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Author Topic: The "What did you buy today (or recently)?" Thread Kenneth Wuepper Phenomenal Film Handler Posts: 1026 From: Saginaw, MI, USA Registered: Feb 2002 posted 10-18-2011 07:45 AM                     Purchased the DVD of a documentary 1920 silent film tour. The documentary shows the construction of a Wurlitzer theatre pipe organ. The sound track is recorded on a Wurlitzer pipe organ. Very interesting as the company produced one complete pipe organ each day during this period of their history. KEN  |  IP: Logged Sam Graham AKA: "The Evil Sam Graham". Wackiness ensues. Posts: 1431 From: Waukee, IA Registered: Dec 2004 posted 10-18-2011 10:16 PM                        I have a set of the InstaJacks, which I use to plug my DTV receiver to a phone line. They're about 15 years old now and still work. They've outlasted about a half dozen DTV receivers. Now you've got me curious about using the Ethernet version for the same purpose.  |  IP: Logged Ian Parfrey Phenomenal Film Handler Posts: 1049 From: Imbil Australia 26 deg 27' 42.66" S 152 deg 42' 23.40" E Registered: Feb 2009 posted 11-14-2011 03:55 AM                     Attention azimuth and scanning errors! Your arse is grass and me and my (pre-loved) Tektronix TAS 455 CRO are the lawnmower. Can't wait to poke my probe in a certain audio processor that is in need of a sever telling off. So, we meet again Dr Jones.  |  IP: Logged Tom Petrov Five Guys Lover Posts: 1121 From: El Paso, TX Registered: Jan 2003 posted 12-28-2011 11:08 PM                    What a find! I picked up the vinyl soundtrack to the Accidental Tourist for a $1.11. One of the best films of the 80s and a great John Williams score.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 01-30-2012 07:46 PM                     # 73 note String { Hall } # 61 note Vox Humana { Moller } # 85 note Tibia { Artcraft } # # 3 rank combined windchest for 4' # 3 rank combined offset for 8' octave of each rank # # Windchests from Newport Organ { LA }, probably built in the late 70's. # Includes windchest legs. The beast is growing  |  IP: Logged Taylor Wiemann Film Handler Posts: 4 From: Murfreesboro, TN, USA Registered: Jan 2012 posted 02-02-2012 09:22 PM                       i recently got a Blu Ray player. I got JUSTIFIED SEASON 2. If you havent seen that show, I recommend it. Tuesdays at 9pm Central on FX network. its on the 3rd season so its never too late to catch up.  |  IP: Logged Randy Stankey Film God Posts: 6539 From: Erie, Pennsylvania Registered: Jun 99 posted 02-03-2012 01:56 AM                     Just got a Cambo 4x5 monorail view camera. Includes a 120mm lens, 5 film holders, an extension rail, a type 545 Polaroid back, half a box of Polaroid type 55 film and a case. It will fit nicely on top of my original Marchoni Bros. "Tiltall" tripod. That's the one with the brass bushings on the leg extension collars, not the Leitz version that just has the threads tapped into the aluminum legs. I will have to change the camera mounting stud from the standard 1/4-20 screw to a 3/8-16 because the camera has the larger thread. If I work carefully and keep the original stud, I should be able to restore things back to original configuration and nobody would ever know that it's been modified. Now, all I have to do is send my order for a box of sheet film into B&H and I should be all set. I can't wait for the weather to clear up so I can take it outside and shoot with it.  |  IP: Logged Joe Redifer You need a beating today Posts: 12859 From: Denver, Colorado Registered: May 99 posted 02-03-2012 10:50 AM                        Why is it based on accordion technology?  |  IP: Logged Randy Stankey Film God Posts: 6539 From: Erie, Pennsylvania Registered: Jun 99 posted 02-03-2012 06:52 PM                     That's what keeps the dark from leaking out. You focus it by moving the front lens board in and out to bring the focal plane of the lens into line with the film. The neat thing is that you don't have to have the lens board parallel with the film. That allows you to "warp" the image to compensate for perspective problems in the scene. It's like "keystoning" in a movie projector only, in a view camera, you can tilt the lens board and the film holder to cancel out the keystone effect. You can also use Sheimpfleug's Principle to precisely control the plane of sharp focus and depth of field in the final image. Unlike a 35mm camera or a digicam, the plane of sharp focus doesn't have to be parallel and perpendicular to the film plane. Sheimpfleug's Principle is the mathematical formula that describes the zone of focus in relation to position of the lens plane, the film plane and the object being photographed.  |  IP: Logged Joe Redifer You need a beating today Posts: 12859 From: Denver, Colorado Registered: May 99 posted 02-03-2012 09:41 PM                        Even if it compensated for perspective, it could not compensate for distance. Things further away would still be smaller. For example, you straighten out the perspective of a tall building. Wouldn't the upper windows look smooshed or stretched a bit?  |  IP: Logged Randy Stankey Film God Posts: 6539 From: Erie, Pennsylvania Registered: Jun 99 posted 02-03-2012 11:02 PM                     In extreme situations, no camera can correct every situation. However, in a situation like the one in the picture, below, where the camera is looking up, you'll get a funky perspective that makes the building (for example) look like it's falling over: That is corrected by moving the camera thus: In a view camera, the lens board and the film holder can both be moved, independantly, along their X,Y and Z axes, plus they can be turned on the pitch and yaw axes. The film holder can also be turned on the roll axis, 360º. (Rotating the lens would be useless. ) Because the camera can be moved in so many ways, it's possible to counter a situation like this, where the whole image can't be brought into focus on a regular camera: You can twist, turn, raise or lower the lens or the film in any combination of movements so you can bring the whole image into focus.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 02-04-2012 12:29 PM                        Nice camera! Having a Polaroid 545 back was important to me when I first started playing with camera movements (and I'm only using a Super Speed Graphic...the Cambo should be way more interesting in that regard). Unfortunately, the Polaroid 4x5 film is now NLA. Fuji makes 4x5 instant film, but it requires a different back (which costs nearly $200 new!). If you have any way of getting a Fuji back and some film, do it. In any case, it's useful to be able to check focus, exposure, and perspective before committing to shooting on "real" film. Some people like the Kodak readyload or Fuji quickload packets (which _do_ work in the Polaroid back), but I never tried them, as sheet film with regular film holders is about half the price. Do you use a tank or trays to develop the sheets? I have had good luck with trays, although it is tedious and not much fun to do this work in complete darkness. I've never tried a 4x5 tank.  |  IP: Logged Randy Stankey Film God Posts: 6539 From: Erie, Pennsylvania Registered: Jun 99 posted 02-04-2012 01:20 PM                     Apparently, there is a group of guys that spun off the Impossible Project who are trying to reinvent Type-55 film. http://new55project.blogspot.com/ They say they have a working product ready for manufacture but they don't have funding to go into production. They say, if they can, they'll have product on the market in less than a year. Although I'm not holding my breath, I certainly have my fingers crossed. I haven't developed any film yet. I've only practiced with the camera and dry-fired a few shots. Weather hasn't been cooperative. I still need to order the film. When I get to develop, I plan to use the "taco method." Carefully fold the film in half, lengthwise, until it looks like a taco. Wrap a fabric covered hair band around the film to hold it in place. (Make sure you fold emulsion IN! ) Four such "tacos" will fit into a 3-reel Patterson tank. (Don't forget to put the funnel tube in or else you'll spoil the film!) Fill the tank 1/3 to 1/2 full then lay it on its side on the sink board and roll back and forth, continuously, for the required amount of time. Use the recommended times for roller tube processing instead of inversion/stand processing. My budget is tight right now. I need to save some cash to buy some film but, once I do, I'm hoping to get some great pictures!  |  IP: Logged Joe Redifer You need a beating today Posts: 12859 From: Denver, Colorado Registered: May 99 posted 02-04-2012 04:40 PM                        So instead of a giant, accordion based camera, one can get a much smaller, accordion-based tilt-shift lens to do the same thing.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 02-04-2012 05:22 PM                        Not the same thing. A tilt-shift lens has a limited range of movement, only works with one focal length (usually a very short one), and only has a few of the movements that a studio view camera can do. And they only work with small-format cameras. A 16x20" print made from a 4x5" negative is razor sharp. Try that with a Canon or Nikon 35mm. Interesting about the "taco method" of development. I've never heard of that one.  |  IP: Logged

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