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My intent is to stay cool enough to avoid any physical damage to the gear and film, I just wasn't sure if the high temps would cause any chemical changes that would not be obvious (I know it's too hot if the emulsion bubbles or the plastic melts, but is that all I have to worry about - physical...

Does anyone have any practical experience on the high temperature limitation of films? I have the opportunity to reach many hundreds of degrees and was wondering at what point the heat will have an effect - I would imagine there's a range of possible effects depending on the temperature. This is...

I took a look and couldn't find the supplier. Basically I just a google search for the pin connections I was looking for and waded through a few online catalogs. You should be able to find something that fits.

I prefer working with a view camera on static subjects even when movements are not required because I find it easier to compose and light on the larger ground glass. For me it makes it easier to avoid any little surprises. I still shoot a lot of MF for convenience, but it always feels like a...

I don't have any info on the cable release but I was able to rewire the shutter/lens cabling using parts I got and assembled from an online supplier. I don't have their info in front of me but will try to remember to look it up later for you.

Handheld 4x5 can be a lot of fun. This past weekend I shot 78 sheets of 4x5 in an hour using both a Crown Graphic and Graflex RB handheld. I had a C330 around my neck but never got a chance to use it. Exposing film is the easy part, developing it all is a killer.

That's unfortunate. I have work in the collection, I wondered what would happen to it when things went bad.

I meter at 25 and let sit for a solid minute just for kicks. It's somewhat temperature dependent and I prefer being safe to sorry.

I do a good amount of handheld 4x5 in available low-light conditions. In addition to pushing film there are two options I can recommend. One option is a faster lens. Focus gets tricky, but if you know your distances and practice you'll get the hang of it. The second option is to brace either...

I use a C330 one-handed all the time. I've got a 135mm, an 80mm, and a 55mm. Haven't run into those issues yet. Being able to swap lenses can be a real plus sometimes. Add "have a beard" to the list, making me three-for-three.

It's been one of the most enjoyable threads in a long time. http://www.largeformatphotography.info/forum/showthread.php?t=35097

Number of films depends on dilution. Typically 1:25, 1:50, or 1:100. Once opened it will last longer than you might ever imagine. There are tales of many decades, just strain out the chunky crystals that form. At something like $16 a bottle it's a small investment.

Rodinal is beautiful, forgiving, and inexpensive. What's not to love?

The notion of taking the ordinary, the obvious, and attempting to turn it into something more has been the impetus of my photographic drive from the start. When faced with something of natural "normal" beauty I find myself at a stammering loss, not only because I do not know what to do but...

Looks like they pulled the leather off some spots and painted the metal, it's kind of hard to tell in the photo but the focus knobs are a clue (the two visible holes) and the shininess of the surfaces. Mine, the one in link the 6th message above, has had the leather replaced. I did it myself as...

I think they're relatively new. At least the local store first started carrying them a year or so ago. They're not cheap, but they're very useful and last a long time.

I get them in the grocery story in the tupperware/Ziploc section. They've got some that are large enough to easily hold a couple of small children. We use them to store bunches of whole salmon, not small children, in the deep freeze.

That's nothing a little duct tape and bailing wire won't cure. I have a lot of three-ring binders, myself. They're not the greatest solution, but they're economical. There are various grades of clasps, some are more suited to the heavy weight of stuffed negative sleeves and are priced...

Not videos, but the text that accompanies In The American West has a lot of interesting information. Granted those photos were with an 8x10", but any excuse to look through that book again and again is its own reward.

I do a lot of work that involves going from dark interiors to bright daylight in a fast-paced environment. I had been using a TLR and it worked well, but I decided I wanted the flexibility of removable backs and lots of lenses. One back for inside film, one for outside, another for color, wide...

I print out gridlines on transparency material (for overhead projectors). I use double-lines on all four sides. This accomplishes a few things for me such as proper leveling when handheld and aid in composing if I know I'm going to have to crop for a print. I'm thinking about printing a new one...

There are only so many possibilities. You're going to have to eliminate variables until you find the right one(s). Time won't change anything unless something changes during that time. I have seen a lot of strange things happen while waiting for long exposures, but so far none of them have been...

Last week my daughter and I chartered a fishing boat in Ft. Lauderdale. The Mate asked if my C330 was a Hasselblad, I explained what it was, and he said his dad owned one (a Hassy, not a Mammy). That was kind of funny. Got some nice photos during a huge storm. The fishing was great, my...

The film plane should be at the same distance as the ground glass, shouldn't it? I don't have these problems you describe when going to 12:1 and beyond on 4x5". I have found that loading the film holder into the back while it is still attached to the camera can cause a shift in focus because of...

I use binders by subject/date for the negatives themselves and then software to help me keep track of everything. iView MediaPro works well for me. I scan all of my material and loosely organize it by collections such as people, places, things, etc. There are lots of ways to enter information...

Oddly enough this ("trichromie") just had a bit of a lively discussion over on LFPhotographyInfo: http://www.largeformatphotography.info/forum/showthread.php?t=48583 Lots of good advice if you're looking to give it a try yourself.

I use a small pedestal made out of old tobacco tins. I slide it around and twist it until everything looks right. It's cheap, easy, and works well. There were other solutions but I didn't want to overly complicate things.

Got it again while riding around with a Crown Graphic and a pimped-out RB67. They were referring to the Graphic. The "boxy one." "Oh this, (holding up the RB), yeah it's pretty similar, they're both-" "No, the other one that opens up." Hmm.

Thanks, David!

I use two tripods, one attached to the lens area and one to the back. It's simple matter of putting the lens-end were you want it and then moving the back around. I use this method on my large format monorail systems as well as my MF Fuji GX680 as it has detachable rails. Go to my Angels &...