tony_brent

Yes the 405 fits Graflok backs. It will just go in under the ground

glass panel without removing it.

<p>

For clearing, the same chemical is used for both films, but the

dilution is a little different. Polaroid recommends 12% sodium

sulfite for the 4x5 films and 18% for type 665.

I will add my vote for Arista film.

I have Freestyle's address as:

<p>

www.freestylesalesco.com

I have just taken delivery on a Majestic tripod and gear head. This

will be the second I have owned, having sold the first with a camera

outfit some years ago. I have found few that are as sturdy as this

equipment.

<p>

It appears that Bencher Mfg in Chicago has dusted off the old dies

and patterns and is now making new units from the old patterns. Still

the same rugged machines.

<p>

Available at Calumet. I'm not sure if anyone else is carrying them.

I was very impressed with the Cadet. It locked up nice and solid, but

was a pretty lightweight package on top of one of the Berlebach

tripods. I would slide the standards off the rail, and they

would "nest" down to about 6" x 6" x 3" high or so. I stuck the 16"

rail through the tripod straps on the outside of my bag. I spent the

few extra bucks for Graflok sliding lugs (comes as a kit) and a

folding hood, more to protect the ground glass than anything else,

but it did work in room light.

<p>

There is a bit of shifting around the axis of the rail when the locks

are tightened, but I got around it by nudging the standards in that

direction and taking a final look before I locked it. I think a

couple of washers in the right place would cure most of it.

<p>

On the other hand, I do all of my paying LF work with a Speed

Graphic, so there you go.

From your other posting about doing table top subjects, you will find

that a camera that focusses both front and rear standards will be a

great help. Generally, you will use the lens standard to set the

image size, and the back standard to set the focus. Much easier than

moving the whole tripod and camera back and forth just that little

bit that you need.

I have always had a cyan cast with type 59, and never went too far

into filtration.

<p>

I have been using type 79 for all my color Polaroid, and find it is

much truer color, does not pick up the cyan cast, and does not seem

to be so sensitive to variations in processing time or temperature.

<p>

It also seems to be a hair sharper to me after it has dried down hard.

<p>

Be careful when handling the print after you peel it. It is very

delicate until it is completely dry.

I just picked up a Century Graphic 23 with a 105 Xenar on it. It

looks like a good lens. I havent finished the first roll of film yet.

I have Xenars on my 4x5 Linhof, and they do a good job.

I have found that the felt light traps just under the open end, and

one further down inside the box have come loose on some of mine. I

had to disassemble the holder (not that bad a project -- just

remember where things went and don't loose the screws.) I re-glued

the original felt with a contact cement.

<p>

The traps would interfere with the slide mechanism when I tried to

close the magazine.

<p>

If you had the septums loaded in the tray with the open ends at the

wrong side of the holder, they will sometimes jam and bend. Check the

instructions at:

<p>

http://www.graflex.org/speed-graphic/grafmatic/

A D2 in good shape is a fine machine. Aristo's cold light drops right

in at a price of about $190 or so. I havent checked in a while.

Replacement carriers are available from Columbus Camera at about $25

each. They may also make replacement lens cones and boards.

<p>

http://www.columbuscamera.com/

<p>

They may also have some enlargers for sale.

<p>

Pick up a couple of good Schneiders and have at it.

<p>

If you are going to think about printing color, you can use the

condenser head without loss of quality, and put the filters in the

filter drawer.

The lamp in my Graflarger is the green colored type, which I

understand is for graded papers. I don't know how much light you

would lose trying to filter it down to work with VC papers.

Two color emulsions. Type 59, 79 ASA 80, 100

Long scale pos/neg 55 Print ASA 50, Neg ASA 25-32 Must coat prints

high contrast pos/neg 51 Unsure of specs

B&W coaterless 54, 72 83 ASA 100, 400, 800

Hi Speed B&W (Coaterless?) ASA 3000

B&W coater type 52 ASA 400

Sepia tone Type 56

I wonder if that's the same as their SO-215 or something similar that

I used a few years back. It did a very nice job of making dupe negs

at whatever enlargement. I forget what developer I used. It should

work just fine if it is the same stuff. I think it was red light

handling.

It is the only developer on my shelf. I use it for film from 35mm to

8x10 and for Azo paper at about a 1:8 dilution of the thick

concentrate. My normal film dilution is 1:31 of the concentrate.

I don't make up the stock solution since I dont do that much "wet"

photography any more. I find that I can be pretty consistent using

the syrup out of the original bottle and rinsing the measuring cup (1

ounce medicine cup that comes with Nyquil)several times with the

mixing water.

The Graflex and other flash (bulb) handles had either two or three D

Cells to fire both the solenoid and the flash bulb. It does take a

few more amps than a 9 volt has to pull the solenoid in firmly and

reliably enough to trigger the shutter with the proper delay.

<p>

www.graflex.org

I havent used that particular emulsion, but I have used the other

Arista films in 4x5 and 120 and was very pleased. I would think the

copy film would do fine. You're going to have to contact print the

intermediate positive back to a negative using another sheet of copy

film.

<p>

I dont think the litho film will make a good long scale neg. I have

used it as a camera film with a very dilute mix of HC 110, and it

still would reach a point where it wanted to go solid black. It was

very hard to control.

<p>

I would suggest another alternative as long as you are looking at the

Freestyle catalog. Go to the printers and lithographers pages and

look for a high speed dupe film, which will produce a negative in one

step. It is meant for litho type materials, but I think you can coax

it to hold a longer scale by diluting the developer. It is meant to

be used in a strong Dektol-like developer for litho use, but it might

respond to HC-110 and do the job. It should be about the speed of

enlarging paper.

This site may help:

<p>

http://www.fiberq.com/cam/fcam.htm

This site may help:

<p>

http://www.fiberq.com/cam/fcam.htm

Used a Speed Graphic all the time in the Navy leaning out the door of

a helicopter. Every time a ship came out of the yard it had to have a

complete photo "rig" done. I was also the photo lab camera repairman,

and we used to set up a couple on infinity and add some extra screws

to lock the rail down. We also made a simple back-of-the-lens-board

bracket to hold a yellow filter gel. We used Grafmatic magazines

instead of two-sheet holders. No darkslide to blow away.

That's right. What expectations do you have for LF that 35mm isnt

giving you now?

<p>

How are you using the 35mm images you currently make? Drum scans of

35mm transparencies to 8 1/2 x 11 full bleed four color covers? Lots

of color inside? Lots of transparency duping?

<p>

What is the predominant subject matter in your publications? How do

you shoot it now in 35mm, and is it very good quality, good enough,

or still lacking something that you feel might be preserved in large

format images?

<p>

How much of your photo work is done in-house -- IE: black & White

processing and printing, color processing etc? How much do you have

done at "drug store" labs? How much goes to full scale professional

custom labs?

<p>

The one-hour places can't handle LF films. Some custom labs won't

either. If you are doing your own printing and enlarging, you will

need an investment in larger equipment to handle the larger format.

<p>

And some good people to run it.

<p>

Large format will:

<p>

preserve more detail for the same size finished enlargement

allow camera adjustments to make the subject appear exactly the way

you want

cost more per photo than 35mm

require custom processing, or possible retraining of in-house techs.

take longer to set up for a given shot or project

require more and larger baggage

require a darkroom or makeshift in the field for loading and re-

loading film holders

<p>

Large format is not good for:

<p>

quick grab shots

rapidly moving action, except when using press-type cameras like the

Speed Graphics. Even then, you wont be shooting off 20 exposures in

half a minute.

Sending a reporter out for a quick photo with a point-n=click camera

Carrying 100 or more exposures' worth of film in one pocket

<p>

Like Sheldon says -- evaluate your needs carefully, and weigh up the

pro's and con's of both formats before submitting a budget request

for equipment that may not be the answer to your needs.

<p>

All that being said, this forum is an excellent place to get a

feeling for what large format photography is and is not.

Yes, and I love it. So far I have been playing with the black and

white 100 speed, and using selenium toner mixed with isopropyl

alcohol for in the field toning. It dries quickly so I can put them

in the presentation mount right away.

<p>

I shoot for the antique car club here and they like the idea of

having a nice "period" looking photo of their restored car right on

the spot. I have been using the 4x5 type 56 sepia tone material, and

will be bringing the 8x10 Deardorff to the next meet for big prints

as well.

<p>

I use the manual processor from Calumet. Its very handy and have had

no problems with the quality -- no streaks etc. A lot less money than

the electric one too.

<p>

I bought the holder and processor new from Calumet.

Everything I have read including Tiffen's sheets, specifies a

straight 2 stop exposure increase for polarizers, regardless of the

setting. I think you should probably be using a standard linear

polarizer for your setup. As I understand, the circular is for auto

focussing cameras.

The Graflex web site has the original users manual for the Grafmatic.

<p>

http://www.graflex.org/speed-graphic/grafmatic/

Seeing the mention of the Majestic tripods, I thought I would inform

anyone who doesnt already know that Calumet Photographic now stocks

the original Majestic tripod and gear head. Apparently the Bencher

company has purchased the old patterns and are continuing production.

I recently purchased one of the gear heads with a 3/8 tapped mounting

hole (they also have the original 1 1/2" post type and others) It is

currently mounted on my Berlebach tripod. The head is identical to

the one I had twenty years ago, and handles the Deardorff 8x10

without a whimper. Also takes my heavy telescope. I will probably go

ahead and get a set of the Majestic legs too, just for old times'

sake.

I love it. There are always a few rolls in with my Rollei. I use HC-

110 1:31 (mixed from the thick syrup, not stock solution) at about 8

minutes. It's pretty much a bullet proof film, but I didn't know it

was a dual emulsion. I thought that was Plus X.