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

Well, if you add swing, you run the risk of parts of the foreground being in focus and some parts not. For this scene, and this is of course only my opinion, I'd attempt to get as much in focus as possible without movements and then evaluate whether any movements were needed. If so, I personally would just use tilt rather than shift because aligning the film plan and lens plane to intersect at the subject plane (the front face of the bridge, I assume?) would require such a small rotation as to be insignificant given the lens plane to film plane distance.

Edit: Apologies, you did say rear swing not front swing. I'm less familiar with how the rear standard movements affect the image, so ignore what I said about shift above.
 
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Well, they do say you always hurt the ones you love..... :help:
 
Woodsy said:
Well, if you add swing, you run the risk of parts of the foreground being in focus and some parts not. For this scene, and this is of course only my opinion, I'd attempt to get as much in focus as possible without movements and then evaluate whether any movements were needed. If so, I personally would just use tilt rather than shift because aligning the film plan and lens plane to intersect at the subject plane (the front face of the bridge, I assume?) would require such a small rotation as to be insignificant given the lens plane to film plane distance.

Edit: Apologies, you did say rear swing not front swing. I'm less familiar with how the rear standard movements affect the image, so ignore what I said about shift above.
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Cool, cheers. One of these days I'll get a sharp photo from this box :D.
 
steveo_mcg said:
Annnnyyyy way.

So in this instance, ignore the far bank I'm happy for it to fall oof, I wouldn't be able to get the whole bridge sharp on the GG so I'd be better effectively hyperfocusing and letting dof carry me through? Even with swing?
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You could try this method if you have a millimetre scale on your focussing bed:

Make your movements first. Then focus on far, focus on near, read the distance "D" in millimetres between the two positions on your rail, refocus so as to split the distance on the rail, and use the following table . "F" is given in decimal f-stops, as on a hand-held meter, for example 16.6 is 16 and 0.6 (aka between 1/2 and 1/3) of a f-stop.

D(mm) F
1 16.6
2 22.6
3 32.2
4 32.6
5 32.9
6 45.2
7 45.4
8 45.6
9 45.8
10 64

An in depth analysis of this method is to be found here
 
i started reading that thread and my head exploded.

I normally just focus the distance first with everything vertical, tilt things up and down like a drunk on a tightrope till it looks roughly average front to back, then set it to f32 or more and shoot it.
 
The method I have read about but haven't tried is to note the difference between near and far focus then tilt the front slightly. and check again and the difference should decrease. Repeat until all can be focused from the same position.

But yes. I usual just mess around until I think it looks right then stop down to f32.

And I think my head would explode if I tried to read that too. Whilst it is likely to be technically accurate, it's probably about as relevant as a document explaining why I should play an Am7 chord instead of C.


Steve.
 
wickerman said:
You could try this method if you have a millimetre scale on your focussing bed:

Make your movements first. Then focus on far, focus on near, read the distance "D" in millimetres between the two positions on your rail, refocus so as to split the distance on the rail, and use the following table . "F" is given in decimal f-stops, as on a hand-held meter, for example 16.6 is 16 and 0.6 (aka between 1/2 and 1/3) of a f-stop.

D(mm) F
1 16.6
2 22.6
3 32.2
4 32.6
5 32.9
6 45.2
7 45.4
8 45.6
9 45.8
10 64

An in depth analysis of this method is to be found here
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Me reading that link:

83ca76335c3d944e99cd95e147612edc.jpg
 
Now I'd be delighted with a 50% success rate. My 4 shots from the day, 1 sheet is blank and the other seems to have two shots on it... Another fun shoot with the 54.

So 50% exposure rate and I've not even got to scanning.
 
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abbandon said:
I propose an LF meet some where that might give people a chance to play with some of the options before laying out the $ on something that might not suit them.

SE I can do at the drop of a hat would be prepared to drag myself some what up country into the wind swept northern tundra of Watford if their is sufficient interest that way ?

And again I have enough bits of Sinar to loan an F out with lenses and not miss it for months.
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This was discussed earlier, but I don't think there was a resolution. We can't go all the way to October without having a Film Meet, so what about another LF meet? Or would you want to wait for autumn colours? Or was the Megga Meet enough for the purpose?

I couldn't get to the Megga Meet, and want to see a bit more about how LF works! Anyone willing to start a thread?
 
We talked about doing another film meet, maybe in York for the day but I'd be up for an LF meet, Peak District anybody?
 
I don't like them nearly as much as the night shots and actually I'm less than convinced by the overall composition but this one is at least sharp and in focus at quite a large zoom. I took the advice further up and stopped down to f32 seems to have helped though I think I forgot about reciprocity so its a little under exposed and a bit grainy when big.

2015-05-FP4-LF001 by Steven, on Flickr

This one looks fine at web resolutions but has a general, even, softness about it when viewed large.
2015-05-FP4-LF002 by Steven, on Flickr


All in all another fairly disappointing outing. Four frames and nothing I'm all that happy with. I know I need to spend more time with the camera its just trying to find the time.
 
steveo_mcg said:
I don't like them nearly as much as the night shots and actually I'm less than convinced by the overall composition but this one is at least sharp and in focus at quite a large zoom. I took the advice further up and stopped down to f32 seems to have helped though I think I forgot about reciprocity so its a little under exposed and a bit grainy when big.

2015-05-FP4-LF001 by Steven, on Flickr

This one looks fine at web resolutions but has a general, even, softness about it when viewed large.
2015-05-FP4-LF002 by Steven, on Flickr


All in all another fairly disappointing outing. Four frames and nothing I'm all that happy with. I know I need to spend more time with the camera its just trying to find the time.
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Don't be so hard on yourself Steven, I like both shots. :)
 
wickerman said:
Don't be so hard on yourself Steven, I like both shots. :)
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Cheers David, Its just a bit frustrating that if I'd shot these on the RB I'd be able to print them bigger due to not being slightly oof or I'd have better exposed the first.
 
I've found a T-shirt for the group here :):)
 
So then good people, I have a fairly simple question regarding lens boards. Simple to those who know, impossible to predict for those that don't - kinda thing.

Say I buy a large format lens, and that lens comes in a copal 3 shutter on a sinar board. My camera uses linhof style boards. My question is simply, if I buy a copal 3 linhof lens board, is it simply a case of removing the lens and shutter from the sinar board and mounting directly to the linhof board in the same way as any other linhof to linhof exchange? Or am I missing something and that it's not that simple at all?

I link to this purely as an example: http://www.ebay.co.uk/itm/Rodenstoc...177?pt=LH_DefaultDomain_3&hash=item25a88da961

If I wanted to mount that lens and shutter on a linhof style copal 3 board, is there anything I'd need, or need to do, other than purchase the appropriate board?

Cheers!
 
Woodsy said:
So then good people, I have a fairly simple question regarding lens boards. Simple to those who know, impossible to predict for those that don't - kinda thing.

Say I buy a large format lens, and that lens comes in a copal 3 shutter on a sinar board. My camera uses linhof style boards. My question is simply, if I buy a copal 3 linhof lens board, is it simply a case of removing the lens and shutter from the sinar board and mounting directly to the linhof board in the same way as any other linhof to linhof exchange? Or am I missing something and that it's not that simple at all?

I link to this purely as an example: http://www.ebay.co.uk/itm/Rodenstoc...177?pt=LH_DefaultDomain_3&hash=item25a88da961

If I wanted to mount that lens and shutter on a linhof style copal 3 board, is there anything I'd need, or need to do, other than purchase the appropriate board?

Cheers!
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It should be a straight swop.

The only thing that I think you need to look for is whether or not the shutter has a locating pin. If it has then you need to ensure that your new board has the required notch cut out, if it doesn't have the cut out you will need to remove the pin.
 
Woodsy said:
So then good people, I have a fairly simple question regarding lens boards. Simple to those who know, impossible to predict for those that don't - kinda thing.

Say I buy a large format lens, and that lens comes in a copal 3 shutter on a sinar board. My camera uses linhof style boards. My question is simply, if I buy a copal 3 linhof lens board, is it simply a case of removing the lens and shutter from the sinar board and mounting directly to the linhof board in the same way as any other linhof to linhof exchange? Or am I missing something and that it's not that simple at all?

I link to this purely as an example: http://www.ebay.co.uk/itm/Rodenstoc...177?pt=LH_DefaultDomain_3&hash=item25a88da961

If I wanted to mount that lens and shutter on a linhof style copal 3 board, is there anything I'd need, or need to do, other than purchase the appropriate board?

Cheers!
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I have next to no knowledge re linhof boards Jonathan and what I know about this topic is limited, however from what i understand and have experienced, providing the "hole" diameter in the lens board is correct for the shutter ( eg copal 3) then to transfer from one board to another is simply a matter of removing the lenses, or at least the rear one, then using a suitable tool, unscrew the retaining ring on the rear of the lens board that securely holds the shutter in place.

With that removed, the shutter seperates from the lens board and is ready to be remounted on another board of your choice.

The only thing that has to be considered, that I'm aware of is infinity focus of the lens may require a recessed board rather than a standard one, (more specific for short focal length lenses)
 
All off the above, assuming you've got a lens spanner for the retaining ring.
 
Bloomin ek, those retaining ring tools aren't cheap for what they are! At least not on the bay, anyway...

Thanks for the info chaps, much appreciated.
 
Aye they're not cheap for a bit of pressed metal.

I've only ussed mine a few times.I've got a spare but its only copal 0.

I'm pretty sure I'll not need mine any time soon if you want to borrow it.
 
Woodsy said:
Peter, yeah, I personally think that's somewhat of a ripoff!
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I remember thinking I could manage without one, but having the right tool for the job is a big bonus. £12.99 posted from the other side of the world is probably quite a bit less than I paid for mine and that was quite a few years ago. It'll last you forever and won't damage the ring or the lens, so that's worth taking into account as well. ;)
 
No rush at all Steve, I've not even bought a new lens yet! With the house move, I probably won't be buying anything for a while yet.
 
Woodsy said:
No rush at all Steve, I've not even bought a new lens yet! With the house move, I probably won't be buying anything for a while yet.
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Curtains, scatter cushions, electric tin opener? The list of requirements for new home owners is endless and very rarely includes large format lenses.
 
Woodsy said:
Saying that, if I can find the right lens at the right price... it could still make the list!
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À man who gets his priorities right;):D...electric tin opener indeed....Mr Hooley could maybe do to add one of those to his priority list for accessing his exposed films next time he glues à camera back shut! :D:D
 
Woodsy said:
Say I buy a large format lens, and that lens comes in a copal 3 shutter on a sinar board. My camera uses linhof style boards. My question is simply, if I buy a copal 3 linhof lens board, is it simply a case of removing the lens and shutter from the sinar board and mounting directly to the linhof board in the same way as any other linhof to linhof exchange?
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I've gone the other way, from a Linhof board to a Sinar but with a Copal 1 shutter - straight swap. As for lens tools, I bought one of these and had no problem with it, though one of the prongs bent when I tried using it to shift a stuck battery cover on another camera so it might not be made of the most premium quality metals.
 
The real question is what beast of a lens do you want for 5x4 that comes in a mahoosive copal 3 shutter?
 
Well, the things is, it's not necessarily that it'll come in a copal 3 shutter. I currently have a 210mm F/5.6, which I find a little on the heavy side for the amount I use it. Hence I'm looking to sell it. I'm thinking of replacing it with something light (F/8 - F/9 territory) in the 200-350ish mm range. Considering the Nikkor M 200mm, Fujinon A 240mm, Nikkor M 300mm, Rodenstock 360mm and what ever else I can find that isn't F/5.6. Don't get me wrong, the F/5.6 lenses would be great, but considering I'm trying to down the weight a bit, the darker lenses will have to do. Even more important considering I wont be using it as much as my other lenses. Also, I recently went from 3 to 4 lenses by adding the Schneider Super Symmar HM 120mm between the 90mm and 150mm nikkors that I have already.

I think if I can find a Nikkor M 200mm at the right price, that'll be a good one to go for given it's tiny weight.
 
Ah, that makes sense. I've got a Schneider 210 symmar and if it was an occasional use type lens then I can see it being a bit heavy with 3 other lenses. I'm on the look out for something in the 120-150mm range at the moment to take me to 4 lenses as well, but I'm also wondering about total weight now.

How do you find the 120-150mm gap, are the lenses distinct enough to have definite uses?
 
I admit I've not really tried the 120 yet, this whole having no free time is a bit of a fun killer. I found the 90-150 gap to be quite large and there was the frequency occurrence where 90 was too wide and 150 too narrow. I'd say that the 120 and 150 will be distinct enough, but I'd personally not want to put anything in between.
 
raathistle said:
How do you find the 120-150mm gap, are the lenses distinct enough to have definite uses?
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Not sure if this is of any help, but the figures I have for the 35mm equivalents on LF lenses are as follows:

90mm = 27mm on 35mm

120mm = 36mm

150 = 45mm

180mm = 54mm

210mm = 63mm

300mm = 89mm
 
That's à handy chart Peter.....i already new very roughly 4x5 equivalents were approx one third of the lens focal length but to have more accurate figures will come in helpfull :)
 
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