Plaubel Makiflex Standard.

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Nokton48

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Trask,

It's much easier for me to load the wooden spools especially with Plaubel Makina film backs. I'm tired of losing important rolls due to improper back loading. And I've loaded thousands and thousands of rolls in modern cameras without incident, often under extreme stress and time constraints. Never used to think about it. I do think the older spools make a big difference in the older cameras and film backs. I've even resorted to carefully taping the leader to the spool when using modern spools in the Makina backs, which works most of the time.

Yes I buy the wooden ones on Ebay, I try not to pay too much, and don't want ones with any surface rust. Maybe for you buy one and try it with your cameras and see if it helps you with more positive reloading. Then look for them in quantity.
 
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Nokton48

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Fuji 180mm F3.2 Portrait by Nokton48, on Flickr

Here is an example (from the internet) of what can be achieved with the Fuji GX680 F3.2. I have adapted this lens to Makiflex, but have not had time to get to know it well. You can see how clinically sharp it is for portraiture. Imagine using this lens to create a 9x9cm image on 4x5" or 9x12cm film. 50% more real estate than shooting 6x6 squares. An upcoming personal project.

Geoff Berliner shoots 9x9cm portraits with his Makiflexes. Seems like a natural thing to do with them.
 
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Nokton48

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Found this on the internet. Geoff with one of his Makiflexes. He tells me he shoots 4x5 film in his Makis, which yields 9x9cm negative. Huge jump in fidelity from 6x6cm.
Geoff with Makiflex by Nokton48, on Flickr
 
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Nokton48

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RADA 9x12 holders Makiflex 9x12 Back by Nokton48, on Flickr


Here I am getting my 9x12cm plate stuff together. On the right, a Plaubel Makiflex Plate Back I bought on German Ebay. On the left, a RADA Normalfalz 9x12cm Plate Holder. Normalfalz in German translates to "Standard Folding". RADA made over a dozen different styles of 9x12 Plate Holders. It took a while to sort it all out.

I have fifteen of these RADA holders, and the "Kodak 9x12 Film Sheath" is an accessory to use the holders with modern sheet film. I have plenty of those also. So I can shoot glass plates or modern 9x12 sheet film.

Jason has shipped my 9x12 glass dry plates.
 
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Nokton48

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Hi Goran,

Jason Lane pointed me to an archival glass negative storage box, and four flap glass plate storage sleeves, here:

https://www.gaylord.com/Photo,-Print-&-Art/Gaylord-Archival®-Tan-Barrier-Board-Glass-Negative-Storage-System/p/HYB02400

I have ordered a 4x5 storage box and 50 storage sleeves.

I have wanted to try shooting dry plates since I was a twelve year old boy discovering the wonders of photography.
Makiflex is a good platform for this project. And so is Super Cinephor F2 lens

1/125 at F2 in full bright sunlight ASA 2. Fastest Speed on Makiflex Standard.
 
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It's all good fun and avoids boredom.
 
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From an article in Photo District News:

It’s common for some photographers to hold on to one or two pieces of prized gear, but Berliner, who serves as executive director of the Penumbra Foundation, has what can only be described as a treasure trove: a collection of approximately 1,500 lenses dating back to the 1840s in every formula and format. “I also have cameras in every format from half frame to 20×24 inches.” (And you thought you had gear acquisition syndrome!)

Berliner is no mere acquirer. He modifies and shoots the gear too. “I like to modify cameras so they suit my needs and aging eyes,” he says. Asked to identify a few favorites, he singles out the Plaubel Makiflex. “I like the square format, Rolleiflex, Hasselblad, etc., but I like a larger negative. So, I found this camera which makes a 9×9 cm square negative on 4×5 film. It also takes medium-format120 roll film backs but that defeats the purpose. The camera is mounted with the 4×5 sheet film back, [which is] rare to find.”

Berliner modified the Makiflex by attaching an adjustable lens clamp, enabling him to swap out lenses. “This camera has a focal plane shutter so barrel lenses without shutters can be used. The lens mounted is a Dallmeyer 1B Long Petzval Portrait lens, circa 1870s. I also modified an Arca Swiss chimney finder to replace the waist level finder, which is much easier to use.”
 
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Examining sacrificial J Lane Dry Plate 6.5x9cm by Nokton48, on Flickr

OK Here we go. Opened the box under a Paterson safelight. Jason beautifully packages these plates, interleaved with paper, and four strips of spun fibre strips inside on all sides, as a cushion. So far, so good. Tried to load a Plaubel Makina Plate Holder under the safelight, it wasn't going well, so I sacrificed one plate as a "Dummy" to practice loading in the light. As you can see, very smoothly coated and perfect.

Learning to load J Lane Dry plate into Plaubel Makina Plate Holder. by Nokton48, on Flickr

The Plaubel Makina Plate Holder has an clamping mechanism which tighten the film septum down inside the plate holder. Now after playing in the light I will simply slide the top edge of the glass under the ridge at the top of the holder. I will store and transport the loaded holders oriented dark slide down, so the plates don't slide loose inside the holder. Next order I will ask for a slightly larger size plate, but these are usuable as is. Who would know?

So now I know how to load 6.5x9 Makina holders. I've worked some with these holders using regular sheet film. Now I am ready to load some test glass plates. If I'm lucky I'll get out today to test shoot. It's a cloudless day. We will see.
 
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RADA 6.5x9cm fits J Lane plates like a glove by Nokton48, on Flickr

It's lovely today for early December in Ohio (58F and full sun). So I bagged up my Makiflex Standard and three lenses, grabbed a tripod (it's very windy!) and found a strong fully lit test subject. Ended up using the 360 Tele-Arton, and exposed 120 6.5x9 Ilford Fp4+, 120 6.5x9 Foma Retro Soft 320, and three 6.5x9cm J lane Dry glass plates. When I find a strong subject, I often shoot the same scene with different kinds of film. I think of this as a form of "bracketing". And I end up with a choice of different negatives. And because I'm using a tripod this is easy to do.

Years ago a good friend who collects all sorts of cameras, gave me a large box of 6.5x9 and 9x12 plate holders. It turns out that these 6.5x9cm RADA holders fit the J Lane plates like a glove, and have a superior spring loaded flap that ensures there is no way the plate will move around. So I will use RADA holders with these smaller glass plates. All I have to do, is re-do the light traps on about twelve of the RADA holders. Luckily I still have a large sheet of mohair left available. This will be a good winter project. The Makina holders I will use with regular modern sheet film.

Test exposures for the J Lane plates (ASA 2!) were made at f16, 2 sec, 4 sec, an 8 sec. I've read reciprocity characteristics are very good. The toe is extremely long. It will be interesting to see how this responds. I will use either HC110, or PMK+. Have yet to decide.
 
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gorbas said:
When I worked in portrait studio in mid ‘90 my boss bought GX680. 210mm lens was absolutely brutal for portraits. Unpleasantly sharp comparing with Mamiya Rb’s 180mm and Sonnar 150mm from Hasselblad
Click to expand...

Hi Goran,

I guess it is that acuteness that is attractive to me in some instances. It's like observing through a magnifying glass. Of course it is not always flattering to the subject


4x5 Glass Plate Negative Sleeves and Storage Box by Nokton48, on Flickr

Gaylord 4x5" Archival Glass Plate Negative Storage Box, and fifty 4x5 Four Flap Archival Glass Negative Sleeves.

Good System. This is how I am going to store my developed dry plates.
 
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Nokton48

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Schneider Tele Xenar 180 f5.5 barrel by Nokton48, on Flickr

My newest lens. Schneider 180mm f5.5 Tele Xenar, in a barrel. Looks like it will take a regular screw in flange. This is the first one of these I have ever seen at all, and I have been looking hard for over ten years. Usually these are in shutters, but I wanted one in barrel mount.

Quite a find. Looks like it will clean up nicely. Needs a flange.


My new Petzval lens! by Nokton48, on Flickr

My new Petzval Lens! Will try it on my Makiflexes and 4x5 Sinar Normas. Hopefully a smart purchase. Will be here Dec 24th from the UK. Looks like about the right size for my needs. Also needs a flange and replacement screw. (and a very deep cleaning).
 
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gorbas

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Ha, Ha Dan! It's funny how we are sometimes in synch. In september I got the same (maybe a bit older #) Tele Xenar 5.5/180mm from the friend in Belgrade. This one has focusing helicoid and nice gash on the center of the rear element. It had 40.5mm mounting screw on the back. I had to clean and lubricate focus, it was completely frozen. No idea for what camera it was originally made? Most likely Robot? I was able to mount it on M42 ring and then on the Nikon.
Nothing much to write home about with 24x36mm format. Maybe larger negative can show something interesting from the edges of it?
 

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Nokton48

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Super Cinephors with Makiflex Standard by Nokton48, on Flickr

Look what arrived this afternoon. After five minutes in fading sunlight outside, I can see this bigger Cinephor fits the bill. On the Makiflex it will focus out to about twelve or bit further feet feet out, so incredibly useful to me. The shorter Cinephor works only for extreme close ups on the Makis (about 18"x18" or so). The bokeh is gorgeous, the DOF thin as a sheet of paper. Absolutely love the "look" of it!

Hefting these babies is like working with barbells in a gym.
 
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New Petzval Lens on Std Makiflex by Nokton48, on Flickr

OK It's here! Viewing through it, I absolutely love it! Surprisingly sharp on the glass.
Shown on Makiflex Standard Body, lens focused on infinity target.
I am so glad I took a chance on getting this one. From an antique shoppe in the UK.

Later today, I removed the glass elements, nothing is marked anywhere. The central stop looks like it's much later to me, and rather homemade. Made of silver metal and coated with candle soot. I removed that rather easily from inside the barrel, and now I should have an F3.0 or F3.5 lens. Without the central stop, the lens is sharp in the center, and rather swirly at the edges as I have seen in so many Petzval examples.

Now I need to find a proper flange and clean it a bit more. I am super pleased.
 
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159mm Super Cinephor Making Lensboard by Nokton48, on Flickr


Here I am making a lens board for my 159mm F2 B&L Super Cinephor. This will involve a fair amount of metal cutting. I will use my electric scroll saw to cut the hole, and then use a fine metal file for the final hole shaping. This will take some time to do properly. Then I will re-do the foam light seals on the lensboard. Finally then I will epoxy (I use JB Weld) to glue the lens to the board. Overall a time consuming but necessary photo project.

There simply isn't room inside the Makiflex Standard body to fit a recessed board. The rear cell on this Monster -just- fits inside the camera throat as it is. It's a very tight squeeze. I might be able to shave 5mm off the rear lip of the lens, that would get me closer to the film plane and extend max shooting distance. We will see as this progresses.

I know of another Guy who ran into these lens size issues with the Super Cinephor, and he went the same route as I have described. He is using Sinar F+ and Sinar shutter but the lens mounting issues are the same.
 
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