Also, with a film like Rollei IR400, do I not need to worry about the bellows as much as say, HIE?
When exposing IR film, increase the total extension by one quarter of one percent of the total distance from the ground glass to the nodal point of the lens in use.
That is what I used for many boxes of infra-red sensitive film over a good number of years.
Ken
I've just finished a 4 week infrared shoot on 4x5 in the Australian high country and looking at the just developed negatives everything looks sharp. Caveats:
I used Efke IR820 4x5 film in a Tachihara 45GF camera. Lenses used were a 75mm Schneider Super Angulon (mainly) and a Nikkor-W 210mm. The filter used was a 77mm IR680 ($20!) from China via Ebay. Lens apertures were f22 (usually) or smaller. If there is an infrared focus shift it is totally masked by the generous depth of focus/depth of field of a well stopped-down lens.
Incidentally I used the Efke IR820 + IR680 filter combination at an E.I.= 0.5 on my Sekonic L-758D spotmeter. E.I. = 0.25 would have been better. I'm not after "conventional" rendition with these negatives. I want them to SCREAM infrared so development was 4 minutes at 90 Farenheit in straight Dektol. Philosophically speaking infrared film is a visual lottery. If it is exposed enough and developed enough something wonderful/weird will emerge.
Hi Maris,
But I have a much bigger problem to deal with, the bellows on my soon to be delivered Chamonix are not IR safe. I am looking to make a flexible wrap out of designed for NASA IR Blocker mylar material...or a cheap Mylar emergency blanket if it works...
Might I suggest taking some aluminum (aluminium) foil along. When you are all 'set to go' insert the film holder and cover the bellows with the metal foil...
remove the darkslide... make the exposure.... re-insert darkslide (the other way around...) remove fiilm holder... remove metal foil...
Repeat as required.
Ken
I understand where you are coming from in suggesting foil but in my experience it is no where near as effective as mylar in creating long term problem solving. I would only use foil in a pinch, not as professional solution.
I am amused by your reactions to the Chamonix bellows and IR.
1.) He is at fault for not putting on his website a fact that affect 0.00134% of all photos taken by users of his cameras.
2.) The number of professionals who use IR film is pretty small. So any solution would be just that, a solution. In photography school we didn't have a class for "Professional Solutions to weird problems".
3.) If this is an issue you can't live with, either return the camera or get one of the fine bellows makers to make you a suitable solution bellows.
4.) If you were truly professional, you would have done your homework.
Good luck.
tim in san jose
Vinny, I have read that about the bellows when compressed with a wide, I'll be on the lookout for it with the 90 & 65 for sure. I get the camera either today or tomorrow by the looks of tracking...[/QUOT
What I was speaking of wasn't the issue with the bellows covering a portion of the rear element but of the bellows covering the projected image on the film plane. It even happens with my 210mm if I use maximum rise with drop bed movements. Saying that, this IS a field camera not a studio camera and those movements are rarely needed.
What I was speaking of wasn't the issue with the bellows covering a portion of the rear element but of the bellows covering the projected image on the film plane. It even happens with my 210mm if I use maximum rise with drop bed movements. Saying that, this IS a field camera not a studio camera and those movements are rarely needed.
Rollei and Efke IR films do not stretch far into the IR like Kodak IR did, so I wouldn't worry about focus compensation. I use Efke IR and don't bother compensating, even shooting at f/11 with opaque IR filter #87.
First off, I am not your bud.
Second, I am an engineer, a professional who is trained to figure out the x's and y's of everything possible before committing to a solution. And it's not my money you dumped into a piece of equipment that doesn't work for what you bought it for.
That said, I don't mess with infrared, never liked it in the first place when I did. But since you do, good luck with whatever your solution.
tim in san jose
You are an engineer, you are trained to sit in front of a computer, I am a photographer, I am trained to be out shooting and use photographic process, that is where we differ.
Also, I do a variety of searches before I conclude that I will buy something. But invariably, if we are actual photographers who are not at the computer a lot, we do find out some things a bit later than others and then more decisions have to be made as to either change products we have chosen or find a solution. In this case, by posting this thread that is not covered in this manner on this site in any historical thread I can find, the homework you think I am not doing is actually getting done.
I will post my solution here, most likely a combo of commando cloth, aluminum foil and or multi-layer mylar. That along with everyone else's posts will help to further educate and guide others who may do a search like I did.....in polite request, your posts could be more helpful to the discussion...
I am amused by your reactions to the Chamonix bellows and IR.
1.) He is at fault for not putting on his website a fact that affect 0.00134% of all photos taken by users of his cameras.
2.) The number of professionals who use IR film is pretty small. So any solution would be just that, a solution. In photography school we didn't have a class for "Professional Solutions to weird problems".
3.) If this is an issue you can't live with, either return the camera or get one of the fine bellows makers to make you a suitable solution bellows.
4.) If you were truly professional, you would have done your homework.
Good luck.
tim in san jose
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