[rollei_list] Re: 4x5
- From: "rocketmanpm ." <petermattei@xxxxxxxxx>
- To: rollei_list@xxxxxxxxxxxxx
- Date: Fri, 2 Jan 2015 15:06:45 -0800
Thor, Look for some metal or chrome stops on both the bed rails. That
will be your set-point for the lens. If you are missing these, best to get
out the tape measure and measure close and distant (infinity) based upon
both the rangefinder and groundglass. At tihs point, you will have a short
but rewarding Edisonian excercise. You can always file an infinity notch
into the bed.
The rangefinder should have a vertical calibration scale on its front and
rear, Mine is a Kalart Synchronized rangefinder with scales at front and
rear. Also, check the left (as you hold it for use) rail. There, you can
see two scales; one, is permanently affixed onto the camera door. The
other is attached to the moving rail. Although it sounds difficult by
reading this, calibration should be intuitive to most handy with small
moving things. Good luck..
On 2 January 2015 at 14:55, Thor Legvold <tlegvold@xxxxxx> wrote:
> Thanks guys.
>
> I’ve brought the ‘Graphic back up from the basement along with the roll
> film back and will familiarize myself with them soon.
>
> Anyone have any good references to start with? I have figured out how to
> open it, but am not sure how far out to pull the front standard/lens
> assembly, and note that the rangefinder on the side (Kalart?), is not only
> dim, but seems not to be calibrated at all.
>
> As far as I can tell this is a Century Graphic (2x3” model) with graflok
> back, and a “Singer” RH 10 rollfilm back, with a large blue winding lever
> and a darkslide on it. The film gate aperture looks like 6x7cm to me.
>
> The camera’s serial number is: 518316, it’s fitted with a Graphlex Optar
> 101mm f/4.5 (made by Wollensack), the shutter goes up to 1/400 second.
>
> Thanks,
> Thor
>
>
>
> On 2. jan. 2015, at 22:33, Eric Goldstein <egoldste@xxxxxxxxx> wrote:
>
> > I would agree, especially your observations on tonality/tonal
> > rendition. but think the real breaking point is 6 7 or 6 9 unless you
> > print square
> >
> > If you don't print square the different between 66 and 67/69 on
> > enlargement is obvious to my eye
> >
> > Eric Goldstein
> >
> > On Fri, Jan 2, 2015 at 4:14 PM, Richard Knoppow <dickburk@xxxxxxxxxxxxx>
> wrote:
> >> Just in general: 2-1/4 x 2-1/4 seems to be the break point on
> quality.
> >> I discovered long ago that going from 35mm negs to 2-1/4 x 2-1/4,
> provided
> >> one did not crop much, made a very noticable difference in _tonal
> >> rendition_, not just detail. The closest I ever go to larger negatives
> with
> >> 35mm was T-Max 100 developed in Perceptol (Microdol-X would have done as
> >> well). This began to have some smoothness. I used Technical Pan and
> >> Technidol too but even though it was extremely fine grain it always
> looked
> >> strange, perhaps because of the Type-C pan response.
> >> Going from 2-1/4 x 2-1/4 to 4x5 can make a difference in large prints
> but
> >> its not nearly as noticable as the difference from 35mm. I've shot up
> to
> >> 8x10 but the large negs were contact printed and don't really look much
> >> different than the smaller ones enlarged. I am sure on larger prints it
> >> _would_ make a difference. I have toyed with making an adaptor so that
> I
> >> could use my 8x10 Agfa view camera as an enlarger but have never done
> >> anything practical about it. I suspect one could make a very efficient
> light
> >> source from LEDs.
> >>
> >>
> >> --
> >> Richard Knoppow
> >> Los Angeles
> >> WB6KBL
> >> dickburk@xxxxxxxxxxxxx
> >> ---
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