great video, but one point here, the ground glass back is called a "universal" or ' graflock' back these have the bars as you show here, SOME LF's can't take this style of back, aka swallow it between the standard and the ground glass!, here you need a Calumet, Toyo, Sinar vario, etc. model which is typed as a "there and back again", a holder with a can on one end, the film spools are in the 'can' end, the holder just sandwiches the film and pressure plate together, to ensure film flatness, and fits between the parts like a standard "double dark". (a note here, for others, these are called double dark, as early "plate" camera backs, which held aluminium or glass plate negs, used a similar holder, but ONE darkslide, the other held the back pressure spring and holder case together, as these loaded like an 80's cassette tape case, from one side, like a window, the plate held in a frame, and a spring system holding it there for exposure).
Bernie, it's uncanny you use a 4 X 5 in. camera nit for sheet film but to make panorama's with a rollfilm holder. Nowadays several companies print a panorama camera in two taking formats, you can use a choice of lenses, a 90 mm works well, I use one without the focussing lever, as focussing is by turning the front to the correct hyperfocal distance.
Well, to my eye that camera looks really loose and imprecise.. but then I always used Sinar P and Horseman Studio Monorails. I have and used to use extensively Toyo 6x9 roll film holders with my 47mm and 90mm Schneider f5.6 lenses. It kept the clients film costs within budget and sped up the shoot process. I used Prontor Professional shutters as there repeating action, not requiring any manual recocking between exposures. Very useful in the studio when performing multiple, exposure building, strobe sequences. I feel that a clip on 'flag' to shield the lens from the expanse of sky might have been beneficial too, for the cost a double clip and a piece of cardboard. When using Polarising filters and ND I would have put the Polariser on the front and a gelatine ND on the rear of the lens, to cut down reflections. I used to cut the gelatine filters and place inside the lens at the central nodal point to reduce quality loss too. If I can get my 47mm mounted in my old Graflex press camera's lens panel then I might take it out for a blast and see what I get. I also have a lightweight Sinar Wolf monorail that I could try out in the wild. Oh, showing where you chose the point your spotmeter in the final image made might be helpful or suggesting using a grey card. Keep up the good work.
Go easy on him man. Not everyone has deep pockets and years of experience in using 4X5 studio cameras like us. He is using a Chinese made field camera, not a Linhof Master Technika, it will wobble a bit on insertion. Prontor Pro is a lovely shutter, I have one on my 135 lens, but it also costs as much as his camera. For me 4X5 landscape photography is like meditation, slow, deliberate and with thought. No one is rushing to please a stupid client here.
Great video. I wish you covered some movements though. I'm looking at buying the Shen Hao TZ to upgrade from my Intrepid. Also considering Chamonix F2, but I think your camera functions better. How do you like it?
The ground glass is without Fresnel. A Fresnel glass gives a brighter image, aiding focussing. Your loupe is too large. There are sucking lupes, press it to the glass and it'll stick to it for focussing. Stop calculating in millimetres, 1 centimeter = 10 millimeters, so its easier to reckon in centimeters (cm). There's no UV filter on your lens. Add one for protection of the lens and for preventing excessive UV rays which makes photos too blueish. You have a camera with movements, but you use none of these!!
Thanks Bernie! If you have the black side in on the focusing cloth, and red side out, it will be easier to see the image on the ground glass.
Love my 6x12 horseman roll film holder. Would like another but they’re very costly. Bummed.
Hey Nigel! Thanks for commenting. Yeah such a shame they are crazy expensive. I’m grateful I have this one but hard pressed to buy another haha.
Nice work man…thanks for the video. Be safe…Cheers..
great video, but one point here, the ground glass back is called a "universal" or ' graflock' back these have the bars as you show here, SOME LF's can't take this style of back, aka swallow it between the standard and the ground glass!, here you need a Calumet, Toyo, Sinar vario, etc. model which is typed as a "there and back again", a holder with a can on one end, the film spools are in the 'can' end, the holder just sandwiches the film and pressure plate together, to ensure film flatness, and fits between the parts like a standard "double dark". (a note here, for others, these are called double dark, as early "plate" camera backs, which held aluminium or glass plate negs, used a similar holder, but ONE darkslide, the other held the back pressure spring and holder case together, as these loaded like an 80's cassette tape case, from one side, like a window, the plate held in a frame, and a spring system holding it there for exposure).
Bernie, it's uncanny you use a 4 X 5 in. camera nit for sheet film but to make panorama's with a rollfilm holder. Nowadays several companies print a panorama camera in two taking formats, you can use a choice of lenses, a 90 mm works well, I use one without the focussing lever, as focussing is by turning the front to the correct hyperfocal distance.
Interesting that we have the same basic tripod setup. I love the Benro sticks but the head was just too flimsy so I put my old Manfrotto head on it.
I used a Benro head for years and never had a problem with it.
Excuse if I missed something but what location is it pls?
Well, to my eye that camera looks really loose and imprecise.. but then I always used Sinar P and Horseman Studio Monorails. I have and used to use extensively Toyo 6x9 roll film holders with my 47mm and 90mm Schneider f5.6 lenses. It kept the clients film costs within budget and sped up the shoot process. I used Prontor Professional shutters as there repeating action, not requiring any manual recocking between exposures. Very useful in the studio when performing multiple, exposure building, strobe sequences. I feel that a clip on 'flag' to shield the lens from the expanse of sky might have been beneficial too, for the cost a double clip and a piece of cardboard. When using Polarising filters and ND I would have put the Polariser on the front and a gelatine ND on the rear of the lens, to cut down reflections. I used to cut the gelatine filters and place inside the lens at the central nodal point to reduce quality loss too. If I can get my 47mm mounted in my old Graflex press camera's lens panel then I might take it out for a blast and see what I get. I also have a lightweight Sinar Wolf monorail that I could try out in the wild. Oh, showing where you chose the point your spotmeter in the final image made might be helpful or suggesting using a grey card. Keep up the good work.
Go easy on him man. Not everyone has deep pockets and years of experience in using 4X5 studio cameras like us. He is using a Chinese made field camera, not a Linhof Master Technika, it will wobble a bit on insertion. Prontor Pro is a lovely shutter, I have one on my 135 lens, but it also costs as much as his camera. For me 4X5 landscape photography is like meditation, slow, deliberate and with thought. No one is rushing to please a stupid client here.
You sound like a knob lol
Great video. I wish you covered some movements though. I'm looking at buying the Shen Hao TZ to upgrade from my Intrepid. Also considering Chamonix F2, but I think your camera functions better. How do you like it?
The ground glass is without Fresnel. A Fresnel glass gives a brighter image, aiding focussing. Your loupe is too large. There are sucking lupes, press it to the glass and it'll stick to it for focussing. Stop calculating in millimetres, 1 centimeter = 10 millimeters, so its easier to reckon in centimeters (cm). There's no UV filter on your lens. Add one for protection of the lens and for preventing excessive UV rays which makes photos too blueish. You have a camera with movements, but you use none of these!!