Watch this youtube video on split grade printing. Is he saying 'double knot' filter around the end? I know he's using a grade 5 filter, but I can't understand the name of the other one.

This is for a Calumet Shutter Speed Tester....Range is from 4 seconds to 1/8000 second... This is a nice device to test those old shutters that get slow in the lower speeds........

....Digital read out........ Has instructions on the back and timed reading chart on front.................A small hard case ( not the OEM) which is included... ....

You would probably want to change the batteries but it does work as it sits...


As with every thing I sell this is sold AS IS with no implied warranties ....

Price $135 .....Shipping and handling with insurance $12.... I will ship overseas for $50 flat rate box insured

johnjohnc@att.net My email is my Pay Pal John Cremati

Beseler lens board, with the red safe light thingee, 4" square, unthreaded hole, which is 1.5" - $15 OBO

Schneider-Kreuznach Componon-S 50mm, f2.8, with ring, fits the Beseler lens board, good condition, glass is perfect - $40 OBO

Rodenstock Rodagon 50mm, f2.8, with ring, fits the Beseler lens board, excellent condition, glass is perfect - $45 OBO

EL-Nikkor 80mm f5.6, excellent condition, glass is perfect - $45 OBO

Schneider-Kreuznach Durst Componon 105mm, f5.6, no ring, good condition, glass is perfect - $35 OBO

Rodenstock Omegaron 135mm with ring, f4.5, good shape, glass is perfect - $25 OBO

Please add $5 for USPS flat rate box. Will be happy to combine multiple items. My ebay ID is sparkyphoto (100+ rating)

I'll post photos in a bit when I get back from the playground (not my darkroom).

Looking for a chrome WLF for a 500cm.

Caltar-S II 210/5.6 Multicoated - This lens is in great shape. Mounted on a brand new wooden 4x4 lensboard. Some dust but nothing out of the ordinary for a lens this age and nothing that would affect image quality. This lens has some "Schneideritis" but it doesn't affect image quality in any way. Includes caps. Shutter opens when fired but will not close. It can be closed by sliding the switch that opens the shutter to focus. Aperture works fine. No oil on blades or even any rub marks on blades.


IMG_1180 by jmooney776, on Flickr


IMG_1181 by jmooney776, on Flickr


IMG_1182 by jmooney776, on Flickr


Asking $110 shipped in the US. Foreign $140 shipped offers gladly entertained.


The fine print:

All items are sold AS-IS, no returns. I make every effort to give you an accurate description and am happy to answer questions via PM or email. Mr. Momming little kids 3 nights a week and most weekends don't make phone calls possible so PM or email it must be. I prefer Paypal and would appreciate it being sent as a gift, but that is solely up to the buyer if they want to do that or not. Shipping will be USPS Priority with full insurance. I will not mark as gift or change the value on the customs forms. Buyer is responsible for any customs taxes, duties, or fees. Please feel free to check out my eBay feedback under jmooney776 and RFF as jmooney.

How do the cameras compare in terms of ergonomics, mirror slap, etc.

I'm looking for a compactish 645 camera to use with a hanheld. I care about interchangeable backs (no Pentax) but I'm most concerned about slow shutter speeds. Is there a discenerable difference between shooting these two cameras, besides the selection of lenses? I don't care about any auto-features.

The main difference I can see between these two is that the Bronica lenses all leaf shutters and that Mamiya has faster lenses.

I foolishly loaned out a couple of my film aprons for developing 35mm film and don't know when (or if) I'll ever get them back. Film aprons are strips of flexible plastic as long as a 36-exposure roll of 35mm film, with wavy edges (like lasagna). You use them instead of reels to roll up 35mm film and then stick them into tanks for developing. I don't use enough 35mm to get good with the steel reels and these aprons are just super-simple to use and thus perfect for someone like me. If anyone has some, I'll be happy to pay for them. Thanks!

Mike

A gorgeous 5x7 Conley Model 1 view camera. It looks like a Model 1 with the model BW lensboard and might even be the model they made for Sears (has brass instead of nickel trim,) but I'm not a camera historian and don't play one on television.

The internet says that it's made of mahogany with cherry bed and it sure looks like that's right. This camera wasn't a hanger queen; it worked for a living. Lots of scuffs and scratches on the wood but the finish is beautiful and there are no cracks, gouges, or splits in the wood. The rear extension rail is missing so although there's plenty of bellows for more, in this form with just the (attached) front rail, it's limited to about 14" (360mm) of extension. It weighs 7 lbs. (3.2kg, more or less.) All movements are geared! and they work well. It has front rise and rear tilt and swing and focuses from both front and rear. Again, all movements are geared! Pretty spiffy, actually...

The good: the lensboard has an iris clamp on the front in good working condition, with an opening 2 5/16" in diameter (58mm, about.) On the back of the lensboard is a Packard shutter. I have a new bulb and hose which are included. The hose is slightly larger in diameter than was the original; you'll need to make the hole in the front standard and in the Packard shutter slightly larger to make it fit.

The bad: the bellows is pretty well shot. It had a galaxy's worth of pinholes when I got it. I put on two coats of black fabric paint on the edges and folds and now it merely has "some" pinholes. You can probably use it if you wrap the bellows with your focusing cloth a la Morley Baer, but sooner rather than later you'll need new.

I'd like $350 for the old gal, plus shipping. I'll pay the 3% to APUG. I'll take US Postal Service money orders (but no other brand of money order,) or Paypal. I'll ship internationally but will not lie on customs declarations! Feel free to contact me if you have questions or want to make fun.

Thanks for looking!

Mike Attached Images

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I'm hoping someone can assist me in determining what is causing my OM1n's meter to be indicating a very low light level when in fact I am testing it at noon on sunny days here in lower New York State. With lens wide open and 400iso film I need to shoot at 1/15th or so to have the meter indicate a "proper" exposure. At first I assumed a dead px625 Weincell and have replaced twice to no noticeable effect. I source my Weincells from B&H and would hope they're fully charged upon receiving them. I've cleaned the battery contacts but again no luck. I always remove the cell's protective strips at least an hour beforehand. Meter worked perfectly this past spring. Although I have an F100, an A1 and AE-1 program this is my first camera of choice, I love the damn thing! Please Help!

After recieving a "Graflex 6x9 back" on ebay, which turned out to be a graflex 6x6 back cut open to 6x9 (which was well done and I would have used it if it had not been for the repaired crack on the back) I am in the market for a rollfilm back to use on my Graflex 4x5 cameras. I saw this, and as it comes with the frame adapters to do multiple formats, it seems like a good deal for the price. However, like all prouducts coming out of china, I am slightly skeptical of the build quality, so I figured i'd inquire here. For those not famaliar, here's the seller's link on ebay;

http://www.ebay.com/itm/DAYI-6x12-6x...#ht_5150wt_902

In order to support my GAS habit I am selling off some of my MF gear. First up is this beauty. It was NIB when I bought it from a fellow APUG'er a couple of years ago. 0nly 79 showing on the counter. Comes with original soft case, lens cap and manual. The lens is tack sharp. It is in nearly new condition. Shipping to Canada, US and Europe at your actual cost. Paypal only, I'll eat the fees. Treat yourself to an early Christmas present!

US$500. Attached Images

• bottom.JPG‎ (139.1 KB)
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Hi

So I am currently stuck in the bathroom with a film that just WILL NOT spool ok on my paterson spool.

Film is Tri-x 320, was just outside and shot a roll, took it out of my Hasselblad and went to develop it.
The film is absolutely impossible to deal with, curls like crazy, never experienced it that bad before.


IT's so bad, that when I have gotten it entered on the spool and start chugging it on there, it starts to slip because of the inzane curl and the whole film just bounces up on the spool.

Drives be crazy.

Any tips on how to straighten it out a little bit, before I've fiddled and scratched it all to pieces?

The film was taken out of the fridge, then kept inside the air-tight package in my inner pocket, until I loaded it in the camera.
Temperature outside is -4 degrees, and I kept the film in the camera until it had warmed slightly, before it took it out to develop it (camera was still pretty cold though).

Help? What caused this sick curling, any experiences?

I've written an simple IPhone app that will time Long Exposures accounting for Reciprocity failure. The app contains tables for popular b&w films from manufactures as well as tables graciously provided by Don Kirby, Bruce Barnbaum and Howard Bond. You can also enter your own tables so you can enter your own data or anything you find on the net.

More info here

http://itunes.apple.com/us/app/film-...484554296?mt=8

http://www.davideisenlord.com/?page_id=788

Ike

Has anybody used one of these
they seem to be 2 polas stacked on top of each other

My main question is
are they just going to nd or are they going to polarise as well

I plan on using them to bracket exposure and I don't want anything else to change

thanks

robin

Information in norwegian:

Bruce Barnbaum holder workshop i Bergen i februar
Til info

Sakset fra foto dot no:
"Hans Jørgen Brun arrangerer workshop med Bruce Barnbaum i tradisjonell mørkeromsteknikk. Workshopen går over fire dager i Bergen.

Det lagt opp til en dag fotografering, og tre dager perfeksjonering i mørkerom med en av verdens fremste utøvere av faget – Bruce Barnbaum.

Dato for workshop er mandag 13. februar til og med torsdag 16. februar 2012.
Pris KR 7.000,- inkludert materiell.

Begrenset antall plasser. Bindende påmelding.

For mer informasjon kontakt fotograf Brun på tlf: 55 55 38 80 / fotograf (at) hjbrun.no"

Hi, I'm new here. After some experience with 35mm analog photography many years ago, and a more recent dalliance with DSLRs, I've decided to return to analog, but with medium format. I'm predominanty a landscape / cityscape photographer, and prefer wide angles - almost all my "serious" photography, excluding portraiture, is done use focal lengths in the 15-35mm range (135 equivalent). It makes sense to me to choose a system based largely on the quality of the wide-angle lens/es.

The most common use of these lenses, for me, will be tripod mounted, with mirror lock-up and remote or timed release, at apertures f/11 to f/22, and with focus anything from a few yards away to the hyperfocal distance. In terms of lens characteristics, I'm looking for edge-to edge sharpness and good contrast with not too much vignetting under these conditions (but wide open performance, although nice, is less critical). Colour correction is not important as I will be shooting B&W only, typically with some colour filtration. I've acquired an Opimus 5a enlarger, which goes to a max size of 6 x 6, so I'm looking for the second-best 30-45mm wide angle lens for the 645 or 6x6 formats.

(Tilt would be excellent but the only one I'm aware of is the Schneider 55mm PCS lens for the Bronica E series which I don't think I could afford. I know of Mamiya's 50mm shift lens, but not sure that shift without tilt is of great interest to me as I don't do much architectural photography.)

Why second-best? Well I've done a fair amount of research into the Hasselblad V / Mamiya 645 / Bronica E and PS systems and think it likely that the Zeiss/Hasselblad 40/4 CF T* FLE may be the best available, but I have limited funds and there's no way I can afford it (the pre-FLE Hassy 40/4 may be an option though). My budget is US$ 500-1000 for a camera, viewfinder, back etc and wide angle lens all in good (but not mint) condition. Other lenses can come later. Good condition is important because it will be very difficult to get an MF camera properly serviced in South Africa, and sending it back to the US/Europe for repair or replacement would be prohibitively expensive.

Thanks for your help!

As always, some background.
I was browsing around field cameras from all different companies trying to find one good one. Too cameras got good reviews, but people complained of the weight, as they are metal.
Wooden cameras usually got complaints about stiffness.

So, I was wondering if any place had or any person had tried using carbon to make a camera? It should have a lot of the rigidity of metal and the light weight of wood, but it is substantially expensive compared to other things to work with, and if it is damaged, it breaks like wood and needs replacement, instead of bending like metal.

Has someone done it? Is there some place doing it? Could such a thing even work?

ello I am sure this has come up around here.. maybe not so directly. ...maybe more so..


How do you feel a photograph changes, or not.. when a print goes from being in your hands to being hung on a wall.. or perhaps even in a mat that you can hold

More directly.. Does having a tactile experience with a print change ones experience with a photograph? How we see it? View it? Change its effectiveness?



My personal bias as a printer is toward the tactile, i enjoy books of photographs.. I like how paper feels, textures.. the stiffness.. when I choose printing materials I go for tactile properties than tonal properties.


I remember as a student being exposed to the photography print room at the art institute of chicago.. Being up close and personal with some of that work really changed how I felt about photographs.. There was no picture frame, No Glass..Just prints, some with no mat. If I wanted I could pick up a print in a mat and hold it at an angle to see the texture and gloss in the light.. I was in control of how I got to experience that photograph at that time.. It was just like how I experienced my own work at home. With very little limitation.


Once my prints are on a wall in a frame I feel like they become a different kind of object and therefore in someway they feel like a different kind of photograph..

I am used to printing my work and organizing the good prints from the bad ones.. sometimes something goes in a mat on the wall.. sometimes the prints get bound in a book.. but rarely ever framed and behind glass. I nearly only have tactile experiences with my work..

It feels odd to lose that tactile experience for me. And I wonder how much of other peoples work I may have missed by not having a tactile experience.

Selling lenses that I do not use. Prices do not include shipping or paypal fees. Shipping shouldn't be more than $15 depending on where in the US. It will be shipped via USPS Priority Mail with tracking and insurance. Paypal please add 3%. I would could also accept personal check (wait for clearance), or USPS MO.
International will be shipped via USPS Express (estimate shipping is $40)

Price $325
Fastest Nikkor 28mm until the monster f1.4 version came out. It is an awesome lense for low light. Glass is perfect. Some very minor paint wear, but it is a solid 9. The focus ring is not well damped as the f2.8 version, but smooth. Lense comes with UV filter, front and rear caps.







Samples taken with the lense

NIkkor 28mm f2 AI29 by Anh Tri, on Flickr


NIkkor 28mm f2 AI28 by Anh Tri, on Flickr


NIkkor 28mm f2 AI28 by Anh Tri, on Flickr

I have a Jobo CPP-2 with 3010 expert drum for 4x5 film development. With rotary batch development one cannot tailor the development time for individual negatives as with open tanks and trays. The convenience and repeatability of rotary development is great. Also, I hear lots of horror stories of uneven development, streaks, and scratches using tanks or trays. I want to give open tanks and stainless hangers a try. Is it worth it or should I stick with rotary. Are stainless tanks better than plastic?