Hi Matt, For over 40 years I've had this same Protar convertible lens but never knew exactly how to use it. Now I know. Thanks so much for all your super informative videos! A new newbee to your channel, Retired and Former RIT student, Phil
It was right after I started visiting the Hocking Hills regularly that I learned the "worst" days out on the trail could always force me to see something the best weather wouldn't. Although this particular lens isn't one I'll be keeping, I do see a convertible lens in my future. ;)
Thanks for a very informative and fun video. I'd read about convertible lenses but never seen them, nice to see how they work in practice. Gorgeous images as always.
This place is on my list of places to shoot. Found out about it in December from my friend who runs that counties visitors bureau. Looks like a great place to explore!
Mat, one possible reason for the front element in front/rear of the shutter may be the fact the front or rear element inside the front lens is concave, and switching orientations actually inverts this lens set, concave/convex at the front, and one might deal with flare better, so this is the reason they recommend it.
Love your Friday videos. Thanks for doing them. It was a good day for black & white with all of the mud in the falls. I have a Voltas 8x10 convertible that I will be testing this spring.
so nice when you cant get out to shoot to watch a video like this. I'm converting a broken 5x7 to handle 90mm lens for 1/2 panoramas (2.5 x 7). By next weekend will be outdoors again!
Ian I know that feeling! This Winter I've been printing and organizing more than shooting, it was great to get back out there. Are you using a split darkslide for the 5x7 or are you using an adapter back? Cheers!
@@MatMarrash Split darkslide with 90mm Berthiot Perigraphe lens. My Kodak 2D couldn't handle the short focal length so I got an old fold-up field camera and still had to modify that. Today I'll see if the lens really has the coverage it's said to.
Very nice images, and well-done video! I have a Turner Reich Triple Convertible that's waiting for an 8x10. It's been sitting in a box for a rather long time, but it might be time to pick up an Intrepid. 😄
They certainly do look sharper than I expected on screen. I have a Turner Reich triple convertible on my Conley 5 x 7 but I’ve never used any but the combined focal length. Now I’m tempted.
There is some sharpening and contrast added in post, but nothing more than I would use on any other film scan. The longer configurations are a tad fuzzier than combined, but a 2-3x enlargement wouldn't be bad.
@@MatMarrash I'll keep that in mind. The Turner Reich I have offers14 inch and 20 inch focal lengths in singles and 8.5 inch combined. The latter looks fine on paper negatives but a little softer than I like on film, especially with portraits. I might try the 20 inch, just for fun. (On landscapes, that is, not portraits.) A 2- or 3-times enlargement on 5 x 7 is pretty good, after all.
Prints using older lenses like the B&L and the Turner Reich seem to have a luminance that I find very appealing. That is certainly true of the negative scans that you shared today.
Woot! for B&L Protars! I've got a double convertible 9-1/4" made up of two 16-3/16" cells. Each Protar VIIa half is 4 elements in a single group and is fully corrected to operate by itself. While they won't match modern optics, the single cells of the Protar will perform better than half of a Dagor or a convervtible Symmar which only have 3 elements per side. And since there's only one group per 4 elements, they don't have too many air/glass surfaces and show decent contrast despite a lack of modern coatings. One important thing to remember about Protars, though: they suffer some pretty strong focus shift so it's important to double check focus after stopping down to the working aperture. By the bye, there was a photographer out west who used convertible lenses quite a bit. I think his name was Ansel something... ;-)
@@ChristianKlant I know that Ansel used a Cooke XV and a Turner Reich Triple Convertible. Given that he was a bit of a gear head who used many different formats and cameras, I wouldn't be surprised if there were others, too.
Yeah, and a friend of his, Edward or something like that, shot many, if not most of his 8x10 work with a single group Turner Riech lens. Heard he was kinda weird though and liked to shoot nudes, vegetables and peppers!
Thanks for filling in the blanks on the Protar lenses Chris! The was a definite fall-off of sharpness with the single groups, but the contrast was fairly consistent. I'd be happy to contact print any of those negatives, but probably only enlarge the ones from the shortest FL configuration. Next up on the bucket list, that legendary XVa!
I only have one lens that qualifies as ' convertible ' for my 4X5 cameras and that is the original Schneider Symmar 135mm F 5.6. It is a symmetrical design and the rear element can be removed to turn it to a 240mm or therabout F12 lens, these figures are from memory and can be wrong BTW. I am sure a lot of them were based on a Cooke design. BTW, for those who may not be familiar with expanded development, it is of paramount importance to make sure that if N+1, or N+2 development were indicated, the highlight values should still remain within the desired zone placement. Expanded development affects the highlight tonal values much more than shadows or even midrange, even if you have 4 stops of luminance range, so accurate placement of exposure is critical. Very nice photography BTW.
In researching convertibles for this episode, the legendary Cooke XVa can even convert 5-ways if the photographer has access to additional front and rear groups!
thanks - my wife found and bought me a Kodak Empire State No. 2 5x7 from a local antique shop that has a very clean Gundlach Optical lens/shutter combo - the lens is convertible - it has three F stop rows - 23", 17" and a third not marked but the stops are quite far apart- - there is the one removable back element - I thought one was missing something - now I will have to look a the front a little closer. and Yak-trax - yeah, what a great invention. I keep a spare pair in the truck just in case
Thanks for commenting on your convertible lens Rick! There were quite a few of these made but the documentation on them is very sparse. While I wasn't in love with the look of all three configurations, it was fun to try. Also, the Yak-Trax are now back in my trunk where they belong!
Hi Mat, Great video. I have two double convertable lenses one for 4x5 and another for 8x10. Great trick with putting the lens in the back to cut down flare, will try that next time out. Convertable lenses are great with the intrepid cameras as it makes the complete outfit so light with only one lense to transport. Best wishes and keep those LFF video's cumming.
Back in the 60s when I attended the USAF Photo School at Lowry AFB Colorado, the first camera we started out with was an 8x10 Deardorf with a Wollensac triple convertible lens. I don't remember what the wide angle or telephoto focal lengths were but the base was 12 inch. One of the training assignments was to photography this cute little base chapel near the school and you haven't lived till you've seen 12 8x10 Deardorfs in a row! This lens differed from what your showing in that you didn't substitute glass you shot with either the front element or read element or both for 12 inch.
The old Wollensak building is just down the road from me, about 2-3 miles away. The building itself degenerated over the years that I observed it first around 2004, but now it seems someone has bought it and at least some repairs have been completed. When I used to print in a pro lab I used a Wollensak enlarging lens for one negative size (I can’t remember which) and it was very good.
@@MatMarrash It seems to be reversed to today when you start out small then go to 8x10. This was 1964 and once we mastered the 8x10 we went to the 4x5 speed Graphics. I didn't see a roll film camera till 1966 in Nam where they were testing various 120's. The Bronicas, Mamiya TLR and Graflex XLs but the Hasselblads were lucky to last a month. Dust, Humidity and heat got to the close tolerances. In 35mm the Pentax and Nikkormatt did well but not the Nikon F because the detachable meter let crap into the system. The first motor driven Pentaxes were custom made for the 600 Photo Sqd which had 17 detachments around Nam with HQ at Ton Son Nhute. These were used by photographers in the air. AND YES, a dozen 8x10s lined up side by side today is a wet dream!
One "newer" example for convertible lenses, are the Schneider-Kreuznach Symmar lenses from the late 50s and 60s. I have a 210mm f/5.6 with an additional focal length of 370mm and f/12 if you just use the rear elements. It's written in green on the front of the lens. Also has two aperture scales. Unfortunetly my bellow isn't long enough for the 370mm, so I will never know the optical performance. Before I knew you were supposed to use the rear element, I took some pictures with just the front elements. Works as well, but of course sharpness was more okayish. But as always an interesting video.
Thanks for mentioning the more modern Schneider convertibles! I know a few folks that have used those in the past and the longer variety 360/620 convertible is an 8x10 and 11x14 staple.
Great timing on this video, Matt. I'm about to shoot with a 4x5 Conley Automatic (c. 1908-1918) this weekend which has a triple convertible lens at 6.75", 11", and 14". It's all a bit intimidating to understand, but, am fairly confident I can get through it. I'm also going to be developing film for the first time. Talk about jumping into the deep end! *fingers crossed*
Mat, on reflection, that black felt on the shutter could be the owners solution to a lens issue (Schneider itis)- the flaking off of the black paint on concave elements, leading to viewed spots on the lens; this felt would dampen any stray light from this, saving the shot from flare.
Mat, the black tape is also there to stop unwanted refractions from the silver inside of the lens barrel, or any locking rings, shutter /apature blades getting back to the lens elements, ie the barrel acts like a mirror.
Nice to see you getting a chance to try a convertible lens. My main lens for my Graphic View is a 150 mm Schneider Componon f/5.6; while not officially convertible, most of the Componon family can be converted. With the front group removed it's about 250 mm f/9 (ish?). I've been told the front group alone doesn't do well, but I've never actually tried it; it ought to be around 375 mm f/11 or so, if I've done the math right. Maybe I need to get out and do that soon, and see what the negative looks like; it'd be cool to have another option for that camera.
While I don't think this is the right convertible for me, I do see one of those type lenses in my future. Missed my chance at an affordable XVa 5 or so years ago and still regretting it! >__
It was surprisingly easy to get to and only a hop, skip, and a jump away from the parking lot! I'd say it's similar to Ash Cave, but with a bit less hiking.
Mat one suggestion for the LONG configuration, use a 'top_hat' ext panel inbetween the Linhof adaptor and front standard, or the Linhof adaptor and the lens; this should find another inch or so for the focus track, as this extension should allow the extra space.
I cringed watching you walk on that ice. A couple of weeks ago I was out walking on a dirt road that was icy. I fell, broke a rib and collapsed a lung. Three days in the hospital with a tube stuck through my ribs into my chest and weeks of painful recovery. Careful!
I wish I had know Ohio had so many places to photograph. I worked on the east side (Wellsville) for about 3 months off an on and made quite a few trips through the state on my way to/from. Your images are gorgeous! Bummer about the condensation but it was a good lesson. Good call not stepping out on those rocks! I was on the Blue Ridge Parkway about 10 years ago and I saw a sign that said there was a waterfall at the next turnout. Perfect, what photographer can resist a waterfall? I hiked down to the falls and after making few digital images I decided that the "perfect spot was from that flat rock in the middle". As I pivoted on my left leg and stepped with my right I noticed some #*$##@ had dropped a gum wrapper (the metal foil kind) in the water so the new mission was to pick that up and then make the image. At the same time I saw a black leaf, which my mind registered as "wet and slippery". Too late... I put my foot down, it immediatly slipped off, I came down in the middle of the stream, smacked the side of my head on a rock, the camera hit on the Really Right Stuff bracket hard enough to eject the battery. As I reached for that I started sliding downstream on one side, fairly quickly. This all happened in less than two seconds. I caught up with the battery after about 30' of trave, I got my feet in front of me, stopped the slide, and went to the bank. My bell got rung pretty good, no blood though. I remember thinking that someone was going to find my body, see my shiny new DSLR, and think - he's not going to need that anymore and take my camera. :) I eventually started the long climb up the hill. As I was topping out I met an older man that had been down at the deck area with his wife. He noticed that I was soaking wet on one side and asked if I had fallen in. I replied that I had but before I could tell the story he yelled at his wife - "Hey honey, your were right! He ended up falling in". They were both still laughing uncontrollably when I was pulling out. So was I but my head was pounding :) I almost ended up in the Atlantic trying to get the "perfect angle" on Pemaquid Point Light up in Maine (I need to go back to Maine). No witnesses on that one.
Oh my goodness Michael, you've given me even more fuel to never chance it on rocks/ice without spikes/grips! My big lesson came when I was down in the Hocking Hills at Old Man's Cave (will probably show up on the channel at some point) on my second visit. It was a light drizzle on a cool Spring morning and I was rushing towards one of the lower falls on the trail since those hardly have enough water flow to make anything worthwhile. In the hurry I hit a patch of wet leaves and took an immediate dive, camera gear and all, onto the rocks. A cracked tailbone and ground glass were the prizes that morning. All of this craziness in making landscape photographs in Ohio started when I discovered several photographers working in LF share their work from Southern and Eastern areas of the state that crossover into Appalachia. I was enthralled with the "look" and it gave me the confidence to try and make something from locations that were in my backyard. Lots of wide glass needed to open up these smaller locations, but they're pretty neat! :)
@@MatMarrash Wow! That was a nasty fall! Hopefully it's a one and done kind of thing :o) I was in a workshop in Death Valley, first time to shoot 4x5. I let the ground glass holder slip on my Master Technika and turned it into ground glasses. I had to switch to the Sinar. I was lucky to have it but it's not the best field camera lol. Ya gotta love film though. There's nothing else like it.
Mat, Your exposures looked right on. Have they come out with that spot meter? I heard they’re still in testing? BTW, you must have spent ALOT of time setting up this video, back and forth resetting the camera. Your video editing looks smooth just like you set out multiple cameras.👍😁
Hey Dave, the Reveni Spotmeter has finished development with all the Kickstarter backed units shipped. They're still on pre-order status for orders placed later in 2021. For all of my non-studio work, it's the perfect little tool! Thanks for noticing the camera work, I have a bit of fun with it when it's just me on the trail. ;)
Just picked up a 1903 Century 8x10. It came with a Turner -Riech f6.8 convertible. I sent the lens out for CLA the timing is off as expected but I now know what they actually are. Being new to 8x10 could you recommend a inexpensive film type I got the camera mainly for wet plate and other alternative processes. Another topic is checking old wooden sheet film holders any direction on that would also be helpful. Thanks.
Hey Peter glad you found this episode useful! For inexpensive 8x10 I'd recommend checking out my overview of FPP Mummy 400: ua-cam.com/video/TUYA7YBlM9c/v-deo.html And while I'm not the biggest fan of wooden holders, here are two episodes dealing with older gear: ua-cam.com/video/M5aeD2oJsEc/v-deo.html ua-cam.com/video/37owb7ESKdc/v-deo.html
I have the new Cooke xva for a deardorff field - I always considered it to be sharp but now after seeing this you have me wondering. I primarily only shoot in the 300mm range anyway. I wonder if I should switch away from the Cooke into a “prime” that would yield better focus and contrast. I hate the question but what is considered the sharpest best in the fixed 240-300mm range?
Hey Jason thanks for the comment and the Cooke XVa is in a league of it's own! It's not perfect in its longer configurations, but far, far sharper than this 100+ year old lens. Probably the sharpest 300 IMO would be a Rodenstock APO-Sironar W or Schneider APO Symmar L. Both are very high-end, modern standard lenses with large image circles and high resolving power.
LFF regular Chris mentioned there was significant shift when working stopped down. The widest-open I used with single elements that morning was f/45, so tough to tell in those shots.
My biggest inner conflict with this channel is that there will be folks seeing the results and thinking 8x10 and larger is all sunshine and rainbows. I may have to make a "10 reasons not to buy ____" video.
@@MatMarrash That's not a bad idea, Mat! Might be tough limiting it to just 10, though... and a well done 8x10 contact print makes you forget the trials!
I’m having issues focusing with movements. Anytime I focus on the far and tilt or swing and get focus on the near it seems to throw off the far as well. Maybe I misunderstood. Any advice?
Some cameras have what are called "balanced" movements, and some don't. My Graphic View (ca. 1952) has bottom tilts -- that is, if I tilt the front or rear standard, it pivots from the bottom of the upright; this inevitably changes the overall focus as well as angling the plane of focus. My Graphic View II (ca. 1955) has centered or "balanced" movements, with the tilt axis running right through the center of both the front and rear standards; this let's me apply tilts without changing the "far" focus. Both models have centered swing (front standard only); I'm not aware of any camera that offers swing that isn't centered. Tilts, however, come in both flavors; field cameras often have bottom tilts because they allow making the camera fold more compactly, and even monorails (like my first-gen Graphic View) may have them for cost reasons. What I learned to do with my Graphic View (haven't had the GV2 out yet) was to set my "far" focus, then estimate the tilt I'd need and set that before refocusing; at that point, I can see if I need to adjust my tilt, and the adjusted tilt setting is usually dead on (after I refocus at the rail, of course).
Not all cameras will feature balanced or asymmetrical movements, meaning there may be additional focusing needed after applying those movements. Also worth noting to always check focus after stopping down to working aperture to make sure the depth of field is where you need it to be.
@@MatMarrash thanks guys! I just got a fresnel screen and ordered an actual dark cloth so hopefully That’ll help when stopping down. In the meantime, more practice
Matt loved the video but please get a warmer coat. You made me cold just watching the video. I may take my little Nikon Z s to this location and see what I can get.
That was the Reveni Labs Spotmeter, it's one of the smallest dedicated light meters out there and here's a full video on it: ua-cam.com/video/RBlacFq74JA/v-deo.html
great video, and at last mat, we see that takahara? in use, not just a "studio prop", nice to see it in use and with a new lens, BRAVE move, and esp. no "reconisance" beforehand, not the wisest thing, as you found with the weather.
Oh, don't give him a hard time. Last season was mostly field work, up and down the cliffs and gorges in his part of Ohio, and we saw that Tachihara earning its keep every week or two.
Hi Matt,
For over 40 years I've had this same Protar convertible lens but never knew exactly how to use it. Now I know.
Thanks so much for all your super informative videos!
A new newbee to your channel,
Retired and
Former RIT student,
Phil
"Focus to the far".......I'll add that to my LF choreography:-) Great video, thanks!
absolutely love seeing a field camera covered in raindrops, total inspiration
It's called a field camera, not a display case camera! ;)
Two uploads in one week: You spoil us! ❤️
Appreciate all the hard work you put in making these videos for us Matt. Have a great weekend!!!
Old lenses are wonderful.your images are terrific they look like early Ansel Adams the master.
Deceptively Easy series of images !
Your black and white skills shine on what appears an unpromising day 👍
It was right after I started visiting the Hocking Hills regularly that I learned the "worst" days out on the trail could always force me to see something the best weather wouldn't. Although this particular lens isn't one I'll be keeping, I do see a convertible lens in my future. ;)
No I considered those lenses briefly but just too slow.
Seeing in black and white is a Really skilful 👍
Incredible…very nice compositions…and you are brave man. Thank you. Cheers..
Had no idea this was such a thing but it totally makes sense! Good stuff mat!
Glad to shed some light on type of lens that isn't talked about much in LF.
Thanks for a very informative and fun video. I'd read about convertible lenses but never seen them, nice to see how they work in practice. Gorgeous images as always.
Glad you enjoyed it!
I never saw a lens like that, very cool!!! Thanks for the info!!!
Thanks Brian! My favorite thing about these lenses is many of them can be had for a decent price...except for the Cooke, lol.
This place is on my list of places to shoot. Found out about it in December from my friend who runs that counties visitors bureau. Looks like a great place to explore!
Correction: Not that county, but the one north (After looking it up on Google)
Mat, one possible reason for the front element in front/rear of the shutter may be the fact the front or rear element inside the front lens is concave, and switching orientations actually inverts this lens set, concave/convex at the front, and one might deal with flare better, so this is the reason they recommend it.
Amazing! Great shots, Mat!
Thanks Mark! :D
You got some terrific results Mat. Always amazing how B&W can make crappy looking water look great.
I love the power of B&W to transform a scene. Definitely wouldn't have enjoyed all that brown water with Ektachrome, lol.
Magnifique vidéo et très jolies photos, vous êtes un véritable artiste 👍
Merci! :)
Love your Friday videos. Thanks for doing them. It was a good day for black & white with all of the mud in the falls. I have a Voltas 8x10 convertible that I will be testing this spring.
so nice when you cant get out to shoot to watch a video like this. I'm converting a broken 5x7 to handle 90mm lens for 1/2 panoramas (2.5 x 7). By next weekend will be outdoors again!
Ian I know that feeling! This Winter I've been printing and organizing more than shooting, it was great to get back out there. Are you using a split darkslide for the 5x7 or are you using an adapter back? Cheers!
@@MatMarrash Split darkslide with 90mm Berthiot Perigraphe lens. My Kodak 2D couldn't handle the short focal length so I got an old fold-up field camera and still had to modify that. Today I'll see if the lens really has the coverage it's said to.
Very nice images, and well-done video! I have a Turner Reich Triple Convertible that's waiting for an 8x10. It's been sitting in a box for a rather long time, but it might be time to pick up an Intrepid. 😄
You make it look easy. Beautiful work!
It's easier than lighting a portrait, I swear! ;)
They certainly do look sharper than I expected on screen. I have a Turner Reich triple convertible on my Conley 5 x 7 but I’ve never used any but the combined focal length. Now I’m tempted.
There is some sharpening and contrast added in post, but nothing more than I would use on any other film scan. The longer configurations are a tad fuzzier than combined, but a 2-3x enlargement wouldn't be bad.
@@MatMarrash I'll keep that in mind. The Turner Reich I have offers14 inch and 20 inch focal lengths in singles and 8.5 inch combined. The latter looks fine on paper negatives but a little softer than I like on film, especially with portraits. I might try the 20 inch, just for fun. (On landscapes, that is, not portraits.) A 2- or 3-times enlargement on 5 x 7 is pretty good, after all.
at 13:55 I love your pun a "BLACK JACKET" as this is a proprietary name for a dark cloth which has sleeves, and looks uncannily like it's namesake
Great video, Mat. Beautiful shots, as always.
I will not lie. I giggle every time captions spell "Matt Mirage".
Prints using older lenses like the B&L and the Turner Reich seem to have a luminance that I find very appealing. That is certainly true of the negative scans that you shared today.
Awesome results as always! I’ve always been curious about convertible lenses but have only seen a two way one, never a three way!
The day's results have me reconsidering convertible lenses for a lighter weight large format kit. I can see why so many swear by the Cooke XVa!
Woot! for B&L Protars! I've got a double convertible 9-1/4" made up of two 16-3/16" cells. Each Protar VIIa half is 4 elements in a single group and is fully corrected to operate by itself. While they won't match modern optics, the single cells of the Protar will perform better than half of a Dagor or a convervtible Symmar which only have 3 elements per side. And since there's only one group per 4 elements, they don't have too many air/glass surfaces and show decent contrast despite a lack of modern coatings.
One important thing to remember about Protars, though: they suffer some pretty strong focus shift so it's important to double check focus after stopping down to the working aperture.
By the bye, there was a photographer out west who used convertible lenses quite a bit. I think his name was Ansel something... ;-)
I don't know about Ansel Adams lenses, but as far as I know Edward Weston was using these Protar lenses. I like to use them, too. :-)
@@ChristianKlant I know that Ansel used a Cooke XV and a Turner Reich Triple Convertible. Given that he was a bit of a gear head who used many different formats and cameras, I wouldn't be surprised if there were others, too.
Yeah, and a friend of his, Edward or something like that, shot many, if not most of his 8x10 work with a single group Turner Riech lens. Heard he was kinda weird though and liked to shoot nudes, vegetables and peppers!
Thanks for filling in the blanks on the Protar lenses Chris! The was a definite fall-off of sharpness with the single groups, but the contrast was fairly consistent. I'd be happy to contact print any of those negatives, but probably only enlarge the ones from the shortest FL configuration. Next up on the bucket list, that legendary XVa!
Mat, going to do my first contact prints this weekend! I'm excited! Thanks for the quality content every Friday :)
Thanks for tuning in Jacob and have fun making magic in the darkroom! :D
I only have one lens that qualifies as ' convertible ' for my 4X5 cameras and that is the original Schneider Symmar 135mm F 5.6. It is a symmetrical design and the rear element can be removed to turn it to a 240mm or therabout F12 lens, these figures are from memory and can be wrong BTW. I am sure a lot of them were based on a Cooke design. BTW, for those who may not be familiar with expanded development, it is of paramount importance to make sure that if N+1, or N+2 development were indicated, the highlight values should still remain within the desired zone placement. Expanded development affects the highlight tonal values much more than shadows or even midrange, even if you have 4 stops of luminance range, so accurate placement of exposure is critical. Very nice photography BTW.
these convertible lenses are interesting but never seen a triple-convertible before. Great shots
In researching convertibles for this episode, the legendary Cooke XVa can even convert 5-ways if the photographer has access to additional front and rear groups!
Excellent, Thanks.
Glad you liked it!
thanks - my wife found and bought me a Kodak Empire State No. 2 5x7 from a local antique shop that has a very clean Gundlach Optical lens/shutter combo -
the lens is convertible - it has three F stop rows - 23", 17" and a third not marked but the stops are quite far apart- - there is the one removable back element - I thought one was missing something - now I will have to look a the front a little closer.
and Yak-trax - yeah, what a great invention. I keep a spare pair in the truck just in case
Thanks for commenting on your convertible lens Rick! There were quite a few of these made but the documentation on them is very sparse. While I wasn't in love with the look of all three configurations, it was fun to try. Also, the Yak-Trax are now back in my trunk where they belong!
Hi Mat,
Great video. I have two double convertable lenses one for 4x5 and another for 8x10. Great trick with putting the lens in the back to cut down flare, will try that next time out. Convertable lenses are great with the intrepid cameras as it makes the complete outfit so light with only one lense to transport.
Best wishes and keep those LFF video's cumming.
Back in the 60s when I attended the USAF Photo School at Lowry AFB Colorado, the first camera we started out with was an 8x10 Deardorf with a Wollensac triple convertible lens. I don't remember what the wide angle or telephoto focal lengths were but the base was 12 inch. One of the training assignments was to photography this cute little base chapel near the school and you haven't lived till you've seen 12 8x10 Deardorfs in a row! This lens differed from what your showing in that you didn't substitute glass you shot with either the front element or read element or both for 12 inch.
The old Wollensak building is just down the road from me, about 2-3 miles away. The building itself degenerated over the years that I observed it first around 2004, but now it seems someone has bought it and at least some repairs have been completed. When I used to print in a pro lab I used a Wollensak enlarging lens for one negative size (I can’t remember which) and it was very good.
That must have been a sight seeing that many Deardorffs all lined-up. Also very badass that they instructed using 8x10!!
@@MatMarrash It seems to be reversed to today when you start out small then go to 8x10. This was 1964 and once we mastered the 8x10 we went to the 4x5 speed Graphics. I didn't see a roll film camera till 1966 in Nam where they were testing various 120's. The Bronicas, Mamiya TLR and Graflex XLs but the Hasselblads were lucky to last a month. Dust, Humidity and heat got to the close tolerances. In 35mm the Pentax and Nikkormatt did well but not the Nikon F because the detachable meter let crap into the system. The first motor driven Pentaxes were custom made for the 600 Photo Sqd which had 17 detachments around Nam with HQ at Ton Son Nhute. These were used by photographers in the air. AND YES, a dozen 8x10s lined up side by side today is a wet dream!
You're definitely braver than I would be to go out into that kind of weather with a large format camera.
Hiking around with LF gear gets warm really quickly, so the cold weather is perfect! I'm usually more worried about the digital equipment, lol.
One "newer" example for convertible lenses, are the Schneider-Kreuznach Symmar lenses from the late 50s and 60s. I have a 210mm f/5.6 with an additional focal length of 370mm and f/12 if you just use the rear elements. It's written in green on the front of the lens. Also has two aperture scales. Unfortunetly my bellow isn't long enough for the 370mm, so I will never know the optical performance. Before I knew you were supposed to use the rear element, I took some pictures with just the front elements. Works as well, but of course sharpness was more okayish. But as always an interesting video.
Thanks for mentioning the more modern Schneider convertibles! I know a few folks that have used those in the past and the longer variety 360/620 convertible is an 8x10 and 11x14 staple.
Great timing on this video, Matt. I'm about to shoot with a 4x5 Conley Automatic (c. 1908-1918) this weekend which has a triple convertible lens at 6.75", 11", and 14". It's all a bit intimidating to understand, but, am fairly confident I can get through it. I'm also going to be developing film for the first time. Talk about jumping into the deep end! *fingers crossed*
Glad the timing of this video worked out and good luck with all of your LF firsts!
Mat, on reflection, that black felt on the shutter could be the owners solution to a lens issue (Schneider itis)- the flaking off of the black paint on concave elements, leading to viewed spots on the lens; this felt would dampen any stray light from this, saving the shot from flare.
Fine art sir.
Mat, the black tape is also there to stop unwanted refractions from the silver inside of the lens barrel, or any locking rings, shutter /apature blades getting back to the lens elements, ie the barrel acts like a mirror.
Nice to see you getting a chance to try a convertible lens. My main lens for my Graphic View is a 150 mm Schneider Componon f/5.6; while not officially convertible, most of the Componon family can be converted. With the front group removed it's about 250 mm f/9 (ish?). I've been told the front group alone doesn't do well, but I've never actually tried it; it ought to be around 375 mm f/11 or so, if I've done the math right. Maybe I need to get out and do that soon, and see what the negative looks like; it'd be cool to have another option for that camera.
While I don't think this is the right convertible for me, I do see one of those type lenses in my future. Missed my chance at an affordable XVa 5 or so years ago and still regretting it! >__
Really enjoyed this. I've never been to that location even though I was many, many years in central Ohio.
It was surprisingly easy to get to and only a hop, skip, and a jump away from the parking lot! I'd say it's similar to Ash Cave, but with a bit less hiking.
@@MatMarrash Thanks great to know. All the rain and snow really helped with the waterflow. ;-)
Mat one suggestion for the LONG configuration, use a 'top_hat' ext panel inbetween the Linhof adaptor and front standard, or the Linhof adaptor and the lens; this should find another inch or so for the focus track, as this extension should allow the extra space.
I cringed watching you walk on that ice. A couple of weeks ago I was out walking on a dirt road that was icy. I fell, broke a rib and collapsed a lung. Three days in the hospital with a tube stuck through my ribs into my chest and weeks of painful recovery. Careful!
Interesting lens I have one that is only two choices but it is fun to use.
I wish I had know Ohio had so many places to photograph. I worked on the east side (Wellsville) for about 3 months off an on and made quite a few trips through the state on my way to/from.
Your images are gorgeous! Bummer about the condensation but it was a good lesson.
Good call not stepping out on those rocks! I was on the Blue Ridge Parkway about 10 years ago and I saw a sign that said there was a waterfall at the next turnout. Perfect, what photographer can resist a waterfall? I hiked down to the falls and after making few digital images I decided that the "perfect spot was from that flat rock in the middle". As I pivoted on my left leg and stepped with my right I noticed some #*$##@ had dropped a gum wrapper (the metal foil kind) in the water so the new mission was to pick that up and then make the image. At the same time I saw a black leaf, which my mind registered as "wet and slippery". Too late... I put my foot down, it immediatly slipped off, I came down in the middle of the stream, smacked the side of my head on a rock, the camera hit on the Really Right Stuff bracket hard enough to eject the battery. As I reached for that I started sliding downstream on one side, fairly quickly. This all happened in less than two seconds. I caught up with the battery after about 30' of trave, I got my feet in front of me, stopped the slide, and went to the bank. My bell got rung pretty good, no blood though. I remember thinking that someone was going to find my body, see my shiny new DSLR, and think - he's not going to need that anymore and take my camera. :) I eventually started the long climb up the hill. As I was topping out I met an older man that had been down at the deck area with his wife. He noticed that I was soaking wet on one side and asked if I had fallen in. I replied that I had but before I could tell the story he yelled at his wife - "Hey honey, your were right! He ended up falling in". They were both still laughing uncontrollably when I was pulling out. So was I but my head was pounding :) I almost ended up in the Atlantic trying to get the "perfect angle" on Pemaquid Point Light up in Maine (I need to go back to Maine). No witnesses on that one.
Oh my goodness Michael, you've given me even more fuel to never chance it on rocks/ice without spikes/grips! My big lesson came when I was down in the Hocking Hills at Old Man's Cave (will probably show up on the channel at some point) on my second visit. It was a light drizzle on a cool Spring morning and I was rushing towards one of the lower falls on the trail since those hardly have enough water flow to make anything worthwhile. In the hurry I hit a patch of wet leaves and took an immediate dive, camera gear and all, onto the rocks. A cracked tailbone and ground glass were the prizes that morning.
All of this craziness in making landscape photographs in Ohio started when I discovered several photographers working in LF share their work from Southern and Eastern areas of the state that crossover into Appalachia. I was enthralled with the "look" and it gave me the confidence to try and make something from locations that were in my backyard. Lots of wide glass needed to open up these smaller locations, but they're pretty neat! :)
@@MatMarrash Wow! That was a nasty fall! Hopefully it's a one and done kind of thing :o)
I was in a workshop in Death Valley, first time to shoot 4x5. I let the ground glass holder slip on my Master Technika and turned it into ground glasses. I had to switch to the Sinar. I was lucky to have it but it's not the best field camera lol. Ya gotta love film though. There's nothing else like it.
Excellent video. Just one geeky question - what's the tripod?
Hey Tony, it's an Induro CT414 (older model now). More info here: ua-cam.com/video/fraADuAALyo/v-deo.html
Mat,
Your exposures looked right on. Have they come out with that spot meter? I heard they’re still in testing?
BTW, you must have spent ALOT of time setting up this video, back and forth resetting the camera. Your video editing looks smooth just like you set out multiple cameras.👍😁
Hey Dave, the Reveni Spotmeter has finished development with all the Kickstarter backed units shipped. They're still on pre-order status for orders placed later in 2021. For all of my non-studio work, it's the perfect little tool! Thanks for noticing the camera work, I have a bit of fun with it when it's just me on the trail. ;)
I have a conversation lens and it’s actually pretty sharp
Those hiking shots at the beginning must've made you walk twice as far lol.
Edit: Great episode btw!
The 0.2 mile hike sign at the head of the trail was only a suggestion, lol.
Just picked up a 1903 Century 8x10. It came with a Turner -Riech f6.8 convertible. I sent the lens out for CLA the timing is off as expected but I now know what they actually are. Being new to 8x10 could you recommend a inexpensive film type I got the camera mainly for wet plate and other alternative processes.
Another topic is checking old wooden sheet film holders any direction on that would also be helpful. Thanks.
Hey Peter glad you found this episode useful! For inexpensive 8x10 I'd recommend checking out my overview of FPP Mummy 400:
ua-cam.com/video/TUYA7YBlM9c/v-deo.html
And while I'm not the biggest fan of wooden holders, here are two episodes dealing with older gear:
ua-cam.com/video/M5aeD2oJsEc/v-deo.html
ua-cam.com/video/37owb7ESKdc/v-deo.html
Just picked up a Schneider-Kreuznach Symmar 210 f5.6 / 370 f12. I cant wait to try it but not sure the Technika can stretch that far LOL
Great video! What is the light meter that you were using in the video??
The Reveni Labs Spotmeter - ua-cam.com/video/RBlacFq74JA/v-deo.html
I have the new Cooke xva for a deardorff field - I always considered it to be sharp but now after seeing this you have me wondering. I primarily only shoot in the 300mm range anyway. I wonder if I should switch away from the Cooke into a “prime” that would yield better focus and contrast. I hate the question but what is considered the sharpest best in the fixed 240-300mm range?
Hey Jason thanks for the comment and the Cooke XVa is in a league of it's own! It's not perfect in its longer configurations, but far, far sharper than this 100+ year old lens. Probably the sharpest 300 IMO would be a Rodenstock APO-Sironar W or Schneider APO Symmar L. Both are very high-end, modern standard lenses with large image circles and high resolving power.
Mat,
What is the light meter you are using? I love it’s compact size.
Hey Paul, this is my new favorite travel meter, the Reveni Labs Spotmeter: ua-cam.com/video/RBlacFq74JA/v-deo.html
Nice setup; what tripod head are you using?
Thanks Frank! The head is an old Majestic geared head + Novoflex QR clamp. More info and demonstration here: ua-cam.com/video/fraADuAALyo/v-deo.html
Do you find that focus shifts when you stop the lens down using a single element? My Turner Reich does that.
LFF regular Chris mentioned there was significant shift when working stopped down. The widest-open I used with single elements that morning was f/45, so tough to tell in those shots.
You're really making me regret selling my 8x10 equipment five or six years ago, Matt. Fortunately, now that I'm retired I can't afford to re-buy it. 😇
My biggest inner conflict with this channel is that there will be folks seeing the results and thinking 8x10 and larger is all sunshine and rainbows. I may have to make a "10 reasons not to buy ____" video.
@@MatMarrash That's not a bad idea, Mat! Might be tough limiting it to just 10, though... and a well done 8x10 contact print makes you forget the trials!
I’m having issues focusing with movements. Anytime I focus on the far and tilt or swing and get focus on the near it seems to throw off the far as well. Maybe I misunderstood. Any advice?
Some cameras have what are called "balanced" movements, and some don't. My Graphic View (ca. 1952) has bottom tilts -- that is, if I tilt the front or rear standard, it pivots from the bottom of the upright; this inevitably changes the overall focus as well as angling the plane of focus. My Graphic View II (ca. 1955) has centered or "balanced" movements, with the tilt axis running right through the center of both the front and rear standards; this let's me apply tilts without changing the "far" focus. Both models have centered swing (front standard only); I'm not aware of any camera that offers swing that isn't centered. Tilts, however, come in both flavors; field cameras often have bottom tilts because they allow making the camera fold more compactly, and even monorails (like my first-gen Graphic View) may have them for cost reasons.
What I learned to do with my Graphic View (haven't had the GV2 out yet) was to set my "far" focus, then estimate the tilt I'd need and set that before refocusing; at that point, I can see if I need to adjust my tilt, and the adjusted tilt setting is usually dead on (after I refocus at the rail, of course).
Not all cameras will feature balanced or asymmetrical movements, meaning there may be additional focusing needed after applying those movements. Also worth noting to always check focus after stopping down to working aperture to make sure the depth of field is where you need it to be.
@@MatMarrash thanks guys! I just got a fresnel screen and ordered an actual dark cloth so hopefully That’ll help when stopping down. In the meantime, more practice
Do you have a video that explains the green dots?
Hey Jay! If you're already comfortable with metering, check out the follow-up video on development: ua-cam.com/video/P-T5Po82f4o/v-deo.html
I would not hesitate to enlarge at least 2x or even 3x from a convertible stopped down to f22 1/2!
Agreed! Triple convertibles won't appeal the "Zoom into 200%" crowd, but for modest enlargements they're pretty snappy!
How were you able to attach your tripod head to the tripod itself? Adapter?? I'm getting the same tripod head as yours.
This tripod head came with an adapter to take the column to 3/8". I would caution that this geared head is inexpensive but quite heavy!
Man that scenario looks really cold and you do not have many layers!!!
It was surprisingly warm that morning, started 40F and ended 55F. Ohio is weird.
@@MatMarrash yeah it is weird, lots of ice though!
No dark cloth necessary?
ah ok jacket.That's what I use.
Darkcloth not necessary, but certainly helps!
Matt loved the video but please get a warmer coat. You made me cold just watching the video. I may take my little Nikon Z s to this location and see what I can get.
Thursdays weather was quite warm, the second half of that video was at 55F. That's almost shorts weather, lol.
What is the eye piece he was using and what does it do
That was the Reveni Labs Spotmeter, it's one of the smallest dedicated light meters out there and here's a full video on it:
ua-cam.com/video/RBlacFq74JA/v-deo.html
@@MatMarrash thank you very much
great video, and at last mat, we see that takahara? in use, not just a "studio prop", nice to see it in use and with a new lens, BRAVE move, and esp. no "reconisance" beforehand, not the wisest thing, as you found with the weather.
Oh, don't give him a hard time. Last season was mostly field work, up and down the cliffs and gorges in his part of Ohio, and we saw that Tachihara earning its keep every week or two.
There are also Schneider Kreuznach Symmar convertible Lenses en.wikipedia.org/wiki/Schneider_Kreuznach#Symmar
"a little bit of riffling.... sounds like someone fly fishes?
Hey Carl, never tried fly fishing but fished A LOT as a kid. Then in school did a lot of freshwater biology and field studies. :)
i see the process; dont see the magic ---