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Sinar Norma Copy Stand

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Nokton48

Nokton48

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Norma Copy Setup 4x5 1to1 180 Componon by Nokton48, on Flickr

Sinar Norma Copy Stand/Overhead Still Life Table

Built with all original Sinar Norma parts. Had this for many years and never put it together until now. Presently set up for 4x5 1:1 with sweet Durst Componon 180mm f5.6 and Sinar Norma Shutter.

An old Broncolor C171 Monolight 375ws with old Broncolor Pulso Beauty Dish. Beautiful light for an overhead close-up type of shot. Will set something up soon.

Marine grade plywood base best grade makes the most solid copy stand I have ever had the pleasure to use. Rock solid.

My new copy stand is sitting on my FOBA DIMIL sweep table, I need to find some suitable plexiglass for it.
 
Norma #4 Copy Stand Finally Together by Nokton48, on Flickr

I finally have everything put together and this is what I want to leave set up in my studio. Norma #4 two Broncolor Impact 21 Monolights with 3M Polarizing Gels over each light. Sinar Shutter extra lenses I'm currently interested in using down below short term storage. Polarizing filter on the lens as well use the Norma Polarizer.

I think this will work out for me. It's about what I wanted.
 
Goran,

That is a Broncolor 606 Pulso Electric Flash Pack. It generates 6000 watt seconds into one 606 head, or as many as four heads at once (I have two packs and four heads including Broncolor Hazylight).

When it pops it is quite loud. 220V operation has long been wired in the studio. Larry at Broncolor Service was very patient and kind helping me getting this going back then.

Recently I just bought the little brother, the 404 which is 1500 watt seconds, looks about the same but smaller, 120V operation. And I have Broncolor Monolights of the same vintage that are working just fine. As well as the more modern Impacts (200WS and 400WS) I use the Impacts a lot in the past, as well as the Pulso monolights
 
It will give you a sunburn. I would not photograph a person up close, too painful. Many years ago my 10 year old son "popped" me while I looked into the hazy from a couple of feet away. Orange spotties for hours! That Devil! Sparkling red light big button can a magnet for kids...........

Hazylight modeling light is 1000W I have used that for still lifes ambient no flash just modeling. Such beautiful soft light!

15 to 20 feet f/90
 
Good decision about polarizing gels...did that in ancient times with Balcars on an animation stand with Sickles long roll camera in 35mm and 46mm formats. Needed 5cc M to compensate for the gels.
 
138S said:
It is impressive how flexible is the Sinar system... Mr Koch did a great job with the Normas.

Perhaps a Rodagon R or a process lens would be interesting for an specialized job also in the corners.
Click to expand...
No, the Rodagon D,formerly R, were for slide duplicating. For copy work an Apo Ronar would be best. If 3 dimensional work an Apo Macro Sironar would be best.
 
Bob S said:
No, the Rodagon D,formerly R, were for slide duplicating. For copy work an Apo Ronar would be best. If 3 dimensional work an Apo Macro Sironar would be best.
Click to expand...

Bob, the depicted situation is 1:1

Nokton48 said:
Setup 4x5 1to1 180 Componon by Nokton48, on Flickr
Click to expand...

So a Duplication 1x lens should work perfect like not many other. In particular the 120mm D f/5.6 is specified for 4x5 fom 0.5× to 3×

or the R 210 should be quite good... But I don't see why a D or R lens won't be totally suitable for 1:1

Of course the APO Ronar has to perform well, but if you see the graph the ronar is quite better at 1:20 than at 1:1.

At 1:20 (f/22) it delivers 70% MTF at 20cycles/mm , while at 1:1 it delivers only 40% MTF

SP32-20200814-151843.jpg

My view is that the APO Ronar is not as well optimized for 1:1 than the R or the D

Instead the D 75mm delivers 70% MTF at 1:1, it is not the graph of the 120mm but it shows he D nature at 1:1, second line from the top:

SP32-20200814-153339.jpg
 
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As wrong as you are you are entitled to your opinion. The 75 was designed for duplicating 35mm to 35mm.
 
Norma Rodenstock Apo-Ronar collection by Nokton48, on Flickr

Here is my complete collection of Norma Rodenstock Apo Ronars, I don't have a 1070mm F11 but I'm watching one that costs as much as a used car. Right now I'm shooting a bit with the 150mm F9 Apo-Ronar and I love how it renders on film. In fact I like it so much, that I bought a second one.

My 8x10 Norma Rear Standard even has adjustable metal pins, to make register-punched color separations. Like a rock solid ittsy process camera.
 
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Bob S said:
As wrong as you are you are entitled to your opinion. The 75 was designed for duplicating 35mm to 35mm.
Click to expand...

Bob, sorry if I was not clear, I was speaking about the 120mm which is specified for 4x5", I only posted the graph of the 75mm (as I explained) to show the D nature as I only had that graph.

But no doubt that you have first class information from having sold entire truckloads of those glasses, I'm aware.

Nokton48 said:
Here is my complete collection of Norma Rodenstock Apo Ronars, I don't have a 1070mm F11 but I'm watching one
Click to expand...

This is an impressive armored division. We can recall Wolf's work with the long ronars !

Let me point that there is an interesting article in the "Internationale Phototechnik" 8/1993.

In that issue it is described how to optimize the inter-cell spacing (Shimming the front cell) to get optimal results for distant shootings with the ronar and the claron:

Reported by Peter K:

"Focus the center of your ground-glass on fine structures in the distance like leafless trees or high grasses with a strong loupe at wide open aperture.

Shift the rear frame of your camera to the left and the front frame to the right up to the point you can see the structures get blurry.

Unscrew the front group of the lens circa 2 mm (1 line or 0.08 inch) from the shutter or barrel and look for the fine structures, twigs or leafs. Adjust the distance between the front group and the shutter up to the point the structures are as sharp as possible without any coma and blur. Refocus if necessary during the adjustment.

Place a steel or brass shim of the determined thickness between shutter and front group. If the thickness of the shim is the correct one there is no difference in image quality between the center and the edge of distant subjects. For close-up work remove the shim or place a much thinner one."

Those adjustments can be necessary for the corners, the center is always good even when shooting far with the inter-cell spacing optimized for close work.
 
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138S said:
Those adjustments can be necessary for the corners, the center is always good even when shooting far with the inter-cell spacing optimized for close work.
Click to expand...


Outstanding effort on your part. This is truly valuable information. Thnx.

Wolf's books are very inspiring. They are such a true photographic tour de force. Right now I am looking at "Villas of the Veneto" which covering Italian architectural world with Wolf's unique eye and skills.
 
Norma #4 Copy Stand Finally Together 2 by Nokton48, on Flickr

Further work on the Sinar Norma Copy Stand/Overhead Shooting Table. To speed up some copy jobs I will use 6x9 and 6x6 Sinar Norma 120 Film Backs. I have just finished adapting three each of the Graflex wind knobs to fit the Norma Rapid Adapter Back which interchanges with the 4x5 Back on the rear standard. A metal cable automates the sliding back (which has it's own shutter) with the Sinar Norma Shutter on the front standard.

Mechanism is as fast to operate as any reflex camera, once the cable tensions are adjusted. I've changed to the Schneider chrome 135mm Componon in chrome barrel, the image precisely fits the 6x9 format as set up here. Looks great through the camera, ready to shoot. The Sinar Norma Monocular Reflex Eyepiece is probably the Norma accessory that I found most hard to find over time. Last year, I finally got one.

A roll of Ilford FP4+ is loaded and ready to shoot. Looks like according to my Broncolor FM2 incident flash meter, about 100ws each f16 will do the job with full polarization. I'll bracket part of the test roll at 1/2 stops and I'm thinking of PMK+ Pyro for the development.

My new to me Broncolor 404 and three heads is in the left corner. 1600 ws
 
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Shades 45 degree High Contrast Pol Test 1 by Nokton48, on Flickr

This is a quick test of my new Sinar Norma Copy Stand. Plaubel Makiflex Automatic 9x9cm SLR with hacked Fuji GX680 180mm F3.2. 6x6cm Plaubel Makina film 120 back #4. High contrast polarized lighting. Two Broncolor Impact 21 200 watt second strobes, with polarizing gels adjusted fully. 103mm Sinar Norma glass polarizing disc under the lens, also fully adjusted. Strobes balanced with Broncolor FM2 Strobe Meter, balanced to F/32 1/2 both sides illuminating. The GX680 lens is one of my sharpest for sure. Foba 200 B&W 120 film exposed at EI 100. Developed in ADOX BORAX MQ straight replenished D76 type. This exposure was one pop at F8. Also made exposures at F11 and F5.6, but this is the ONE. 8x8 inch print on 8x10 Aristo #2 RC developed in Multigrade developer.

Maki Std Copy Test Shades 180mm F3.2 GX680 by Nokton48, on Flickr

This setup is good for photographing anything where you want this type of contrasty polarized lighting with 45 degree shadows. Like photographs and flat art.
 
Broncolor Balloon and FOBA Sweep Table by Nokton48, on Flickr

I have just upgraded my vertical shooting table in my studio. Three layers of heavy expensive plywood makes a rock stable base. Norma camera upgraded to 5x7, the Norma Reflex Viewer works with this, but dosen't cover the entire field and needs to be moved around. But still it works.

Broncolor Balloon Head fits their proline Pulso heads, I have diassembled it and converted it to fit my smaller Broncolor Imapact units. With only 50W modeling heat buildup is not too extreme. This head can handle up to 6400 watt second heads but heats up quick!

To the left I have re-assembled my FOBA Sweep Table, I've clamped cherry table tops to it for now and it's great. I'm going to have thick heavy glass custom cut so I can light from below and behind. This is listed in the very old FOBA catalog.

I enjoy restoring and building all of this. This is a big move forward
 
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Sure wish I had one or two of these Balloons when I was shooting 4x5 interiors for architect friends. They didn't exist back then.

This is one of it's primary uses, as an overall fill light. In fact I am going to use it 45 left of subject when shooting full length portraits.

And, I can use it for tabletop :smile: Here I have attached it by FOBA Combitube to the DIMIL Sweep Table next to the Overhead Shooting Table.

Happy Happy.
 
Sinar Norma 8x10 Overhead Reflex Rig by Nokton48, on Flickr

  • I've been using this area as a work table and catch-all. Today it is cleaned off and ready to start using for photography. My 8x10 Reflex Sinar Norma 165mm F8 Norma Super Angulon Norma Shutter Norma Copy Stand. FOBA Combitubes to the right. I put two pieces of wood together makes a super steady base. Camera is solid and I Norma 5x7 and Norma 4x5 Reducing backs for this camera. An ideal basis for an overhead retro shooting table. I can even attach the camera upside down to a ceiling rafter for really wide shooting. This is going to be fun. FOBA DIMIL sweep table to the far left, I need to get some thick flexible white plex then I can underlight with it
18134483@N04_m.jpg
 
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I love spending hours in my studio. So much fun. I picked, my first, Sinar. A P2 in really nice condition late last year. I have used a lot of view cameras, as a decidedly amateur fellow, the P2 is quite amazing.

On the copy stand is that a pan tilt head attached to the stand? I was able to find a nice Sinar pan tilt head, that MAKES the camera complete.

All your lenses, so beautiful, an amazing accumulation. Keep posting pictures :smile:

Best Regards Mike
 
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