixed.

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Re: Mr. Greenspuns comments, I can only liken the difference between

a camera with non-geared movements to a SINAR P2 or Linhof as being

similar to the difference between a 1958 Dodge Power Wagon and a

Mercedes whatever - totally different creatures for different

purposes goals etc. BOTH will get the job done when used as intended.

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Personally, I favor the Dodge.

I made a temporary and portable drying cabinet out of translucent

shower curtains, nylon string, wooden clothes pins, and 1/2 PVC pipes

from the local hardware emporium. Kind of a big tinkertoy thing.

Worked well enough, and I have 18 cats and shoot 8 X 10.