Large Format photography group - From "zero to hero!"

Woodsy said:
Glad it worked Andy!

I should add that I did advise that it was marginally risky to do this with a lens. It only works if the lens barrel shrinks more than the retaining ring, and this depends on the materials. Also, sticking it in the freezer risks the barrel shrinking and cracking the lens elements. For anyone wondering whether to do this or not, either find out what materials the lens is made of first, or start with the fridge :D
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Now you tell me.......:runaway:
 
Right, who's our go to guy for CLA's on large format lenses, the Schneider is really slow at anything slower than 1/10th.

Andy
 
I don't think you can go wrong with Miles.
 
Yep, miles is who I'd go back to. He serviced the shutter that came in the 65mm lens I bought from eBay. It had practically seized and the shutter speeds were all over the place. Came back in perfect working order. I'd happily send him more business.
 
Another day another light leak. This Glencoe trip has not ended well, the colour shots on the RB were knackered and the LF shots have nice die straight lines down them.

So would a little leak here
2015-12-22_10-01-12 by Steven, on Flickr


Cause this?

Light leak, again... by Steven, on Flickr

Looks like a tiny spot of light where the hinge for the spring back parks that's all I can see.

I've taken the back off and put an empty holder in, you can see the light but it doesn't appear to intersect the film plane and the foam doesn't look any worse than it ever has.
 
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I might be asking a stupid question Steve but why would a light leak make a darker line on the image? That looks more like an area that underexposed rather than overexposed. I take it there's nothing stuck inside the camera blocking that part of the the film is there?
 
stevelmx5 said:
I might be asking a stupid question Steve but why would a light leak make a darker line on the image? That looks more like an area that underexposed rather than overexposed. I take it there's nothing stuck inside the camera blocking that part of the the film is there?
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Yeah that's right. This film stuff is too hard where did I put that digi cam.
 
Okay, nothing in the body would cause a straight line and the two shots I've processed have been done with different lenses and film holders.

So not the camera, not the lens not the holders. Maybe the development? These two were both done rotary with d23.
 
Okay, this is just bloody weird. I grabbed the previous negative and compared it to today's.

The one above is from a few weeks ago and the negative has a white line down it. Today's line is in the same place but it is a dark line. Ffs.
 
I think this makes it easier to visualise but does nothing for the diagnosis!!

2015-12-22_11-31-33 by Steven, on Flickr

2015-12-22_11-31-55 by Steven, on Flickr

Top one is the negative of the image above, bottom one is the frame developed last night.

I've got a few frames left from this outing so I'll do a couple by inversion tonight and see how they look.
 
The two artifacts are not the same shape, and given that the notches are in the same place, you can't really conclude anything yet until you can reproduce at least one of the effects. The dark line in the bottom sheet (as we see it in these images of the sheets) is definitely an exposure of some kind. The bright line in the top can only be caused by a developing issue or significant under exposure. It would be very interesting to see if either of these can be reproduced, as that will a) determine which was more likely to be a random one off issue, and b) help to narrow down the possible causes. After all, being that they are not the same shape, the two corresponding locations could simply be coincidence?
 
@steveo_mcg If it's any consolation, you're not alone trying to locate light entry not that I can throw any light ( sorry couldn't resisit :D) on how to resolve your problem.

Nothing like as severe as what you're up against but frustrating nonetheless:

Pierra CaVa 4x5 TP.jpg
 
Woodsy said:
The two artifacts are not the same shape, and given that the notches are in the same place, you can't really conclude anything yet until you can reproduce at least one of the effects. The dark line in the bottom sheet (as we see it in these images of the sheets) is definitely an exposure of some kind. The bright line in the top can only be caused by a developing issue or significant under exposure. It would be very interesting to see if either of these can be reproduced, as that will a) determine which was more likely to be a random one off issue, and b) help to narrow down the possible causes. After all, being that they are not the same shape, the two corresponding locations could simply be coincidence?
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Right now going to do two by inversion tonight and I'll put one in notches first, won't tell me if it's a problem with rotary development but it will rule out the camera. Hopefully.

Asha said:
@steveo_mcg If it's any consolation, you're not alone trying to locate light entry not that I can throw any light ( sorry couldn't resisit :D) on how to resolve your problem.

Nothing like as severe as what you're up against but frustrating nonetheless:

View attachment 52826
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There are days I consider jacking in the LF gear.
 
steveo_mcg said:
There are days I consider jacking in the LF gear.
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There are days when I consider packing photography in altogether ........But I know it would be a huge regret.

Keep at it Steveo, frustrating at times and darned right dissapointing when a shot gets scr***d up, however when you do get the result you want, it is soooooooo satisfying, is it not?!!
 
Asha said:
There are days when I consider packing photography in altogether ........But I know it would be a huge regret.

Keep at it Steveo, frustrating at times and darned right dissapointing when a shot gets scr***d up, however when you do get the result you want, it is soooooooo satisfying, is it not?!!
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Yeah when it comes off its worth it but sometimes too much frustrations blocks that!
 
I just hung up the negatives from the other side of the holder from the ones above and I'm still stumped. I inversion processed these in obsidian Aqua as I've been doing all year and I'm still confused but at least it's not the camera.

The partner to the one with the white line has the same line in the same place which points to the lens and since I only took the one shot with the 90mm I'll need to take some more pictures to check but I'm starting to think there may have been something on the rear element a fibre or a bit of glass that has blow off when I put the lens away.

The other negative looks fine I'll need to put it on a light box when it's dry and give it a good look to be sure.

So not entirely conclusive, I'll need to put another sheet through the d23 to rule that out now, well tomorrow.
 
Andysnap said:
Thank you Stephen, this is very helpful.



Cheers Dean, I'll let you know in a bit.



On Nick, how very childish.....:D
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I am in the process of making a lens board for my Sinar, it's 139 x 139 x Copal #0. it has various thicknesses to accomodate the light trapping around the edges, max thickness is 5mm. So I am using aluminium sheet 6081 5mm thick, aerospace grade to get the stiffness.
 
I'm very new here but I want to ask for some help in deciding what tripod and head I should buy. I have a Sinar F2 which has been happy on Manfrotto legs. But recently they have performed like the classical rolling drunkard. I now feel the need to modernise as designs and thoughts have moved on over nearly 25 years.

It seems that Gitzo seems to be the name to conjure with and putting an Arca Swiss head on can provide a good firm support. I have looked around and talked to a few people and all agree with the Gitzo/Arca route. Price of course has a big influence.
My thoughts are to go with a combination based on the GT5532S Tripod, @ nearly £750 ! and the Arca Swiss D4 @ nearly the same price.. There are several options/combinations in these products, but as might be guessed I like to buy the best I can afford and then stick with it until it starts to fall apart.

I am hoping to tap into the experience of the group and your suggestions and comments are most welcome.
 
Monoman said:
I'm very new here but I want to ask for some help in deciding what tripod and head I should buy. I have a Sinar F2 which has been happy on Manfrotto legs. But recently they have performed like the classical rolling drunkard. I now feel the need to modernise as designs and thoughts have moved on over nearly 25 years.

It seems that Gitzo seems to be the name to conjure with and putting an Arca Swiss head on can provide a good firm support. I have looked around and talked to a few people and all agree with the Gitzo/Arca route. Price of course has a big influence.
My thoughts are to go with a combination based on the GT5532S Tripod, @ nearly £750 ! and the Arca Swiss D4 @ nearly the same price.. There are several options/combinations in these products, but as might be guessed I like to buy the best I can afford and then stick with it until it starts to fall apart.

I am hoping to tap into the experience of the group and your suggestions and comments are most welcome.
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Hi there and welcome to the best bit of the forum. I'm not going to be much help to you here as I just use an old tripod with an old head that was used to hold a spotting scope. To be fair I do mainly use a Wista Field so weight isn't such an issue and I need to keep the tripod weight to a minimum for lugging around the countryside.
I'm sure one of the others will be along in a bit with some more useful info. :D
 
Just to complete my tripod request - in the end I bought a Gitzo 5532LS. I knew this was a sturdy option but when it arrived it exceeded my expectaions.
 
Monoman said:
Just to complete my tripod request - in the end I bought a Gitzo 5532LS. I knew this was a sturdy option but when it arrived it exceeded my expectaions.
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I use a Gitzo with the 10x8, very light and sturdy which is a bonus when I'm hiking about with it. What tripod head did you get?
 
Saw a post that Ilford are offering their annual "Ultra Large Format" order opportunity... apparently it includes 5*7 as well as much larger sizes...
 
Bung em an email and ask them. They have always seemed quite customer focused so you might get a reply
 
ChrisR said:
Saw a post that Ilford are offering their annual "Ultra Large Format" order opportunity... apparently it includes 5*7 as well as much larger sizes...
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Good to know they still do this .:)

I used to buy half and whole plate film ( in fact there's some still in the fridge) ....not cheap but the supply was there, albiet only once a year.
 
What do folk think of Wista specifically the 45d? There are a couple of fairly rough looking but fully functional ones on another forum for sale fairly cheap. I'm thinking of at least supplementing the Arca with a field camera and maybe this would do the job.
 
From what I've heard, Wista are a good make. Pretty sure Ghandi (Spencer) used to have one (not sure if it was the 45d... might have been the 45) and he got some rather impressive photographs out of it. I'd imagine that there are people on here who have or have used them, so they'll be able to give a more definite answer.
 
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I have the 45 field which I believe is the lightest of the Wistas and it is an exceptionally well made camera.
 
You may have a 45DX (as I do) which is wooden; the 45D is (if I'm correct) a metal technical camera rather than a field one.
 
StephenM said:
You may have a 45DX (as I do) which is wooden; the 45D is (if I'm correct) a metal technical camera rather than a field one.
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That's the fella.
 
Thanks for the advice, tragically I tripped over and bought a Shenhao. Should do the job.
 
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