[Cameramakers] big old bellows
I had listed a big old bellows on E-bay in case anyone's interested Item # 2921134820 http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItemcategory=15248item=2921134820 rd=1 John Cremati ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
[Cameramakers] homade 4x5 point and shoot
There is a interesting homemade camera on E-Bay.. Just found it interesting.. John Cremati. http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItemitem=2920472167category=15247
Re: [Cameramakers] Polaroid 545 or 545i
Why would you? Polaroid film holders are used for Polaroid film..(you would wear it out prematurely using everything and anything.) Standard film holders are generally used for film or paper negatives.. - Original Message - From: Andrey Donchev [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Saturday, March 15, 2003 9:19 AM Subject: [Cameramakers] Polaroid 545 or 545i Hi, I'm new in large format photography and camera making. Actually now I'm starting to build my first 4x5 folding camera. My question is: Can I use a normal 4x5 sheet film with the Polaroid 545 or 545i film holders? Thank you in advance! Andrey Donchev ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers _ This message scanned for viruses by CoreComm ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
Re: [Cameramakers] Fw: Black and White Films (KMM3450335C0KM)
This is a good report.. Would they have the references for 20x24? - Original Message - From: Uptown Gallery [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Tuesday, March 11, 2003 6:07 PM Subject: [Cameramakers] Fw: Black and White Films (KMM3450335C0KM) I inquired of Kodak today about sheet film sizes and got an interesting reply. Aside from being 'proprietary' (!), there is a reference for how they come up with the tolerances for various sizes Hello Murray, Thank you for contacting Kodak Professional. The exact sizes of sheet film are proprietary information; however, Kodak does conform to the ANSI standards listed below: |Nominal Size | Minimum | Aim | Maximum | | (Inches)| (Inches)| (Inches)| (Inches)| - | 4 x 5 | 3.91 x 4.91 | 3.92 x 4.92 | 3.94 x 4.94 | - | 8 x 10 | 7.91 x 9.92 | 7.94 x 9.95 | 7.97 x 9.98 | - For sizes not shown in the previous table, use this ANSI standard: +|---|---+ | Nominal Size (N) | Aim | Tolerances | | (Centimeters)| (Millimeters) | (Millimeters) | ++ |N 12 |N - 1.5| + 0.5 | ++ | 12 N 65 |N - 2.0| + 1.0 | ++ | 65 N |N - 2.5| + 1.5 | ++---+---+ http://www.kodak.com/go/professional If you should have any questions on Kodak products or services, please be sure to revisit our site as we are continually adding information to enhance our support. If you need further assistance you may also reach us at 1-800-242-2424 ext. 19 (Monday-Friday, 9am-7pm EST) Regards, Bruce H. KODAK Information and Technical Support KODAK Professional Original message follows: - Question: Hello: I am looking for standard dimensions for 4x5 and 5x7 film to make a fixture to cut down 5 roll film to fit 4x5 and 5x7 film holders. Thank you Category: Professional Subcategory: Black and White Films Referer: readableSubject: Black and White Films Name: Murray Leshner Email: [EMAIL PROTECTED] Country: US Phone: Address 1: 205 Columbia Ave Address 2: City: Holland State: MI Zip/Postal Code: 49423 conf: /global/include/en/service/contact/contact.conf --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.391 / Virus Database: 222 - Release Date: 9/19/02 ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers _ This message scanned for viruses by CoreComm ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
Re: [Cameramakers] Light source for enlarging onto platinum-paladium and Kodak Azo papers
I know that the famous Fresson studio in France had set up a Enlarger for their secret process which would need a great deal of UV... I believe that they discuss the camera on their site... Click on the English for the Enlgish translation... JC http://photography.about.com/gi/dynamic/offsite.htm?site=http%3A%2F%2Fwww.atelier-fresson.com%2F
Re: [Cameramakers] Light source for enlarging onto platinum-paladium and Kodak Azo papers
Hi Donald , I also know in the silk screen industry that they have projection systems where they eliminate the large negatives used to contact print , and enlarge right on the coated silk screen...I have seen just one of these cameras in a old silk screen catalog but have never tried to research it any further.. The silk screen process requires a great deal of UV light as well .. I know that Ulano ( a mfg of silk screen emulsions ) sell a faster emulsion for the sole purpose of silk screen projection systems I do not know if the lenses used on these cameras are quartz or EL Nikkors... I have heard ( not verified ) that these cameras sell for $50,000 .. I have several high output UV lights intended for the silk screen industry . One at 1000 watts, 2000watts, 5000 watts and then the 10,500watt pulsed xenon ... I was intending to experiment on temperatures at the film plane as well as the enlargement plane once I got the camera set up as I feel this is going to be my biggest obstacle .. The process I am most interested in is Carbon Printing which I believe possibly exceeds platinum as the most beautiful process there is ( only does not have the expense of platinum plus offers a noticeable high relief quality that is found in no other process)The Fresson Process , although secret , is believed to be a form of a carbon printing process. The problem with Carbon is that it will be very temperature sensitive due to the large amount of gelatin used ... . I was thinking of rigging a series of water cooled tubing to the vacuum frame on the enlarger and piping it to a photographic chiller that I have.. ... Another idea is that I would also wash the vacuum frame with the breeze of a small air conditioner.. And refrigerate the blower air that cools the film in the light head... I will photograph the light head on the camera and send pictures off list if you want me to .. Regards, John Cremati ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
Re: [Cameramakers] Light source for enlarging onto platinum-paladium and Kodak Azo papers
Hi Donald, The El Nikors will pass the UV light in the necessary range... other lenses will not.. .. There are several threads concerning this on The Alternative Photo list...The El Nikors use a special glass that does not filter UV like the others... We went as far as putting the lens on a UV spectrometer to see what the readings were along with a few other lenses and the only one that would pass the nessisary band width was the El Nikor... ... The information will be on the threads.. I have a old color separation camera with a 10,500 watt pulsed xenon light head on it... It has a 1 hp blower to keep things cool I was going it mount a 240mm El Nikor on this enlarger for the purpose of enlarging directly to make carbon prints.. .. . Also for glass film carriers here is some specs on Shott glass...( this may even be the glass that is used in the El-Nikors... John Cremati For those who are really interested in the exact physical and chemical properties of a sheet of glass with a high UV transmission : 0% at 280 nm 14% at 300 nm 65% at 320 nm 85% at 340 nm 90% from 360 nm and higher. thickness 2.0 mm you can e-mail to [EMAIL PROTECTED] and ask him for the specifications of Schott B270 superwite crown glass.He will send you a large attachment (~800 kB) to his answer. The internet address of an U.S. supplier is http://www.howardglass.com/B270.html Erich - Original Message - From: Gene Johnson To: [EMAIL PROTECTED] Sent: Saturday, February 01, 2003 10:15 AM Subject: Re: [Cameramakers] Light source for enlarging onto platinum-paladium and Kodak Azo papers If I remember right, UV doesn't like to pass through GLASS. Gene - Original Message - From: DONALD MILLER To: [EMAIL PROTECTED] Sent: Saturday, February 01, 2003 6:39 AM Subject: [Cameramakers] Light source for enlarging onto platinum-paladium and Kodak Azo papers I am working on development of a light source to allow enlarging of images onto pt-pd and Azo papers. These papers need a light source in the upper UV band (350-475 nm). The other consideration are that these emulsions are markedly slower then conventional enlarging papers. I have two immediate concerns those being: 1.UV is largely invisible and this presents the problem of focusing the image on the easel. I could incorporate a conventional focusing light. If I do so will I experience focus shift when I switch to the UV lighting? Furthermore, will UV reflect in the same manner as visible light? I ask this because the light source will be diffusion to eliminate the cost of building condensors or buying a condensor enlarger since I already have three diffusion enlargers. 2. Will UV transmit through a conventional multicoated enlarger lens? I have an el-nikor 150 as my primary lens. I also have an older Schneider companon 135 mm which I think is uncoated. My Rodenstock medium format lenses are all coated. Any information or insight that you may provide will be greatly appreciated. ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
Re: [Cameramakers] Light source for enlarging onto platinum-paladium and Kodak Azo papers
Donald, Here are some of the treads on the discussion of UV transmission thru El- Nikor glass from the Alternative Photo list.. I hope this will help... Please keep me informed of your progress as I am extremely interested. I kind of dropped the ball after getting this information and have still not hooked up my enlarger.. I will measure the spacing on the pulsed xenon bulbs.. I believe there were four in parrell close to a ground glass for diffusing and then there were two longer more powerful tubes .. crossing behind the 4 that were perpendicular forming a checker pattern I do not think that these bulbs were on for any length of time as they were intended to expose ortho film which I believe has a ASA rating of about 5 or so andat 10,500 watts , that would not take long... I think the infrared will be a problem on long exposures... I was considering rigging some sort of Air conditioning system forthe film chamber as I do not know if the fan will be enough... The enlarger will handle up to 11x14 negatives and has a 30x40 vacuumed frame for the enlargements .. .It is 10 feet tall and weighs 3000 pounds..(.This is probably the main reason that I have not hooked it up yet..) John Cremati .. Scientific graphics supply catalog that all Nikon El Nikor Enlarging Lenses were made of a special optical glass to allow passing of UV waves between 350 and 450 nm.. I have also read of Sun enlargers utilizing sunlight as the light source thru a lens to enlarge during the turn of the century in the book "Keepers of Light "... Bit lefthanded! If you compare BK7 and UBK7 at 350nm, the difference ...Here's some interesting information I picked up from a Nikon Catalogabout their enlarging lenses:EL-Nikkor enlarging lenses are corrected for chromatic aberrationbeyond the visible spectrum into near ultraviolet wavelengths --wavelengths to which photographic papers are particularly sensitive. Through the use of special optical glass and matching opticalcoatings, EL-Nikkor lenses are designed for ultraviolet transmissionin the 350 to 450 nm range. This means EL-Nikkor enlarging lenses canbe used for color separation in addition to all other enlargingapplications. EL-Nikkor lenses are also front threaded to accept screwin accessories , and can be used for exceptional small-objectphotography when mounted on a bellows.These enlarging lenses don't have the spectral transmission of a trueUV quarts lens, but then again they don't cost $3000 US dollars likeNikon's quartz lens Folks: I put a relatively new El-Nikkor 210 lens in the path of my UV spectrophotometer today, and am happy to report that the lens passes pretty well all UV radiation above 350 nm. In Comparison, my Fuji 300mm LF lens began to cut UV at around 400 nm, and showed strong absorption by 380 nm. This makes sense, as plain old plate glass shows similar trends. Cheers, Ed Stander
Re: [Cameramakers] Re: making lens?
I found the book Primitive Photography good for inspiration only... The film holder design lacks a light trap element which is critical.. The diagrams do help you to visualize though and gets you thinking.. .. John Cremati - Original Message - From: Ter McDonagh [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, January 31, 2003 6:11 PM Subject: Re: [Cameramakers] Re: making lens? There's a book out called Primitive Photography that has a bunch of camera and lens designs based on 19th century prototypes. Covers landscape, portrait, singlet, doublet, triplet designs, etc. Outstanding book for inspiration. Terence ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
Re: [Cameramakers] blue wide angle 4x5
I hope this gets you there... John Cremati http://job.webstar.nl/newcampg.html - Original Message - From: Gene Johnson [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Tuesday, January 28, 2003 10:38 PM Subject: [Cameramakers] blue wide angle 4x5 Hello all, There was a guy, in Holland maybe, who built a really cool 4x5 with a wide angle lens, and a cam focuser. It was painted blue I think. I can't find the website anymore. Does anyone remember that camera? Gene ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
[Cameramakers] View Camera Articals...
Does anyone have the following articles from View Camera Magazine? John Cremati "Building a Camera Bellows", Jul/Aug 1996, pp52-54 "Ground Glass Alignment", Nov/Dec 1996, pp57-59 "Designing and Building Your Own Camera", Mar/Apr 1995, pp38-44
Re: [Cameramakers] Early Photograpy Patent books.
The Patent books did not sell because it did not make the reserve price , so they are still up for grabs.. I had emailed the seller and asked what the minimum was .. He replied a mere $2000.00 - Original Message - From: John Cremati To: [EMAIL PROTECTED] Sent: Thursday, January 16, 2003 6:10 PM Subject: [Cameramakers] Early Photography Patent books. There are a very interesting set of books being sold on E-bay.. It is a set of Patent books covering every aspect of early photography. Only a few hours left. http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItemitem=753635077category=14279
[Cameramakers] Early Photograpy Patent books.
There are a very interesting set of books being sold on E-bay.. It is a set of Patent books covering every aspect of early photography. Only a few hours left. http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItemitem=753635077category=14279
Re: [Cameramakers] Enlarger Transformers
Title: Message To my understanding you ideally want a "constant voltage transformer".. I have several and they seem to bequite large for thier wattage output , but that would prevent any voltage spikes , or low voltage codition to help keep the light on a very level output.. How big is your enlarger? John Cremati. - Original Message - From: Hornford, Dave To: [EMAIL PROTECTED] Sent: Tuesday, January 14, 2003 3:52 PM Subject: [Cameramakers] Enlarger Transformers I am working on building/restoring a large format enlarger and have run into a question on the transformer for the light. Do I need anything special? Or will any transformer of the right voltage (with support for the watts) work? regards Dave Dave Hornford"Those who say that patience is a virtue do not realize how short life is." --- Anon
Re: [Cameramakers] Opti-Copy bad news received
I once had a very rare 55 mm lens called a Ultra Micro Nikor Supposedly it had a extremely high resolution at extreme magnifications... Unfortunately I found out that it was same as your lens, optimized for just one color with little use for conventional photography It was used in the circuit board industry.. I had immediately listed it on E-bay and sold it but now I wish I had tried a few things first... Some alternative photography or silver images may in fact be quite attractive with the effect this lens will create...Why don't you try a little experimenting before throwing in the towel... ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
Re: [Cameramakers] center filter
Rather than using a silver based emulsion as the final emulsion or film , you could use a glass coated with gelatin with a aniline dye ( aniline dyes are generally transparent) , sensitize the emulsion with ammonium dichromate .. Aniline dyes I believe is what Kodak uses in many of their gelatin filters.. The first image would be silver based fine grained negative film but then you would contact print the gelatin dye coating to create the filter.. In essence what you are doing is making a carbon print of the light fall off. The big problem would be to determine which dye has the neutral density characteristics...Creating a center filter in red, yellow , orange or green filter would probably very easy information to come by as isochromatic photography is based on the various dyes ability to absorb different parts of the spectrum of light.., but I would not even know where to begin on creating a neutral density dye... Another problem would be to make the filter so the fall off is equal to that of the lens when placed in front of it jc This is an idea that has been rattling around in my imagination for some time also. I expect that it might work, with some important limitations: (1) Wouldn't the granularity of the filtering medium (developed silver grains) cause a loss of image quality, especially since the vital central rays are the ones which will be subject to the greatest filtration? (2) The ability of the filtering gradient to exactly balance the falloff of the lens might be a problem, although perhaps not if you could manage to contain the filtering characteristic within the relatively linear portion of the exposure vs. density curve. RKS _ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
Re: [Cameramakers] Toyo front standard adapted to 20x24
I have some monster lenses. A 42 inch Sniederer Red Dot Aptar will be the main lens. It is 5 inches in diameter and a Packard shutter will be on the back of it.. The lens board will be Ideal but I am worried about snapping or bending the front framework.. Thanks, John Cremati - Original Message - From: asccex To: [EMAIL PROTECTED] Sent: Friday, December 06, 2002 6:03 AM Subject: [Cameramakers] Toyo front standard adapted to 20x24 hi, ive got a 45c toyo and I wouldnt think that it could cope with the force you have in mind as really it is designed for small lenses and ive found the back standard droops with a reflex viewer also the front tilt clamps arent that robust what sort of lens are you going to use regards Andrew Crump
Re: [Cameramakers] WoodTablesaw
My friend researched and bought a General Table Saw.. They are quite a precision saw.. It is amazing how the American saws have degraded.. So much is made in China now with really lousy tolerances.. John Cremati ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
Re: [Cameramakers] ELF cameramaker survey
Gene, I have a friend who is pursuing a similar strategy... He notified the Republican Party in Ohio that he would offer his services for free... All of a sudden he is taking pictures of Judges, Politicians, Well known wealthy contributors and party members... He attends fund raisers, does photos for their campaign and publicity shots..Of course every one gets a card and a 8x10 copy of the photo for free.. He has done this for several years now... Now they are calling him for their weddings, sportsevents, and personal stuff in which he gets what he asks... It is a great stratagem I think if you can afford to hold out it will pay off..He has created a very unique portfolio of some very wealthy, powerful , interesting people.. John Cremati
Re: [Cameramakers] 20 X 24 camera
I am finding just about everything I need at C.R Lawrence...( A Window
Glazers Supply Chain ) and McMaster Carr...They are both a tremendous
resource for building a Mammoth Camera
As a example I could not find a extruded aluminum profile with the
needed specs to make the dark slide Track for a film holder ... The track
has to be fairly close tolerance so that no light leaks will occur... , so
all I am going to do is to couple two aluminum 1/2 inch angles together{
using the dark slide plus a piece of scotch tape, 2 mill, for expansion
as a spacer between the two angles } and glue the angles together ... the
Profile formed will be in the shape of a F and will be perfectly spaced
forming the dark slide track.. { There is a little more to the process such
as first forming two frames out of the angle ( one smaller than the
other ) and welding the corners prior to gluing them together to form the
F dark slide profile... It will be like putting two picture frames
together , one inside the other and then gluing ... }
I am really exited about this new film holer design as it will allow us
to make large film holders and mammoth cameras very easily and cheap.. I
will be building the first prototype in the near future and will document
everything..
John Cremati
- Original Message -
From: ronald anger [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Wednesday, November 27, 2002 6:53 PM
Subject: [Cameramakers] 20 X 24 camera
Regarding your sources of supply.There's an old guy up north who makes
roll film stereo cameras.His main source of materials is the bulk lift
at his neighbouring aluminum storm door
manufacturer. Of course he doesn't use a lot of material and has the go
ahead to scrounge up what he needs.A window manufacturer might have 20 X
24 windows or frames.
Ciao
Ron Anger
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[Cameramakers] bellows liner sheen
Hi, I am in the process of building a 24x24 camera bellows and I found this wonderful material called "Emphatex." . It is a 2 ply coated breathable nylon material used to make sports gear..It is extremely thin , light and subtle and is almost 100 percent light tight by itself,however it does pass a very little light.. ... With two layers I am sure it will be completely opaque.. The question or concern I have is that the material has a slight or dull sheen to it and I was wondering how critical do you think it is to have a liner in the bellows that is dead flat black? If it is critical does anyone have any suggestions to dull the sheen.. Also is there any recommendations for liners that are dead flat black.. Thanks, John Cremati
[Cameramakers] 20 x24 addresses
I don't know why these are breaking up in transmission.http://www.crlaurence.com/ProductPages/frameGen.asp?Product=PF114BLProductID=10606Origin=http://www.crlaurence.com/ProductPages/frameGen.asp?Product=R011G83LProductID=10454Origin=http://www.crlaurence.com/ProductPages/frameGen.asp?Product=C988BRWProductID=10656Origin=http://www.crlaurence.com/ProductPages/frameGen.asp?Product=A71320CProductID=3043Origin=http://www.crlaurence.com/ProductPages/frameGen.asp?Product=FS7716CProductID=10463Origin=
[Cameramakers] ASNI Standard for 20x24 format?
Does any one know the T distance ASNI standard for a 20x24 film holder?
Re: [Cameramakers] aerial vs film resolution
This is very interesting. You should post this thread to the Altternative photo list ( [EMAIL PROTECTED] ) as well as the Carbon list(carbon( [EMAIL PROTECTED] )... They would all have a intrest in this information.. John Cremati. John Cremati - Original Message - From: Robert Monaghan [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Wednesday, October 30, 2002 6:54 PM Subject: [Cameramakers] aerial vs film resolution a lot of the time, high resolution values for lenses are quoting aerial resolution, of the lens alone based on imaging a test chart and looking at the film plane with a modest power microscope. This is very different from on-film resolution using standard films etc. so a 200-250 lpmm aerial resolution would be modest; the pentax 50mm f/1.4 lens rates circa 450 lpmm aerial res. and some of the leica summicron 50mm around 500-650+ lpmm, IIRC, based on Dr. Eugene Skudrzyk's tests see http://medfmt.8k.com/mf/limits.html#100 on 100 lpmm limits on film and mf/lenslpm.html on film resolution limits.. hth bobm * Robert Monaghan POB752182 So. Methodist Univ., Dallas Tx 75275 * * Third Party 35mm Lenses: http://medfmt.8k.com/third/index.html * * Medium Format Cameras: http://medfmt.8k.com/mf/index.html * ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
Re: [Cameramakers] Camera Restoration
In old painting restoration the art conservators remove old varnish I believeby rubbing alcohol with cotton Q tips first and if that does not work they will try denatured alcohol second which is a little stronger and if that does not work they will use acetone as a last resort .. They would always make their test on a part of the painting that could not be seen John Cremati - Original Message - From: Marv Soloff [EMAIL PROTECTED] To: cameramakers@rosebud.opusis.com Sent: Thursday, October 31, 2002 1:42 PM Subject: [Cameramakers] Camera Restoration This may be old hat to some on the NG, but I am going to pass it along. I had been restoring a Gundlatch-Manhattan 4x5 view camera. The leather was a total loss so I carefully removed it with a sparse wet-down of hot water. Unfortunately, some of the water leaked into the camera interior and produced a white bloom on the camera interior's pristine cherry finish. Much reading indicated that the cherry interior was now a total mess and I would have to strip and re-finish it. I put the camera away for a year as other things had priority. Last night, I pulled the Gundlatch out and took another look at it - the white bloom was still there. I have (over the years) used common brake fluid as a solvent and wondered if the brake fluid would dissolve the old varnish in a minimum impact way. Brake fluid was carefully applied with a piece of surgical gauze over the cherry interior, let stand for several minutes, then wiped off with a larger piece of lint-free cloth. To my complete surprise, the white bloom was gone and the cherry finish was intact! A bit of furniture polish and I was home free. If you are going to try this method of restoration, use common sense. I am guarantee-ing nothing, and you are on your own. Have your attorney bother someone else. Regards, Marv ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
[Cameramakers] Cordura 330 D characteristics.
Hi all, I received the 330d Cordura nylon cloth today and unfortunately I think it is to heavy for bellows material.. It is about the weight and thickness of a cotton artist canvas ( not burlap), or back pack material, or camera bag material I do not even think it would make a good dark cloth as it is kind ofstiff. It still may end up as a darkclothas I will need a 9 foot long and 5 foot wide to surround the 26x26 inch back... . I had purchased it thru a E-bay dealer in which the ad read that it was much lighter than the 500 or 1000 denier and the price was so cheap I felt it was well worth a gamble... It would make for a great equipment bags, or upholstery cover as it is tuff tuff stuff.. I am going to try the 160 D now and hopefully that will do the trick..The 160 is supposedly the material used inlight weight swim wear...I will keep you posted.. John Cremati.
[Cameramakers] Bellows: glue
Michael wrote: The answers to these two questions should be decided together -- you want to select a glue that will work with the cloth and stiffener material that you are using. My guess is that if you use estar-based graphic film, which is essentially polyester plastic with gelatin coating, that you will have difficulty finding a suitable glue. The glue needs to stick but also maintain some flexibility over the lifetime of the bellows. I think that white glue is usually used for bellows, which makes sense because it retains some flexibility. But white glue will probably stick poorly to the film. Unless you see a compelling advantage to using the film for the stiffeners, it might be wiser to stick to the traditional and time-proven materials. If you think that there might be some significant advantage to a new material, it would be a good idea to make a sample layer of the materials and flex it every day for several months as a test. John Cremati replied: I have used white glue to try to rebind some of my books and it does work very well on cloth and paper... but I am dead set on using the Cordura nylon as the outer layer on the bellows. I would have my doubts that the white glue would adhere permanently to these materials... I would have more faith in contact cement ... .. It would be nice if I could find something that would allow a little time to position the two assembles, and adheres to these materials, and is sprayable I imagine in the old days they would have used animal hide glue or fish glue and called it a day. That was about their only option...I will take your suggestion though and give what ever glue I find a test . Regards, John Cremati ... ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
[Cameramakers] Bellows: glue
Reply by John Cremati I think that they make a special thinner for contact cement that does not affect the tack qualities.Probably Two very thin coats by spraying would be ideal.. The Cordura I have coming has supposedly a light kiss coat of urethane on one side.. which may help in the coating process by not allowing the adhesive to soak deeply into the fabric. I am worried that the 330D may be too thick, even though is has a low denier number compared to the 500D or the 1000D denier which is like a canvas I had recently found out that a even lower number of 160D is used to make light weight swim wear which will collapse into one of its own pockets..., so I may have messed up and maybe should have gotten the 160D. .. I will test it to see how it absorbs the adhesive and how well it may work on a large bellows where a little stiffness may be desirable...I will post the specifics of where I got it and its qualities once it arrives next week... Regards, John Cremati. - Original Message - From: Gene Johnson [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Saturday, October 26, 2002 12:01 PM Subject: Re: [Cameramakers] Bellows: glue John, I bought contact cement in a quart can from Home depot. I found there was a layer of separated liquid on the top that is perfect when I need to apply really thin coats. ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
[Cameramakers] Bellows : Fold and ideal length question...
I am trying to build a homemade camera bellows for a 20x24 camera and have several specific questions. . 1) What is the ideal fold width or pleat depth for such a large bellows.). 2) What would be the ideal length on such a bellows using various process camera lenses( 270 , 360,450, 600mm and a 42 inch lens and having some macro capability. ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
[Cameramakers] Bellows: more questions
Hi, I would like to thank Sandy King for the valuable information he has sent... It was extremely helpful ,Thank you... I have a few other questions on this 20x24 inch bellowsfor anyone who is able to answer or give opinions 1) We are using two pieces of 60 inch wide of a light weight black 330d Cordura cloth whichwill have to be joined together to form the 20x24 parameter. Would you sew and glue them together or just clamp and glue? 2) We will be using very heavy exposedand fixed out graphic film( estar based )for the stiffeners that is.007(7 mill) in thickness... Has anyone ever used this as a stiffener material or are we making a mistake and should stick to a heavy card stock? 3) What type of glue do you think would be best using Cordura( a nylon) and estar film mix that would notadd muchbulk and would remain flexible.? 4)Would you recommend building and using a form for such a large bellows? 5 ) Would you coat the outside or inside of the finished bellows with some sort of rubberized black out paint? Once we finally begin to make this camera we will document every thing and make it available to all.. Thanks, John Cremati
Re: [Cameramakers] Walzburg Horizontal camera, Free !!!
Just curious, How big is the film size? Whould you be interested in selling the lith film sep..? - Original Message - From: Beau Schwarz [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Thursday, October 17, 2002 9:37 AM Subject: [Cameramakers] Walzburg Horizontal camera, Free !!! Hi, I have a Walzburg Horizontal camera. It has a 16' bed, 12' bellows, elect. Packard shutter, remote powered rise/fall/shift, rotating lens turret, Front/back lit remote operated movable stage, several boxes of outdated lith film, but no lens. I picked it up on ebay about 2 years ago and it was fully operational. We disassembled it and put it into storage. Unfortunatly, I have changed directions, so it has sat, and I now need to get rid of it. I live near LaGrange TX,78954. It is free to a good home (just so long as you take all of it). If you are interested, please contact me at [EMAIL PROTECTED] or (979) 249-3060 between 7-10 pm central time _ Surf the Web without missing calls! Get MSN Broadband. http://resourcecenter.msn.com/access/plans/freeactivation.asp ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
[Cameramakers] Cordura Denier Termanology.
This is a explanation of Denier rating from http://www.rockywoods.com/ that John Yeo had posted...concerning Cordura availability... Nylons We carry a wide selection of nylon fabrics from a variety of manufacturers. All nylon fabrics have a denier rating. This refers to the thickness of a thread or yarn used in the fabric. Generally the higher the denier, the heavier and tougher the fabric. We carry nylon fabrics from the lightweight with a denier rating of 70 to the heaviest available, Ballistics, which is made from 1050 denier yarn. Ballistics is the heaviest nylon material made. Use it for chaps, luggage or in other places where strength is more important than weight or flexibility. John Cremati ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
Re: [Cameramakers] Bellows Material Cordura
Hi Wayde, I had a couple of questions on the camera that you built... Do you remember what type of Cordura that you used? Did you use it for both inside and outside .Is your bellows very stiff? how deep were the folds ?/How does it collapse and what did you use for stiffners... Below is a list from the Cordura web site. I would imagine that some of the cordura is a little to bulky for camera use... the CORDURA® Plus 160-68-T440 looks like their lightest , but it is a blend . You can see all the descriptions on their web site... Evidently you can get samples... Thanks, John Cremati. This section provides the fiber and fabric options in the CORDURA® product line, including our three latest products-CORDURA® Plus NaturalT, CORDURA® Plus ColorLockT and CORDURA® Plus CatT. No matter what products you're creating, you can count on CORDURA® to make them durable and keep your customers satisfied. For fabric samples, see the suppliers list. Fiber Options-North America CORDURA® 1000-140-T440 CORDURA® Plus 1000-280-T440 CORDURA® Plus 500-140-T440 CORDURA® Plus 330-122-T440 CORDURA® Plus 160-68-T440 CORDURA® Plus 2000-560-T440 CORDURA® Plus 1350-560-T440 CORDURA® Plus NaturalTM (1000- and 500-deniers) CORDURA® Plus CatTM (1000- and 500-deniers) CORDURA® Plus ColorLockTM (1000- and 500-deniers) Blends (all with 330-denier CORDURA® Plus): CORDURA® Plus/acrylic CORDURA® Plus/Lycra® brand spandex CORDURA® Plus/Supplex® nylon CORDURA® Plus/Taslan® nylon From: J. Wayde Allen [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Tuesday, October 15, 2002 1:44 PM Subject: Re: [Cameramakers] Bellows Material Cordura On Sun, 13 Oct 2002, John Cremati wrote: Has anyone tried using Cordura Nylon as the outer layer in bellows fabrication ? It is supposedly the toughest fabric on earth and is water proof...( they are using it to make Fishing Waders...) The deener 160 blend seems to be there thinnest material as they are using it for clothing. http://www.cordura.com/ Any suggestions? Yes, works like a charm http://rmp.opusis.com/cameras/my4x5_2.jpg! - Wayde ([EMAIL PROTECTED]) ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
Re: [Cameramakers] cordura bellows
Jahn F. Baker wrote: John, Yes! Just finished a bellows for an old Seneca 8x10. Picked up the Cordura Nylon at a Mill Ends retailer. The fabric itself was almost perfectly light tight before lining with cotton duck. Bellows functions like a dream! Used Barge Cement to glue the watercolor paper stiffeners in place as well as the lining. Jahn F. Baker Hi Jahn, This is very good news... Do you remember what type of Cordura that you used? Is your bellows very stiff? How does it collapse Below is a list from the Cordura web site. I would imagine that some of the cordura is a little to bulky for camera use... the CORDURA® Plus 160-68-T440 looks like their lightest , but it is a blend . You can see all the descriptions on their web site... Evidently you can get samples... Thanks, John Cremati. This section provides the fiber and fabric options in the CORDURA® product line, including our three latest products-CORDURA® Plus NaturalT, CORDURA® Plus ColorLockT and CORDURA® Plus CatT. No matter what products you're creating, you can count on CORDURA® to make them durable and keep your customers satisfied. For fabric samples, see the suppliers list. Fiber Options-North America CORDURA® 1000-140-T440 CORDURA® Plus 1000-280-T440 CORDURA® Plus 500-140-T440 CORDURA® Plus 330-122-T440 CORDURA® Plus 160-68-T440 CORDURA® Plus 2000-560-T440 CORDURA® Plus 1350-560-T440 CORDURA® Plus NaturalTM (1000- and 500-deniers) CORDURA® Plus CatTM (1000- and 500-deniers) CORDURA® Plus ColorLockTM (1000- and 500-deniers) Blends (all with 330-denier CORDURA® Plus): CORDURA® Plus/acrylic CORDURA® Plus/Lycra® brand spandex CORDURA® Plus/Supplex® nylon CORDURA® Plus/Taslan® nylon - Original Message - From: jahn baker [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Sunday, October 13, 2002 11:34 AM Subject: [Cameramakers] cordura bellows ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
[Cameramakers] Bellows Material Cordura
Has anyone tried using CorduraNylon as the outer layer in bellows fabrication ? It is supposedly the toughest fabric on earth and is water proof...( they are using it to make Fishing Waders...) The deener 160 blend seems to be there thinnest material as they are using it for clothing. http://www.cordura.com/ Any suggestions? John Cremati
[Cameramakers] film holders
I was just curious how many have attempted to make their own film holders and if they feel if it was worth the effort . I am beginning to fully realize just how extremely precision these film holders have to be John Cremati ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
[Cameramakers] New Magnetic Film holder design
Hi , I had weighed the 1/8 inch thick x 1 inch wide high energy magnetic tape and it will add approximately 1 3/4 pounds to each 20x24 holder. Add this to the thin steel shims that would have to be used complete the magnetic function, and the epoxy glue , I am sure It will be over 2 pounds per holder Also add the 2 inch additional camera back andholder size (in each dimension ) to accommodate the tape is also additional weight...I am also not 100 percent convinced if the magnetic attraction will be enough to hold the twofilm holder sections together when removing the darkslideect... Any feelings or suggestions on this? I like the idea of a twopiece film holder for ease inloading and unloading. Maybe some sort of a pinned or clamped compression style frame should be considered. John Cremati
Re: [Cameramakers] New Magnetic Film holder design
That is a great Idea.. It would cut down on the weight and would possibly be a stronger connection. They could be machine fitted flush at the edge of the film where it would not increase the frame size very much.. a 1/4 inch steel strip would only be required instead of a 1 inch...I will seriously consider it... Thanks, John Cremati. - Original Message - From: Gene Johnson To: [EMAIL PROTECTED] Sent: Tuesday, October 01, 2002 9:18 AM Subject: Re: [Cameramakers] New Magnetic Film holder design I've seen some really strong and tiny rare earth magnets. Like the size of a pencil eraser or smaller. A few of those set into your frame might get it done. Gene - Original Message - From: John Cremati To: [EMAIL PROTECTED] Sent: Tuesday, October 01, 2002 4:36 AM Subject: [Cameramakers] New Magnetic Film holder design Hi , I had weighed the 1/8 inch thick x 1 inch wide high energy magnetic tape and it will add approximately 1 3/4 pounds to each 20x24 holder. Add this to the thin steel shims that would have to be used complete the magnetic function, and the epoxy glue , I am sure It will be over 2 pounds per holder Also add the 2 inch additional camera back andholder size (in each dimension ) to accommodate the tape is also additional weight...I am also not 100 percent convinced if the magnetic attraction will be enough to hold the twofilm holder sections together when removing the darkslideect... Any feelings or suggestions on this? I like the idea of a twopiece film holder for ease inloading and unloading. Maybe some sort of a pinned or clamped compression style frame should be considered. John Cremati
[Cameramakers] Jouney to the Dark Slide.
I found this material in http://www.mcmaster.com/catalog that looks like it may possibly be the material that is used in commercial film holdersfor dark slides. It is called garolite grade xx ( type that into its search engine). It is a paper based phenolic laminate, available in opaque black It is available from extremely thin to very thick (1/32 , 1/16, 1/8, up to to 1 1/2 inches ). It is a solid paper material impregnated with a synthetic resin formed under pressure and heat..It has high dielectric and impact strength and tensile strength and is resistant to heat, moisture, chemicals , oil , corrosive solutions and just about everything else It is also very light weight, , dimensionally stable and easy to machineplastic resin material that is mixed with paper and forms a very rigid high impact material available in opaque black it is also very light...And is very cheap. A 36" x 24 inch sheet in 1/16 inch is $10.00!. There are other more expensive versions of this material that are different colors and use cotton or fiberglass with the resin It is used for circuit boards ect... Does anyone have any experience in using this material for dark slides John Cremati...
[Cameramakers] Journey to the Dark Slide
Alan Zinn wrote: John, I wonder if there is a sample kit available? I'd like to try some of the tubing for rollers, etc. AZ Maker of Lookaround panoramic camera. http://www.panoramacamera.us or keyword.com lookaround John Cremati wrote..Alan, There is a huge number of rods, tubes, ect made of various materials including the Garolite.of everything to bronze to oil impregnated polyester tubing that McMaster Carr handles.. You may want to order their catalog. John Cremati
[Cameramakers] New film holder design 20x24
Hello everybody...
As you know with the
threads on " Journey to the Dark Slide , I am in the process of trying to
build aLight weight 20x24 mammoth camera...With the extreme expense
of the film holders I hope to build my own... I will base the
cameraback design on the film holder soanyASNI standards
are not critical to me.I have been trying to work out a simple
new film holder design to make these 20x24 film holders cheaply
Hopefully we can brainstorm this and come up with holder that is very easy to
build using mostly over the counter materials with as little machining and
expense as possible...There is not much new under the
sun so I do not know if this sort of holder is already being made and it
may not be a new design after all
The design I came upwith was
inspired by Sandy Kings threads on magnetic emulsion coating
masksforcarbon printing
I am only thinking of a single film
holder at this time to keep things simple .. The film
holderwould be based on a two part holder with one part having
magnetic tape epoxied to one of its surfaces...This system
wouldmagnetically sandwich the filmSome big
advantages of a two part magnetic holder would be that it would keep film
very flat and be very easy to load and unload with out damage to the
film..
I would like to keep the weight down as well as the thickness...Any
Comments or suggestions on materials with sources , design ,
potential problems or concerns ? Please keep in mind this is for a 20x24
camera
The film holder should have
have a thin steel sheet metal plate back or strip framed flush
with some sort of aluminum h-channelprevent light leaks
This is what the film will rest against... The front part of the carrier
frame , which will include the dark slide, will have the magnetic tape
glued to it. . This will attach to the back sandwiching the film magnetically...
I suppose some sort of clip or clamp two part holder system would work equally
as well..Any suggestions would be most appreciated.. I hope this will do
and it shows up as I had laid it out .. I do not have a scanner...
___
___I__I__I__I
... 20 x 24 steel sheet metal framed with
some sort of aluminum
h-channelII
_ . film
--
... frame with high energy magnetic tape epoxy to it .
It will compress against the film
I_____I.
This assembly will also form a subframe for the dark slide
{Front part of
filmcarrier}
( dark slide =); ( --- = magnetic tape framed )
Some of these design parameters would also make
good negative film carriers for enlargers as well as printing
frames...
Regards,
John Cremati
Re: [Cameramakers] Journey to the dark slide
John Cremati wrote: I have my doubts that these thicknesses will work in a 20x24 inch format.. If a thin aluminum sheet is used in the mammoth sizes it will have to be made of highly tempered aluminum alloy and very ridged.. In the book "Primitive Photography " A guide to making Cameras , Lenses and Calotypes, they specify 1/8 inch thick luan as dark slide material for just a 8x10 format.. Is there anyone on the list that has experience in such large formats as the 20x24 ? - Original Message - From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, September 27, 2002 9:52 AM Subject: Re: [Cameramakers] Journey to the dark slideI measured the dark slides on one Fidelity holder and also one Lisco holder last night. They are both between 0.0325 and 0.330. So one should be safe using commercial 1/32" sheet. The second problem, of course, will be to get it cleanly cut to shape... I would suggest that a "paint" or "epoxy" type coating would be a difficult idea -- any such coating will be at least few thou thick and will make the resulting slide far too thick to work smoothly. Someone asked about a source for cold-anodizing chemistry: It's made by Birchwood-Casey and is called "Aluminum Black". It is available from Fargo at www.micro-tools.com, and also from some of the major industrial tool companies, such as www.reidtool.com. Other versions of the product are also available for ferrous metals and brass. Don Feinberg [EMAIL PROTECTED] [EMAIL PROTECTED]
[Cameramakers] Journey to the Dark Slide 20x24
Hi William, I agree with you... I think just making your own holders and non standard back is the way to go ..Then design the back to the holder... The thicker holder has a big advantage of being more durable but the big disadvantage is the possibility of a light leak... I plan to use a dual light stop made from spring bronze or spring stainless steel weather stripping.. It is a V shaped strip that is very cheap available at McMaster Carr..Unfortunately it is 1 inch in width but on 20x24 holders, what's another couple of inches... . I had taken apart a graplex holder and found they use sort of a bronze spring "v" strip with fingers cut about every 1/8 inch. The assemble is then covered in a felt cloth..With the bronze V weather stripping these fingers could be easily cut on a fine toothed table saw with a simple jig.. As another idea how about making the holders and back 24x24 inches so that the film could be placed in any position with out having to position the camera on its side... I do not know how this could be accomplished yet but it is just a idea... I plan on making the ground glass back with out a spring system and the ground glass removed then holder will just lock into the back in its place . I think this will simplify things and prevent any possible light leaks while trying to maneuver such a large dark slide and heavy holder.. This is the site for Spring Metal weather stripping... ... I plan to cover it with some sort ofpolyester felt ...Any Comments on using this material?Look up number: 1115a2 http://www.mcmaster.com/ John Cremati--William Nettles wrote: Darkslide material is part of the reason I would construct a non-standardfilm holder and matching ground glass. If you could have thicker (deeper?)holders than your darkslide material could be thicker. Even sealed masonitewould work. It would also take more bumping without marring the film surfacethan would something thin.A thicker slide of course raises the light trap question. Make the lighttrap longer and make the darkslide non-removable so you never have toworryabout the gap.Formica's other big problem is it is brittle. But then so are some of mycirca 1980 4x5 8x10 commercially made darkslides.Also to save on anodizing the aluminum, I often use flat black high heatpaint. It dries quick, its thin, its matte black and you can quickly repairany scratches with another spray.Will---William Nettles
Re: [Cameramakers] Journey to the dark slide
Hi Alan, I think your right about the possibility of wood warpage on such large holders... I intend to try to make them out of alllnneeyyummm... You can epoxy aluminum together with rivets... You can also silver solder it.. I have a tig welder so I may risk the chance of heat warpage and try to weld it in key stress areas If I was looking at this material called Sintra with out knowing the name of it , I would call it black foam core... We are probably talking about the same thing It is actually a expanded PVC product and is reasonably stiff ( not as stiff as I would like though for 1/8 inch thick..) and extremely light weight.. It seems pretty durable as wellI am going to get a 20x24 x 1/8 piece this weekend and give it a light fast test in the sun with some film underneath The best part about it is it is cheap I think a 4 foot by 8 foot sheet is about $35 . If I am layering 1/8 x 1 1/2 aluminum strips to form the framework for the dark slide the edges of the black foam core are easily sanded to fit. John Cremati. - Original Message - From: Alan Zinn [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, September 27, 2002 11:45 PM Subject: Re: [Cameramakers] Journey to the dark slide At 02:33 PM 9/27/2002 -0400, you wrote: John Cremati wrote: I have my doubts that these thicknesses will work in a 20x24 inch format.. If a thin aluminum sheet is used in the mammoth sizes it will have to be made of highly tempered aluminum alloy and very ridged.. In the book Primitive Photography A guide to making Cameras , Lenses and Calotypes, they specify 1/8 inch thick luan as dark slide material for just a 8x10 format.. Is there anyone on the list that has experience in such large formats as the 20x24 ? Guys, RE the relative hugeness of 24 in. sq. film, I now believe thinking in terms of conventional dark slide materialis is probably wrong. Using luan may be a very good idea. Also think about black foam core. It is terrific for experimental camera bodies. A stack of large film holders would weigh quite a bit. Also There should be a container that will hold them flat - like a an old wood tennis racket clamp. AZ Maker of Lookaround panoramic camera. http://www.panoramacamera.us or keyword.com lookaround ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
Re: [Cameramakers] Journey to the dark slide
Allen Zinn wrote : From: Alan Zinn [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Wednesday, September 25, 2002 8:55 PM Subject: Re: [Cameramakers] Journey to the dark slide John, Don't use Formica it warps like crazy with humidity changes. AZ Maker of Lookaround panoramic camera. http://www.panoramacamera.us or keyword.com lookaround Repy by John Cremati: Hi Allen, Are you talking of the separate thin Formica sheet ( Formica which you would glue to a wood counter top) or Formica which has been already glued to a particle board? I know that the Formica which is glued to particle board warps like crazy if not treated on both sides of the particle board... I was not aware that Formica by itself will warp as I though it was some sort of resin based materialJohn Cremati ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
Re: [Cameramakers] Journey to the dark slide
Does any one know what material that conventional dark slides are made of used by currently mass produced film holders ? John Cremati ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
[Cameramakers] Journey to the Dark Slide.. The age of Alllooonnneyymmmm..
Lets see, ..there was the Stone Age, and then there was the Bronze age and then there was the Iron age and now there is the Auueeeyyymmm age! So far it looks like every one likes arrmmmnnimmm . In Akron, Ohio there is a Aluminum distributor called the Aluminum Warhouse, that sells at a $15 minimum... He claimed that he carried a lot of different high tempered alluneeey sheet and extrusions but his smallest gauge is 18 which is about a touch under 1/16 of a inch ( 16 guage equals 1/16 ) . I intend to make the rest if the film holder out of allummmeeum so I guess I will go check it out... I believe he will give cut sizes as well for a small fee... I do not see anything wrong with painting it with flat black epoxy paint although black anodizing would be the schnitz.. I have access to a lot of printers plates that are made of aluminum and it is very thin.. I don't knowthat it would make a good dark slide though as it is very thin and bends rather easily ..Any Printer has this stuff in abundance and they scrap most of it after their print job is thru... This Sintra expanded pvc is still worth looking at as well . It may be a little thick at about 1/8 inch but is very light weight... I think i will take a piece of sheet film and stick it out in the sun for a while withSinra covering it and give it a light leak test Regards , John Cremati
[Cameramakers] Journey to the dark slide
Hello out there...
I am in the process of trying to build a light weight 20x24 camera
along with 12 single film carriers.. The initial stage is to build the
film carriers so that the ground glass can be positioned accurately.. I have
a idea for a New design for the film carrier which I will share with
everyone in the near future . It is amazingly simple {if it works}, will
be cheap to build and will have several serious advantages over a
conventional film carriers. I am still trying to figure things out at this
point.. There seems to be nothing new under the sun so maybe this will
end up not being a fresh idea after all...
I intend to make the film carriers and camera out of
Alloonneeyyuumm
My biggest obstacle at this moment is that I am hung up on the
design of the light trap for the dark slideAt $10 per sheet of film I
would like to come up with a fool proof design..
Are there any publications on making film carriers?
Presently I am also trying to decide on the material used for the dark
slide( I was thinking of using either black Formica or black rigid
Sintra which is a expanded PVC product.. see below ) Does any one have any
other suggestions as far as dark slide material or experience with this
Sintra? . I believe it is also manufactured under the name Komatex, and
Celtec... This material is very light and seems to be quite durable..
Sintra : ( written by a distributor)
Sintra is a closed-cell, expanded plastic that has high strength-to-weight
ratio for superior workability. The material is so easy to work with, you
can build your displays, exhibits, and signage in half the time. That means
half the labor and fabrication costs.
Sintra material is made to stay flat. But it has the formability to take on
any design. And its edges cut clean with uniform color throughout. No
fraying or unattractive inner core. Plus sintra is tough enough to be used
over and over again. So you can use your display, exhibit or sign year after
year.
This material can be fabricated using conventional wood tools. Saw it. Drill
it. Glue it. Die cut it. Nail it. Silk screen it. Truly a versatile material
for state-of-the-art displays, exhibits and signs. Plus it;s a UL-recognized
component with a 94VO fire rating for low flame spread.
Available in White, Black, and colors and comes in very thin 1/16 inch to
over 3/4 inch in thick...
Regards,
John Cremati
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Re: [Cameramakers] Computar Question Reply
Hi Richard, Are the Computars APO designed? Do all the Chromatic abberations meet relativley close?Thanks, John Cremati - Original Message - From: Richard Palmer To: [EMAIL PROTECTED] Sent: Thursday, September 12, 2002 10:38 PM Subject: [Cameramakers] Computar Question Reply This is a reply to Mr. John Cremati's question concerning the information in my Computar brochure. Every lens shown has a detailed cross section drawing showing a six element design. All the pertinent info such as back focus, angular field, color correction and physical demensions are listed. Graphs and charts concerning spectral transmission, 30 cycle focus and OTF at f/5.6 at different magnifications are displayed. I didn't see lines per mm stated though. All other specs. like chromatic aberrations are shown and explaned. Actually, a lot more info. than the average consumer would need. The photo writer, Dave Howard had a story about them in Shutterbug a while back, I believe.
Re: [Cameramakers] front mounted shutters.
This looks like a serious case of lens ecstasy! Have you embarked on the filter questyet?... The real sleepers are the "Computars" which were a 1970 to 1980 vintage computer designed lens , multicoated with 6 to 8 elements.These supposedly have a 320 lines per inch resolution according to several sources although some sources say differently...I have a set for the enlarger up to 150mm and one 270mm for a 8x10.. Most Process lenses are a 4 element lens but are tack sharp flat field lens corrected for color abnormities...The longer focal lengths make great telephoto lenses but are slow... I am in need of a Ilex # 5 shutter for a 42 inch focal length SchneiderRed dot Altarthat I have... John Cremati..- - Original Message From: Gene Johnson To: [EMAIL PROTECTED] Sent: Sunday, September 08, 2002 6:07 PM Subject: [Cameramakers] front mounted shutters. Hello Cameramakers, I just bought 3 Konica Hexanon GrII process lenses in 150, 210, and 300mm focal lengths. I was able to mount the 300mm on my Horseman with a Packard shutter (with flash synch) this works really well. I was also able to use the 210mm by mounting an Ilex #3 in front of it. I still have tons of movement available. The 150 I haven't got to yet, but I'll probably mount it in front of another Ilex #3. I have about250 bucks in all three lenses and 2 shutters, and I'm just thrilled with the performance. Now that I have mine, I thought I'd share my joy with you all. These are FINE lenses. Very sharp from very close to infinity. They show up on eBay from time to time, along with a ton of other similar process lenses from Rodenstock, Schneider, Kodak, Nikkor, JML, Ilex, Eskafot, and many others. Hey, every once in a while, something works out. Gene
Re: [Cameramakers] Filmholder pressure plate question and aerial camera tolerance
The pressure plate film holders are a special hard to find item. I have only seen them twice on E-bay in 8x10 size.. I had mentioned it because it would be a light weight alternative to a vacuumed back keeping the film very flat which would be important when dealing with such large film... ... - Original Message - From: Uptown Gallery [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Sunday, August 18, 2002 7:17 PM Subject: [Cameramakers] Filmholder pressure plate question and aerial camera tolerance I must be missing something. I have some film holders but haven't used them yet (no camera yet!). I don't see a moveable/adjustable pressure plate. I see a hinged access part that opens after removal of the darkslide, then metal guides that the film slides into, and a depression for a thumbnail to extract the film. There are little levers that rotate to 'lock' the darkslide in place. I'm told they also serve a purpose for keeping mental note of which side of the film holder has been exposed. Do they serve a second (third?) function of applying pressure on the film? I thought the film holder basically just holds the film from curling up, and with very large format, the film can bow away from the back of the film holder. From what I've read, apparently some early aerial cameras did not have vacuum to hold the film, and the film did lift away from the platen (back of their film holder). A guy told me that they would then only shoot during a declines to 'push' the film flat against the platen, and that was why vacuum was added...so they could shoot at any inclination. Another guy gave me an interesting explanation from his father who flew a plane with a camera, about the nighttime cameras with the f/2.5 Aero-Ektar lens and 'flash bombs'. They dropped a 50 pound flash bomb containing 25 pounds of flash powder, set to ignite at various altitudes. The camera had a photocell of sorts to detect the flash and trigger the shutter. The flashbomb was on the order of 2 million candlepower. Having no practical perspective for this, I inquired if this was noticeable to the subjects being photographed. He said it sure as %@#%^ did - it illuminated the ground to mid-day brightness - they'd shoot maybe 6 shots (on a 3 second or so cycle) and scramble out of there as fast as they could. A former-photographer neighbor has a 16 x 20 camera in storage - I'm thinking of asking him if I can take measurements on the film holder, but I will have to rely on a tape measure for the height and width - I don't have a caliper that huge. Murray ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
[Cameramakers] making 20x24 camera , film holders...ect
Hi , I have seen a few 'contact film holders' on E-Bay recently... They were just like old contact frames for a 8x10 with a spring pressure back to push the film flat against a glass... Only difference was that it was the same size as a 8x10 film holder...You could even expand on that and include registration pins and increase size to what ever. Also there was a discussion on the Alt-Photo list with in the past few months on a New book Book - I believe it was The Book of Alternative Photo ProcessesBy Christopher James. with information on how to make Film holders...Double check this info on the Alt photo list as it was some time ago.. The book is on my wish list... I too would like to build a 20x24 but the thing that is holding me back is the film holders and the bellows... I had posted a few things prior on the cameramakers list that I thought was interesting for building a camera...here they are again .. Two of the things that I am thinking of using in the cameras are found at : http://www.mcmaster.com/ You can access the items from this home page... 1) Cross Block: Item #9268K85 (on page # 1066 Item #17) the item is a plastic or stainless cross block... I thought this would make a great item to fasten the front lens plate to create the front standard using a 1/2 rod to be used for rise and fall and front to back tilts. 2) Optical Rail with locking platforms: Item# 60585K41 rail and Item# 605K522 slide and hand brake... I thought this would make a good low cost optical rail with adjustable locking platforms to mount the front and rear standards on... as well as the tripod mount ... I had seen a super design for a 20x24 camera that was for sale on E-bay... It was super light, Broke down very easily so that one person could operate it and it used plastic for the ground glass to keep the weight down...Here is the site that was posted on the carbon list with photos of what I thought was a excellent design for a 20x24 http://rmp.opusis.com/misc/camera/camera.html Here is a site of a nice looking Mammoth Camera: http://www.jbhphoto.com/bigcam1.htm Here is the Lotus site for a 20x24 camera .. They want $15,000 for the 20x24 with a one year waitThey also have film holders ($600 for a 20x24) http://www.lotusviewcamera.at/index.html I have never made a Large format camera so any suggestions , input or criticisms would be appreciatedWeight will be a big factor...I am going to make the back and front standard detachable I believe as well as the bellows... Let me know what you thinkWhat things do you thing are good design on all of the cameras viewed ?... Also any hardware leads would be appreciated... John ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
Re: [Cameramakers] Surplus Military lenses??
Mac wrote: How can I figure out the focus (bellow ext) needed to project the 120 neg to 48 with this lens? What is the math involved? ..Does this sound like it will work? project a 120 neg to 48 wide. Mac Hi there, I have built optical instruments before and have made the huge mistake of using a lens on the project just because you found it cheap. I do not know if this lens will work on your project.. I would say that the odds are that it will not Most glass lenses, and I believe plastic as well, act as tremendous Ultra Violet filters.. and they will block the necessary UV range that you need for exposure I am in the process of building a UV enlarger my self...What I found in my research is that El Nikor enlarging Lenses are made of a special optical glass that will pass the needed UV range up to 425 nm... Most other lenses and I believe plastic will stop the UV transmission dead in its tracks at about 200. On the Alt Photo list we had discussed this and a man took a El Nikor lens and tested it on a UV spectrometer and it verified what I am saying... If you are covering 6x6 format you will need a 80mm to 90mm lens and 6x7 format you will need 105 mm.. The shorter you can keep the focal length to your format the larger you can enlarge in a given distance I believe they make a special wide angle lens that will some what shorten the distance needed to project your image to a final 48 inches diagonal but they are very expensive lenses and I seldom have seen them for sale used... Most All El-Nikor enlarging lenses are a high quality 6 element lens and are usually f5.6 in the sizes we are talking about... They are usually under $50 on E-bay ... Also to enlarge to that huge size will require a very long exposure and you may find that the film can not handle the infrared heat as light fall off increases dramatically the larger you go. On my project I am trying to find out how to increase the speed of dichromate sensitized paper to reduce the time I need to expose... If you come across any information on this I hope that you would pass that along to me... I imagine you can just set up a standard medium format enlarger rigged with first surface mirrors to channel the sun light into the film chamber into a dark room or box if you are setting up a daylab deal you would have to block all light fom the film plane down to the paper plane ..I would not use the condensers as they too will block the UV as well as standard mirror Now you know everything that I know.. Good luck... Send me a picture of the thing when it is built Regards, John Cremati - Original Message - From: filmpro [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Thursday, August 08, 2002 11:48 PM Subject: Re: [Cameramakers] Surplus Military lenses?? Hello again! Found this TV projection lens: Does this sound like it will work? project a 120 neg to 48 wide. 4-1/2 DIA. FUJINON TV PROJ. LENS Item No.: L1812 Unused beauty. Fujinon TV projection lens Model #VP5110B. Designed for use in big screen TV projection systems. Multi-element coated acrylic lens system is made from optical grade methyl-methacrylate for image quality and light weight. Front element is 4-1/2 clear diameter, rear element is 4-3/8 diameter. lens projects a large image in a short distance. f/0.95. Great for education projects such as slide or transparancy projector, etc. Designed to be nearly in contact with subject surface, and will cover up to 4-1/4 diagonal source. 5-1/2 diameter by 8 long. Back end has outside threads. Includes front and back lens covers. http://www.surplusshed.com/pages/Lenses.html Thanks How can I figure out the focus (bellow ext) needed to project the 120 neg to 48 with this lens? What is the math involved? Mac ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
Re: [Cameramakers] Surplus Military lenses??
Hi Mac, I had some after thoughts .First I just wanted to add a disclaimer.I have not built and tested my UV enlarger yet so I can not tell you if everything I told you is 100 percent correct. This is uncharted territory for me as well... I am not real familiar with your process so I do not know the UV sensive range that you require or if in fact that UV plays a part at all( all you may require is the visible spectrum of light , in which case any lens would work and everything I have told you would probably not apply... I have heard that Ansel Adams built some sort of special enlarger but I have not been able to check that out yet Some other thoughts : If you are sun exposing you may have to fiddle with the enlarger to track the sunAlso if you are projecting on to a uneven surface you may have to stop your lens down quit a bit to have everything in focus.. As far as a glass negative holder , again , regular glass is a powerful UV filterI would go to Optical white glass that is listed below for your negative holder. ( It may be the glass that Nikon uses in their lenses.) You may want to try a sandblasted upper glass on the holder to act as a diffuser.. I think it may cut down the light output , but would give a more even distributionTry it both ways.. Here is a dealer that sells the Schott Optical White Glass B270, It comes in all thickness. It supposedly has a very high UV transmission rate comes in large sheets and is reasonably priced . It would be good for large contact frames, film holders ect.. http://www.howardglass.com/B270.html The light source I will be using is a 5000 to 10,000 watt pulsed xenon light headSupposedly a good source of UV... I am just going to use a blower fan to keep things cool... Happy Trails, John Cremati - Original Message - From: filmpro [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, August 09, 2002 4:23 AM Subject: Re: [Cameramakers] Surplus Military lenses?? Hi john! Very helpful. I don't have a problem getting a Nikor lens. i was under the impression one of these large lenses would put out a lot more light (f 1). I did realize the plastic elements would probably block the UV. Yes, I do expect a very long exposure.I'm guessing a 20 min Cyanotype contact print would take a couple hours with the solar enlarger. Well, i might have to rig the glass neg holder to a large metal heat sink and some how cool it with ice. I do expect this would be a disposable copy neg for my process. What UV source are you trying to use? i figured the sun would pump a lot more UV than any light source. I need to print on a irregular fabric. Thanks Mac Also to enlarge to that huge size will require a very long exposure and you may find that the film can not handle the infrared heat as light fall off increases dramatically the larger you go. On my project I am trying to find out how to increase the speed of dichromate sensitized paper to reduce the time I need to expose... If you come across any information on this I hope that you would pass that along to me... I imagine you can just set up a standard medium format enlarger rigged with first surface mirrors to channel the sun light into the film chamber into a dark room or box if you are setting up a daylab deal you would have to block all light fom the film plane down to the paper plane ..I would not use the condensers as they too will block the UV as well as standard mirror Now you know everything that I know.. Good luck... Send me a picture of the thing when it is built Regards, John Cremati ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
Re: [Cameramakers] Surplus Military lenses??
Another thought... If you are exposing for a long period of time the position of the sun may play a huge factor on your enlargement with out a condenser. Take a flash light and move it 25 degrees across film and see what it does to the final image on the wall... A guess would be that the image will move right along with the light thus ruining your print... John - Original Message - From: filmpro [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, August 09, 2002 4:23 AM Subject: Re: [Cameramakers] Surplus Military lenses?? Hi john! Very helpful. I don't have a problem getting a Nikor lens. i was under the impression one of these large lenses would put out a lot more light (f 1). I did realize the plastic elements would probably block the UV. Yes, I do expect a very long exposure.I'm guessing a 20 min Cyanotype contact print would take a couple hours with the solar enlarger. Well, i might have to rig the glass neg holder to a large metal heat sink and some how cool it with ice. I do expect this would be a disposable copy neg for my process. What UV source are you trying to use? i figured the sun would pump a lot more UV than any light source. I need to print on a irregular fabric. Thanks Mac Also to enlarge to that huge size will require a very long exposure and you may find that the film can not handle the infrared heat as light fall off increases dramatically the larger you go. On my project I am trying to find out how to increase the speed of dichromate sensitized paper to reduce the time I need to expose... If you come across any information on this I hope that you would pass that along to me... I imagine you can just set up a standard medium format enlarger rigged with first surface mirrors to channel the sun light into the film chamber into a dark room or box if you are setting up a daylab deal you would have to block all light fom the film plane down to the paper plane ..I would not use the condensers as they too will block the UV as well as standard mirror Now you know everything that I know.. Good luck... Send me a picture of the thing when it is built Regards, John Cremati ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
Re: [Cameramakers] 10 kW UV enlarger and hello John.
I have a old 1960's vertical Vandercook CosmoColor color separation camera... It has a 10,000 watt pulsed xenon light head on it with 6 bulbs in it along with a 3/4 horsepower commercial blower to cool the film chamber.. I have hopes that it does not cook the film but it may as what I intend to use it for is direct carbon printing which may require longer exposures than the film can handle... I do not know at this point what the outcome will be... If it is to much for the film I will just use it for what it is designed for and that is a 11x14 enlarger/ color separation camera I hope the lamps are not obsolete yet as I am in need of several... These cameras and transformers are all over the place now and can be found very cheap compared to what they cost new. I personally have several Pulsed xenon transformers and I would certainly sell one once the camera is on line . If you are interested contact me off line.. If you come across a Vandercook Cosmo Color please let me know as I need to buy one for the parts.. John Cremati Cleveland , Ohio. From: Uptown Gallery [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Saturday, August 03, 2002 9:29 PM Subject: [Cameramakers] 10 kW UV enlarger and hello John. Hello John: After reading Ansel Adam's reference to pulsed Xenon lamp enlargers and seeing a large format enlarger on the Internet owned by a guy in the Chicago area, I started looking into it myself. I found the lamps (on their way to obsolescence), and the 750 W and 1500 W ones were on the order of US$100, but the ballast (they call it a power supply; I think it has more than one voltage) was $1600 and $3050 respectively...that's out of the question. I have to dig thru my little black book and find names of people I knew in the lamp industry because I want to find out what the lamp operating starting and operating characteristics are...I'd consider winding my own transformer (!) because I've more experience doing that than coming up with spare K$. If you find any data along those lines, I'd be interested to mull it over. But it sounds like you're pursuing a different type of lamp, maybe...I'd worry about 'nuking' your negative with that much energy. Murray ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers ___ Cameramakers mailing list [EMAIL PROTECTED] http://rmp.opusis.com/mailman/listinfo/cameramakers
[Cameramakers] Projects
Hi Everybody,,, I have just subscribed to your list ... I am in the processof building several photographic items... The things I hope to be buildingis a 8x10 camera with a 6 foot bellows, a light weight 20x24 camera with a48 inch bellows, and a 10,000 watt 11x14 Ultraviolet enlarger I willtry to read over your archive before I start asking stupid questions...I will post a few things that I have found to be interesting that I amconsidering incorporating in my projects... Two of the things that I amthinking of using in the cameras are found at :http://www.mcmaster.com/ You can access the items from this home page...Cross Block:Item #9268K85 (on page # 1066 Item #17) the item is a plastic or stainlesscross block... I thought this would make a great item to fasten the frontlens plate to create the front standard using a 1/2 rod to be usedfor rise and fall and front to back tilts.Rail with locking platforms:Item# 60585K41 rail and Item# 605K522 slide and hand brake... I thought this would make a good low cost optical rail with adjustablelocking platforms to mount the front and rear standards on... as well as thetripod mount I have never made a Large format camera so any suggestions , input orcriticisms would be appreciatedWeight will be a big factor... John
