With the unending lockdowns for the past two years from where I live it's been quite difficult to get help overseas to get my Wisner 11x14 restored.

Alas, after a few months I was able to successfully dismantle my camera, get the woodwork restored and finished to my liking, including the cleanup of all hardware and gold plating. Some roll pin/lockpins went missing in the process but those can easily be replaced from the local hardware.

Doing this for the first time, I missed out on a tiny detail with my camera's rear rise (where I forgot to document the movement prior to dismantling), I can't seem to recall which screw would fasten to the thin gears. Can anybody help?

Sharing images of the remaining parts for the rise. The screw featured here has the additional hardware to affix itself on the sliding mechanism, however the screw thread doesn't fit any of the gears.

Sent from my Pixel 4 XL using Tapatalk

I bet there is a more elegant, yet inexpensive and easy-to-install contrivance for this little matter.

Photo one shows my print washing tub, which has drain holes (not shown). Photo two shows my brilliant inspiration today as I washed some prints of toning tests. By “nozzling” the water, I can increase the circulation, encouraging better movement/agitation of the prints without increasing water use. Of course there remains manual agitation periodically, but this would be an improvement.

Like most of my inspirations in the field of construction, this one is, um, less than ideal. Unquestionably, a few of you have knowledge of real nozzles that might be easily spring-hose-clamped to my hose and somehow removably affixed to the tub, or some other suggestion for accomplishing the intended effect.

I will be most grateful for suggestions.

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Dear All,

Over the past few months, I’ve been slowly working my way through Phil Davis’s Beyond The Zone System. Recently, I’ve completed a few film density tests according to his instructions in Chapter 6. I used BTZS tubes to develop TMAX 100 sheet film (exposed under my enlarger’s light in a contact printer with a Stouffer 4x5 step wedge) in XTOL 1:1 at 20C.

I developed the first set of sheets at 5’35”, 6’45”, 8’, 9’30”, and 11’15”. But these times were evidently too short as all the curves were too flat to correctly position the ISO triangle on the 0.1+BF IDmin line. So, I ran a second test with longer times (9’30”, 11’15”, 13’30”, 16’). This time I was able to position the ISO triangle on the IDmin line correctly, and it came out to be very close to the 13’30” curve.

Overall, I’m a bit surprised. Before reading the book, I just developed the film according to Kodak’s data sheet, which recommended 9’45” for sheet film processed in rotary tubes with XTOL 1:1 at 20C. As I recall, Kodak says their normal processing times yield a contrast gradient of something like 0.56. But according to my most recent test, the same time would only yield a contrast gradient slightly over 0.36.

Another point of intrigue is why the curves don’t accelerate upward parabolically as the book’s examples appear, but instead seem to be flattening out, or at least stabilize linearly at a lower gradient in the highlights than the mid-tones. I’ve attached my hand-plotted chart below.

So I’ve decided to reach out to the community hoping someone might share their experience. Have I done something wrong in my tests, or do my results seem reasonably accurate? Why such a difference then between Kodak’s recommendations and my tests? I guess I might not have been agitating the film as intensely as Kodak expects, but I felt like I was always agitated the film pretty decently, keeping all the tubes rolling constantly throughout. Anyway, anyone who could offer some advice or share their experience would be most appreciative!

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I would like to know folk's opinion on this long cable and any issues that come with it, other than the usual cable stiffness after first use.

[EDIT: The result of this discussion is that I ordered a Wanderer 8x10 dark cloth; see post #15]

I want to get a new 8x10 dark cloth. Harrison is a known quantity. I'm also interested in Wanderer, mostly because it offers colours other than black and white. Its dark cloths cost quite a bit more. I'd appreciate views of Wanderer owners on the product.

Dimensional Difference:
Harrison: 53" x 55" (134cm x 140cm)*
Wanderer: 36" x 56" (91cm x 142cm)

The Harrison, which is in stock at B&H, costs US$79. Wanderer's are $116 or $136, depending on material. There's an "Ultra Light" version, more money, but I don't think that I need the space and weight saving. There's also a waterproof version in four different sizes.

Wanderer's website shows low stock. Intrepid Camera sells some of its dark cloths and has them available. However, I've had an e-mail exchange with Wanderer and it appears that I can get what I would want directly from them.

I'm not interested in BTZS or Blackjacket dark cloths, which I've already looked into, or in buying fabric and making one. I am kind of curious why, apart from Linhof, there don't appear to be any European makers. I have a U.K. Páramo dark cloth, and wrote a post about it, but it isn't available for 8x10.

Thanks for comments.

Harrison B&H link: https://www.bhphotovideo.com/c/produ...ssic_Dark.html
Wanderer website: https://www.wandererphotogear.com

* These dimensions are from Camera Essentials, the company that makes Harrison products. B&H's site says 54"x58"

I've discussed replacing the bulb in my Pentax spot before but I'd like to see if there is any advices from this forum on the topic.

My bulb is way too dark and I need brighter to use it in dim light.

Any additional information is sought and welcomed.

Eli

Been stuck inside, so spending some time experimenting with my view camera. I am looking for a resource, maybe a good book, that covers, in detail, the issues of film reciprocity for long exposures, and the exposure compensation required when using long bellows extensions.

Thought maybe Ansel's book "The Camera" would cover this but not so much, and then I thought "View Camera Technique" would cover it, but looking thru the table of contents, I don't see it listed.

Can anyone recommend a good book that covers these two issues as they pertain to Large Format photography and the view camera?

Thanks in advance for any input.

Best,
-Tim

I posted this information on the Business thread because I will be at this show and have space I could share with another photographer in the Northern Virginia area. For anyone else, these are good shows with cash buyers. They like gelatin/silver prints mounted or unmounted. Many buyers are looking for a particular subject matter and many are gallery owners who will frame and resell. Now images and photo gear, which used to be in separate rooms, are combined, so you could sell your work and your extra gear at the same time. Here are the details. Contact Mary Martin soon.

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I have two tables reserved and paid for for Mary Martin's March 13th show at Dulles. I have always done well and learned a great deal at these shows. Now, vintage equipment is allowed along with images in the same room. We were all skunked at the last show in Arlington right at the start of the pandemic, so I have unsold prints I took to that one and some gear to sell.

I would be happy to share the tables with one of the members, whom I shall list as an assistant. Bring your own prints or gear, get in early, and we can cover for each other when we look at the other offerings. Most transactions are cash. PM me for more info.

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Anyone seeing this notice who wants to try a table of their own at this show should contact Mary Martin soon.

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Hi all,
I am evaluating the BTZS tubes to be used to develop 4x5".
As far as I know the film is still very sensitive to light along the whole process.
The instructions for the tubes state that you can unscrew the tap at the end of the development and immerse the tube in the stop. At the end you remove the film from the tube and put in the fixer.

Anyone has some experience with this system?
No issue with lights moving from development to stop and then to fixer?

Thanks


Mario