Today I was thrown into LF

Kirks518 · Jun 20, 2015

Long story short; I was given this (photo below) with a bunch of other stuff by my local mom & pop film lab. They were offered a sizable sum for the building and property that they ran the shop out of, and were able to sell the business end separately, and are closing shop. They called me up, knowing that I suffer from chronic GAS, and gave me some stuff they weren't going to use.

Now, I've wanted to try LF, and even bought two Graflex's that ended up being garbage. I have 4x5 film holders, and even an old box of film that may or may not be any good. So now I can at least try.

All I know is it's a Calumet 4x5, I believe a CC401, but I'm not sure. Lens is a Caltar II N 150mm f/5.6 on a Copal 0 shutter. Lens is clean (nearly spotless), and the shutter sounds good at all speeds. Bellows looks great, but I haven't light-tested it yet, but I expect it to be fine.

So now for the questions, as I have no experience with large format whatsoever.

When loading the film into the holder (I'll be using a dark bag), how do you know which side of the dark slide is which? ie, the silver side vs the black side? I can see myself mixing them up in the bag, but I figure there must be a trick to it.

Are there exposure compensations that must be made depending on the amount the bellows is extended?

I will be sending the film out to be developed. Do I send the film holders with the film in them? There is a 2% chance I'll develop my own in the future ( I do MF and 35mm now), but in the meantime, they'll go to a lab somewhere.

How do you check a film holder for light-tightness?

The tripod mount seems to be missing a quick-release type plate (or some type of plate). What is the proper name for what I need, and how easily can one be had?

Any other advice would be appreciated.

shutterfinger · Jun 20, 2015

When loading the film into the holder (I'll be using a dark bag), how do you know which side of the dark slide is which? ie, the silver side vs the black side? I can see myself mixing them up in the bag, but I figure there must be a trick to it.

Depending on the age of the holder one side is black and smooth, the other side is silver or white with raised bumps. Read the top of the darkslide in total darkness like braille text.

Are there exposure compensations that must be made depending on the amount the bellows is extended?

From infinity to the lens close focus distance there is no need for exposure compensation as it would be less than 1/3 stop. The close focus distance is usually achieved within 1 1/4 inch of extension from infinity. The close focus distance for a 150mm lens is around 8 feet, a 135mm lens is 6 feet, a 90mm lens is 3 feet, a 210mm is 10-15 feet.

I will be sending the film out to be developed. Do I send the film holders with the film in them? There is a 2% chance I'll develop my own in the future ( I do MF and 35mm now), but in the meantime, they'll go to a lab somewhere.

Get some dark bags, http://www.bhphotovideo.com/c/search?N=10015808&InitialSearch=yes&sts=pi , to put your film in and ask for them back. There use to be various sizes available. The bag the film comes in can be used also.

The tripod mount seems to be missing a quick-release type plate (or some type of plate). What is the proper name for what I need, and how easily can one be had?

The base of the camera's tripod mount should be flat with a 1/4-20 or 3/8-16 threaded socket in it. Quick release plate and similar is a function of and specific to the tripod head you are using.

How do you check a film holder for light-tightness?

Insert the empty film holder into the camera and pull the darkslide. In total darkness shine a bright light into the darkslide slot while looking at the inside of the camera. You should not see any light coming through the slot. Check the film holder for rigidity at the film plate to holder top, any play should be suspect. If more than the sharp tip of a razor blade will fit into a gap between the film plate and holder it will probably leak light.

Sheet film uses notch codes to identify it. When the notch code is at the top right the emulsion side is up.
Nice looking camera.

Kirks518 · Jun 20, 2015

Thanks for all that!

Those bags make sense.

The base of the camera's tripod mount should be flat with a 1/4-20 or 3/8-16 threaded socket in it. Quick release plate and similar is a function of and specific to the tripod head you are using.

I was expecting it to be flat, but here's what the bottom of the base looks like:

The receiving threads are recessed, and none of my QR plates fit... :-(

shutterfinger · Jun 20, 2015

Your QR plates need a longer screw. The screw length required varies by camera and age. The camera may be too heavy for your head and quick release plates. Standard flat surface heads should fit, I'm sure my Gitzo ball head and low profile head screws will reach. Check the weight limit of the head before attaching the camera.
Very similar to what you have: http://www.cameramanuals.org/prof_pdf/calumet_4x5.pdf
Freestyle Photographic has some mailers with black plastic bag in their darkroom accessories section that may be useful.

winger · Jun 20, 2015

When loading the film into the holder (I'll be using a dark bag), how do you know which side of the dark slide is which? ie, the silver side vs the black side? I can see myself mixing them up in the bag, but I figure there must be a trick to it.

When I'm going to load holders, I get all the empty ones stacked up with the silver/white side facing out (I clean them first, too). To load them, I don't pull the darkslides all the way out, just a little past halfway. Practice with dummy sheets first. If you PM me your address, I might be able to find a couple and an empty box.

If you need empty boxes to send film in, ask around on here or the largeformatphotography.info forum (there's a bunch of pages with good info on their main page, too). Once you've shot a little, you'll start accruing boxes.

Good luck! It's a fun rabbit hole.

pbromaghin · Jun 20, 2015

YouTube is your friend. There are several good videos about loading film, etc. They really helped me. Also, I think APUG's Jason Brunner has one that is highly regarded but I haven't come across it.

Alan Gales · Jun 20, 2015

Do yourself a favor and buy a minimum of 5 film holders. That way you can load a full box of ten negatives. After you expose your negatives you can reload them into the empty box to take to the lab.

You can buy used 4x5 film holders in great condition, cheap on Ebay.

Also label your film holders on both sides and take notes of your exposures in a small notebook. If you get a leaky holder you will know which one and which side it is. With large format sh*t happens (usually a human error) but it is well worth any trouble. Enjoy!

http://www.largeformatphotography.info/loading.html

http://www.largeformatphotography.info/

Kirks518 · Jun 20, 2015

pbromaghin - I found a few that were helpful last night, but I'll be watching more.

Alan - When I thought I was going to be getting into LF when I bought the Graflex's, I also bought 5 or 7 holders from a member here. They are not the wooden ones, and it was reputable member, so I expect them to be fine, but time will tell.

Alan Gales · Jun 20, 2015

Kirks518;1953755820 Alan - When I thought I was going to be getting into LF when I bought the Graflex's said:
You will want to label them anyway.

I didn't mention this since you are just getting started but one of the advantages of using cut sheet film is that you can customize your development times for each sheet of film if you wish. To do this you of course you need to later know what is on a sheet and how you exposed it.

Sirius Glass · Jun 20, 2015

The standard seems to be have the silver side of the darkslide out for the unused film and the black side [with the bumps] out for exposed ==> meaning open in the darkroom. However not everyone follows that pattern.

Load the film with the notches on the top right and the emulsion will be towards you.

If you thought that you had GAS before, you have not begun to see how great the GAS pressure can be.

paul_c5x4 · Jun 20, 2015

I have a bunch of ¼x½" labels that I scribble exposure info on to match up with notes in a pocket book - The label gets stuck to the film holder when I'm done with the shot. This also acts as a reminder that the sheet has been exposed just in case I forget to flip the darkslide.

Postit notes would work just as well most of the time.

Kirks518 · Jun 20, 2015

paul_c5x4 said:
I have a bunch of ¼x½" labels that I scribble exposure info on to match up with notes in a pocket book - The label gets stuck to the film holder when I'm done with the shot. This also acts as a reminder that the sheet has been exposed just in case I forget to flip the darkslide.

Postit notes would work just as well most of the time.

That's a great idea!

On a side-note, I decided for the first few shots I'll try the Taco method to develop in my Paterson tank. With any luck, I'll be good to go.

GKC · Jun 21, 2015

Get a copy of Steve Simmons Using The View Camera.

Alan Gales · Jun 21, 2015

GKC said:
Get a copy of Steve Simmons Using The View Camera.

+1

PinRegistered · Jul 7, 2015

Dear OP, how's it going? I too was a recipient of a LF setup. Wista 4x5 field camera. Since you have soup for your other film formats, I think it would be easy for you to manage a daylight tank for 4x5.

Sent from my SM-G900V using Tapatalk

Rick A · Jul 7, 2015

http://www.cameramanuals.org/prof_pdf/calumet_4x5.pdf
http://www.largeformatphotography.info/

Sirius Glass · Jul 7, 2015

PinRegistered said:
Dear OP, how's it going? I too was a recipient of a LF setup. Wista 4x5 field camera. Since you have soup for your other film formats, I think it would be easy for you to manage a daylight tank for 4x5.

Sent from my SM-G900V using Tapatalk

Soup is messy, sticky and after a while smells. Stick to photographic chemicals such as developer, stop bath, hypo and PhotoFlo, but avoid soup at any cost.

Welcome to APUG and stay away from soup kitchens.

Kirks518 · Jul 8, 2015

PinRegistered said:
Dear OP, how's it going? I too was a recipient of a LF setup. Wista 4x5 field camera. Since you have soup for your other film formats, I think it would be easy for you to manage a daylight tank for 4x5.

Sent from my SM-G900V using Tapatalk

The first set I did 'Taco style' in my Paterson. turned out great.

Then I picked up an F-R Cut Sheet Film Daylight Developing Tank at a local place that is selling off a closed camera store's inventory. The thing used 1600ml to do 6 sheets. That's Insane. It also can't be inverted, so agitation is done flat on the table with a front-to-back motion. It makes a mess. Between the 1600ml required for developing, and the mess, I won't be using it again.

I'm sticking with the Taco Method for developing.

Kirks518 · Jul 8, 2015

Rick A said:
http://www.cameramanuals.org/prof_pdf/calumet_4x5.pdf
http://www.largeformatphotography.info/

Thanks! the manual is actually the manual. I had only been able to find a sales brochure.

And for LFP, yup, lots and lots of info. Another great forum.

grahamp · Jul 8, 2015

There is also this approach if you want to use smaller solution volumes and are prepared to process single sheets.

http://grahampatterson.home.comcast.net/~grahampatterson/grahamp/develop.html

But if the 'taco' method works for you, stick with it. There is no point in investing in more kit in the early stages.

Sirius Glass · Jul 8, 2015

grahamp said:
There is also this approach if you want to use smaller solution volumes and are prepared to process single sheets.

http://grahampatterson.home.comcast.net/~grahampatterson/grahamp/develop.html

But if the 'taco' method works for you, stick with it. There is no point in investing in more kit in the early stages.

Yes, you can pause, take a deep breathe and then get into P*A*N*I*C GAS attacks.

Today I was thrown into LF

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