@@MatMarrash Thanks! But it’s secret! (i got linhof master classic!). i will make video as well.. i sold my linhof 612 camera which only used few months. It was such a nice camera but i sold it as focal length limitation as i mentioned recent video..
The slotted film holder conundrum is one of the reasons why I switched to shooting graflex cameras. I started in 2¼ x 3¼ sheet film since you could get 6x9 rollfilm holders for the little graflex and graphic cameras, plus you can easily find the 6 exposure grafmatic magazine film holders, which are about the same size as a normal film holder, but a little heavier. Eventually I discovered you can also get 12 exposure "bag mags" which are only a little bigger but carry so much more. When I moved up to shooting 3¼ x 4¼ and 4x5, I ended up switching mostly to bag mags because you remaind much more mobile (you can sometimes find 16 exposure mags and plate mags too, in addition to slotted film holders or roll film backs). If I ever make the jump to 5x7, I'll still have the option of bag mags. (Makes you wonder why nobody made an 8x10 magazine back, but considering the size, I imagine the savings in volume is more than made up for in the additional weight)
The ability to bring multi-shot backs is one of the things I'm most jealous about, being an 8x10 shooter. I've been dreaming about a grafmatic or similar style back for 8x10 for years! Might need to pitch this idea to my 3D printing friends.
@@MatMarrash It definitely is up there in my schemes, along with instax backs for graflex, and graphic backs, and 4x5, and 5x7 graflex cameras with more lens movements, like the RB auto graflex, but with more of a pacemaker graflex front standard, or a sinar type. Gonna be awhile though hahah, need to save up for machining equipment.
Though perhaps the one product I'd definitely pursue if I had the resources to start a film company these days, is making those old kodak film packs with the pull tabs. Those things were awesome. (but apparently labour intensive to make)
Thanks for another excellent video. Bringing a changing bag along on trips where you're shooting 35mm or 120 is also a good idea in case the film jams up or your camera malfunctions. You can put it in your checked luggage and it doesn't take up much space or add considerable weight.
I live in China and travel with my Linhof 4x5. I have a 8x10 changing tent (chinese made but different than yours) which travels in my trolley together with my clothes. In my backpack I have camera, lenses, film holders, film, tripod head etc. and then I have a small shoulder bag from billingham (supposed to be used for a mirrorless camera) where I have all my accessories like loupe, light meter, measurement tape, level etc. and 5 film holders.
Good tip on the ground glass. I hadn't thought about that (always a problem) in terms of checking a large format camera. I'm a 4 x 5 shooter so carryon is not problematic but I can see an 8 x 10 being an issue. I always worry about x-ray and film. Most security not familiar with film anymore and closed boxes are "dangerous" to them.
I got an acrylic ground glass. It's fine but the grinding is a little more coarse. Can kind of get thrown off a little while focusing. It is dimmer too but I cut a reading fresnel to fit the back of it and greatly increased the brightness.
Thanks Nick! Yeah, the acrylic throws me off sometimes due to the coarser ground, but if that's the price of hauling the 8x10 around the world, I'll take it. Will have to try a fresnel with the acrylic, good tip!
Great advice, thanks, Matt. I think the black color and double zipper of the Harrison bag makes us think we can change film in any light. I'll be more careful in the future! I know I ruined some images from Yosemite last year by doing stupid things like leaving my shutter open when taking out the dark slide, but a couple of other images showed some mild light exposure. Suspect I was overconfident with the changing bag, as I have never had light leaks in my holders before or since. Love this series! P.S.: the images I took with 23 yo Kodak internegative film at ISO 6 came out pretty well - needed some help with saturation, but looked great when converted to black and white. Thanks!
Thanks Martin! I would really love for there to be a bag/tent that truly was safe for use in direct light, but probably wouldn't love the price. The extra bit of caution has paid off thus far, now it's a matter of seeing how many more uses I can squeeze out of this cheaper tent!
Great points, I have definitely considered getting a backup 8x10 ground glass and removing for travel... acrylic GG and storing in a film box sounds like a great idea. Also liked the changing bag in the lid of your Pelican 1510! Also appreciate the feedback on the eBay-changing tent - was really tempted vs Harrison. I have one of the old Photoflex changing tents and it has worked well.
Thanks! The acrylic ground glass changed the game for me. Got tired of TSA breaking my regular glass. Those Photoflex tents are great and tend to last a long time!
Since I only have 4x5 at the moment, I tend to put my camera backpack in the overhead bin. I haven't had issues with the ground glass as a result, but that's a SUPER good tip! On the note of security, I did have a situation where they wanted to look inside my opened film boxes. This only happened once and in that case I just let them go through (this was before the higher power CT scanners). I do bring my dark bag just in case, though having an untrained stranger mess around with my film in a darkbag makes me quite nervous. For my next trip, I have thought about just buying film and having it shipped to my location. That solves at least travelling to my destination. There's still a potential problem heading back. For C-41 and E-6 I could send that to a lab if I'm not in a hurry, but I really like to develop my own black and white. I thought about mailing sheets back home though. I try to minimize mailing since I've read they also use x-ray scanners (and thus may at some point use CT scanners perhaps?)
Sending film ahead of travel and direct to a lab is definitely an option. I've shipped film ahead of me before, the biggest challenge is logistics and trust of the person receiving the film. If you'd got that taken care of, I wouldn't worry about x-rays in shipping (for now!).
I was planning on travelling for the first time with my 5x4 this summer but that clearly isn't going to be an option now. I have the same 1510 peli case as you (though in sexy neon orange) and it fits the camera, a few lenses, some dark slides plus extras like a grey card, changing bag and the random piece of black cloth I use as a hood. Thinking about it, black wool cloth probably isn't the greatest idea in full summer sunshine, I should really modify the outside of that. I don't know how to drive so it always makes things a little bit more difficult but until now having a wheeled case and a sling bag has been fine on trains. My biggest problem is I have no idea how to travel with a tripod big enough to hold these cameras, what do you do with yours (and how do you protect the head)?
Thanks for the comment and question! I'll pack the tripod head in checked luggage while traveling, usually by padding it around with t-shirts and socks. For the tripod, I have a smaller carbon-fiber set of legs that will pack in the checked bag as well. After all is said and done, the checked bag ends up having more photo gear than clothes. ;)
Hey Mat. Yhank you so much for all the useful information. You have been a big part of my LF learning experience. Question, how would travel with the Sinar F2. Would you take the rail of every time you want to shoot? or try to fit the camera with bellows and glass on it in a big bag? That way it takes more space than the Deardorf 8x10. Thanks again.
Hey Juan thanks for the comment and kind words! Traveling with Sinar system cameras is tough, no doubt about it. The most compact setups will fully disassemble the rail, but this adds a bit to setup/tear-down. Another method would be to get a soft shell monorail case that allows for the setup camera to be stored (typically) upside down into the case.
I've not traveled with it yet but I've been really excited at the thought of it! Given everything that's going on, I'm not sure I'll be flying anywhere any time soon but I appreciate all the advice for when that day comes!
Oh, and I’ll add that a small changing tent makes loading and unloading 4x5 film outside of a darkroom so much easier. It doesn’t fully solve the film sweats, but it’s manageable.
Hi Matt - or anyone. When using the light bag, do you keep everything inside the 2nd zippered bag -- double layered -- or in the first bag. Seems like a stupid question, but it is a my stupid question, so I love it.
Hey Jon, you'll want to keep everything in the inner-most zippered part of your changing bag/tent. The extra layer is there to prevent ambient exposure, which in some brightly lit areas still isn't enough. Recommended to use these indoors in subdued light.
When you take, let’s say, three different types of film with you on your trip and you push and pull some sheets of each film type, how do you organize them when you have to take the exposed sheets out of the film holders? Do you sort them into 9 different film boxes when you change the film holders? How do you organize this? Do you have some special way of keeping track? Also: do you also keep track what particular image/subject is where in your boxes?
Thanks for the question. This is a tough one, and will depend on which types of film you bring. Typically when I travel, the only films that will need push/pull processing are B&W and slide film; and as such, I travel more often with color negative to simplify the organization process. Last time I took more than three types of films, there were two extra blank boxes I brought with me, one for push, the other for pull. Then I went through the agonizing task of re-sorting by notch code when I arrived home. As for tracking and notes, I don't do enough of those to provide a good solution.
@@MatMarrash I “solved” this by putting everything just in one box and then taking notes about what image is at what position in the stack of sheets in there. But it didn’t feel good. I hade to be extremely cautious about not mixing things up when developing the film. Just to make sure I developed each sheet one by one in a small tank.
I do bring a small cooler with me when working with color and expired films. Fresh, in-date B&W has been fine with a little extra heat, just don't leave it in a hot car all day.
Really concerned about the new scanning machines only if security isn’t willing to do a film check. I heard it’s a real problem ay London’s Heathrow and maybe some other airports on the EU.
Been a big fan of your work ever since I saw “why large format” video. This one, like others, is no non-nonsense only content video.
Thanks! There may be some nonsense here and there, but the primary focus is LF!
Thanks for the tips! I just bought large format after few years of medium format shooting!
Congrats Ryan! Which LF camera did you go with?
@@MatMarrash Thanks! But it’s secret! (i got linhof master classic!). i will make video as well.. i sold my linhof 612 camera which only used few months. It was such a nice camera but i sold it as focal length limitation as i mentioned recent video..
The slotted film holder conundrum is one of the reasons why I switched to shooting graflex cameras. I started in 2¼ x 3¼ sheet film since you could get 6x9 rollfilm holders for the little graflex and graphic cameras, plus you can easily find the 6 exposure grafmatic magazine film holders, which are about the same size as a normal film holder, but a little heavier. Eventually I discovered you can also get 12 exposure "bag mags" which are only a little bigger but carry so much more. When I moved up to shooting 3¼ x 4¼ and 4x5, I ended up switching mostly to bag mags because you remaind much more mobile (you can sometimes find 16 exposure mags and plate mags too, in addition to slotted film holders or roll film backs). If I ever make the jump to 5x7, I'll still have the option of bag mags. (Makes you wonder why nobody made an 8x10 magazine back, but considering the size, I imagine the savings in volume is more than made up for in the additional weight)
The ability to bring multi-shot backs is one of the things I'm most jealous about, being an 8x10 shooter. I've been dreaming about a grafmatic or similar style back for 8x10 for years! Might need to pitch this idea to my 3D printing friends.
@@MatMarrash It definitely is up there in my schemes, along with instax backs for graflex, and graphic backs, and 4x5, and 5x7 graflex cameras with more lens movements, like the RB auto graflex, but with more of a pacemaker graflex front standard, or a sinar type. Gonna be awhile though hahah, need to save up for machining equipment.
Though perhaps the one product I'd definitely pursue if I had the resources to start a film company these days, is making those old kodak film packs with the pull tabs. Those things were awesome. (but apparently labour intensive to make)
Thanks for another excellent video. Bringing a changing bag along on trips where you're shooting 35mm or 120 is also a good idea in case the film jams up or your camera malfunctions. You can put it in your checked luggage and it doesn't take up much space or add considerable weight.
Very good point! If film is going along, a changing bag should probably follow.
I live in China and travel with my Linhof 4x5. I have a 8x10 changing tent (chinese made but different than yours) which travels in my trolley together with my clothes. In my backpack I have camera, lenses, film holders, film, tripod head etc. and then I have a small shoulder bag from billingham (supposed to be used for a mirrorless camera) where I have all my accessories like loupe, light meter, measurement tape, level etc. and 5 film holders.
And keep up that great content! Really love your channel!
Thanks for the comment and for sharing how you arrange your full kit!
Good tip on the ground glass. I hadn't thought about that (always a problem) in terms of checking a large format camera. I'm a 4 x 5 shooter so carryon is not problematic but I can see an 8 x 10 being an issue. I always worry about x-ray and film. Most security not familiar with film anymore and closed boxes are "dangerous" to them.
There's more tips on ground glass in LFF #32:
ua-cam.com/video/o_aBcMpYau4/v-deo.html
Obviously I'm late to this topic but I'm just starting my LF journey so it's exactly what I was looking for. Thanks for the valuable information.
Glad it was helpful!
I got an acrylic ground glass. It's fine but the grinding is a little more coarse. Can kind of get thrown off a little while focusing. It is dimmer too but I cut a reading fresnel to fit the back of it and greatly increased the brightness.
Thanks Nick! Yeah, the acrylic throws me off sometimes due to the coarser ground, but if that's the price of hauling the 8x10 around the world, I'll take it. Will have to try a fresnel with the acrylic, good tip!
Great advice, thanks, Matt. I think the black color and double zipper of the Harrison bag makes us think we can change film in any light. I'll be more careful in the future! I know I ruined some images from Yosemite last year by doing stupid things like leaving my shutter open when taking out the dark slide, but a couple of other images showed some mild light exposure. Suspect I was overconfident with the changing bag, as I have never had light leaks in my holders before or since. Love this series! P.S.: the images I took with 23 yo Kodak internegative film at ISO 6 came out pretty well - needed some help with saturation, but looked great when converted to black and white. Thanks!
Thanks Martin! I would really love for there to be a bag/tent that truly was safe for use in direct light, but probably wouldn't love the price. The extra bit of caution has paid off thus far, now it's a matter of seeing how many more uses I can squeeze out of this cheaper tent!
Great points, I have definitely considered getting a backup 8x10 ground glass and removing for travel... acrylic GG and storing in a film box sounds like a great idea. Also liked the changing bag in the lid of your Pelican 1510! Also appreciate the feedback on the eBay-changing tent - was really tempted vs Harrison. I have one of the old Photoflex changing tents and it has worked well.
Thanks! The acrylic ground glass changed the game for me. Got tired of TSA breaking my regular glass. Those Photoflex tents are great and tend to last a long time!
Since I only have 4x5 at the moment, I tend to put my camera backpack in the overhead bin. I haven't had issues with the ground glass as a result, but that's a SUPER good tip! On the note of security, I did have a situation where they wanted to look inside my opened film boxes. This only happened once and in that case I just let them go through (this was before the higher power CT scanners). I do bring my dark bag just in case, though having an untrained stranger mess around with my film in a darkbag makes me quite nervous.
For my next trip, I have thought about just buying film and having it shipped to my location. That solves at least travelling to my destination. There's still a potential problem heading back. For C-41 and E-6 I could send that to a lab if I'm not in a hurry, but I really like to develop my own black and white. I thought about mailing sheets back home though. I try to minimize mailing since I've read they also use x-ray scanners (and thus may at some point use CT scanners perhaps?)
Sending film ahead of travel and direct to a lab is definitely an option. I've shipped film ahead of me before, the biggest challenge is logistics and trust of the person receiving the film. If you'd got that taken care of, I wouldn't worry about x-rays in shipping (for now!).
I was planning on travelling for the first time with my 5x4 this summer but that clearly isn't going to be an option now. I have the same 1510 peli case as you (though in sexy neon orange) and it fits the camera, a few lenses, some dark slides plus extras like a grey card, changing bag and the random piece of black cloth I use as a hood. Thinking about it, black wool cloth probably isn't the greatest idea in full summer sunshine, I should really modify the outside of that.
I don't know how to drive so it always makes things a little bit more difficult but until now having a wheeled case and a sling bag has been fine on trains. My biggest problem is I have no idea how to travel with a tripod big enough to hold these cameras, what do you do with yours (and how do you protect the head)?
Thanks for the comment and question! I'll pack the tripod head in checked luggage while traveling, usually by padding it around with t-shirts and socks. For the tripod, I have a smaller carbon-fiber set of legs that will pack in the checked bag as well. After all is said and done, the checked bag ends up having more photo gear than clothes. ;)
Hey Mat. Yhank you so much for all the useful information. You have been a big part of my LF learning experience. Question, how would travel with the Sinar F2. Would you take the rail of every time you want to shoot? or try to fit the camera with bellows and glass on it in a big bag? That way it takes more space than the Deardorf 8x10. Thanks again.
Hey Juan thanks for the comment and kind words! Traveling with Sinar system cameras is tough, no doubt about it. The most compact setups will fully disassemble the rail, but this adds a bit to setup/tear-down. Another method would be to get a soft shell monorail case that allows for the setup camera to be stored (typically) upside down into the case.
Great tips Mat. All have been noted for future reference.
Thanks Phillip!
Really enjoyed this episode Mat! Lots of great guidance and advice. Thanks!
Glad you enjoyed it!
I haven’t traveled with LF yet, being newer at it. Super helpful when approaching a first air trip.
Glad it was helpful!
I've not traveled with it yet but I've been really excited at the thought of it! Given everything that's going on, I'm not sure I'll be flying anywhere any time soon but I appreciate all the advice for when that day comes!
This was a topic that I wanted to make a lot later on, but figured now is as good a time as any to get planning to travel with LF!
Some really cool tips :-) Thank you :-)
Glad you liked it!
I went to Belgium several months ago (pre virus crisis) and they were very good about hand checking film - no hassle at all- better the the US TSA
That's good to hear! France was a bit of a hassle last time I went through, but US TSA has been good so far.
Oh, and I’ll add that a small changing tent makes loading and unloading 4x5 film outside of a darkroom so much easier. It doesn’t fully solve the film sweats, but it’s manageable.
The film sweats are REAL! I was souping 25 rolls of film today and my smaller tent was getting a little swampy.
Hi Matt - or anyone. When using the light bag, do you keep everything inside the 2nd zippered bag -- double layered -- or in the first bag. Seems like a stupid question, but it is a my stupid question, so I love it.
Hey Jon, you'll want to keep everything in the inner-most zippered part of your changing bag/tent. The extra layer is there to prevent ambient exposure, which in some brightly lit areas still isn't enough. Recommended to use these indoors in subdued light.
When you take, let’s say, three different types of film with you on your trip and you push and pull some sheets of each film type, how do you organize them when you have to take the exposed sheets out of the film holders? Do you sort them into 9 different film boxes when you change the film holders? How do you organize this? Do you have some special way of keeping track? Also: do you also keep track what particular image/subject is where in your boxes?
Thanks for the question. This is a tough one, and will depend on which types of film you bring. Typically when I travel, the only films that will need push/pull processing are B&W and slide film; and as such, I travel more often with color negative to simplify the organization process. Last time I took more than three types of films, there were two extra blank boxes I brought with me, one for push, the other for pull. Then I went through the agonizing task of re-sorting by notch code when I arrived home. As for tracking and notes, I don't do enough of those to provide a good solution.
@@MatMarrash I “solved” this by putting everything just in one box and then taking notes about what image is at what position in the stack of sheets in there. But it didn’t feel good. I hade to be extremely cautious about not mixing things up when developing the film. Just to make sure I developed each sheet one by one in a small tank.
@@bitbonk One by one? You have the patience of a saint to do that!
on car trips do you use a cooler for your films.
I do bring a small cooler with me when working with color and expired films. Fresh, in-date B&W has been fine with a little extra heat, just don't leave it in a hot car all day.
Really concerned about the new scanning machines only if security isn’t willing to do a film check. I heard it’s a real problem ay London’s Heathrow and maybe some other airports on the EU.
Haven't gone through London, but France didn't want to do anything other than run them through the scanners.
Little Spider at bottom of case (left) @ 5:58
Fun fact: there were more in the changing bag, and I only found them when loading film after the episode was filmed!
@@MatMarrash Haha that'll make me check my changing bags from now on! lol
hello , what is the website adress of this chinese kangrinpoche manufacturer ? thanks
Thanks for the comment. Unfortunately I don't know their website URL, here's their full eBay store link: www.ebay.com/usr/3s-krpc
Mat Marrash : thanks mat , the website is written on one side of the bag , I can see it in video but not all of it . Thanks in advance
13512045810 is the url, no longer works.
Hi Matt. On a long trip I take a small tool kit of screwdrivers, tweezers etc just in case of loose screws or any minor repairs.