Відео

Thank you for this video!! , I;m very interested in the Linhof system. t

I learned the Adams Zone System from the 1968 edition of his Basic Photo series using an earlier model of the Honeywell/Pentax 1° Spot meter you used. In the mid-70s I worked reproducing photos and illustations (halftones/ color separations) using analog screen methods at the National Geographic Photo labs. Back when Adams developed the system he used a wide field Weston Meter and metered an 18% gray card (or palm of his hand) to determine the “middle gray” exposure. With that exposure the card reproduced on the print would also reflect 18% of the light which perceptually appears halfway between max black and paper base white on a print. It is widely misunderstood that Zones = f/stops which is incorrect. Adams simply divided the tonal scale of the print first into ten steps (0-9) and then later added “Zone 10” because originally he failed to assign a zone designation to specular highlights on solid white objects which in some cases are the only perceptual clue a object in a 2D print in actually 3D. It is also important to understand the underlying technical goal of his system was to make all prints, regardless of scene range, on #2 grade print paper because of the characteristics in the toe portion of the DlogE curve on the print. To do that one must first adjust the ASA/ISO of the meter until the exposure reading off the 18% card creates a slight density on the negative above film base +fog so when making a print and giving it just enough exposure to render the clear areas of the negative Max Black (Zone / Print Value 0) the density on the negative will be dark gray Zone / Print Value 1 which is a black object barely visible in deep shadow. In my experience that required more exposure that the meter set to the nominal ASA (e.g. 400 for Tri-X) and using a series test shot bracketing exposure by changing ASA setting on the meter (and adjusting shutter speed accordingly) one would arrive at the actual ASA which would expose the Zone 0 Max Black vs. Zone 1 first visible shadow detail optimally down on the curve toe of the response curve not higher up on the straight line portion. I realized using the Spot meter allowed metering the shadows of scene directly instead of trying to read and interpolate exposure off an 18% gray card or some middle value in the scene. I used a Zone / Print Value 2 area of the scene which Adams defined as a dark near black tone where detail and texture could be seen. Then it was simply a matter of making a larger reduction in the indicated ASA speed for the film to get the ideal Zone 0-1-2 rendering on negative and print. What I did by metering off Zone 2 and changing ASA setting was changing the meter’s calibration baseline from 18% = Zone V to whatever % light was reflecting off the Zone 2 detailed shadow. Again keeping in mind always using #2 grade paper the next calibration step was to photograph a subject cross-lit in direct sunlight wearing black and white clothing or holding black and white draped fabric and then exposure based on on the Zone 2 read and try different development times until the highlight separation between Zone 9 solid white (which is actually a light gray on the print) and the Zone 10 specular reflections on the white objects (reproduced with just the paper base) was perfect. Too little development would result in the highlights on the print being too dark and too much would blow out the separation between Zone 9 and 10. That became what Adams called “Normal” (e.g. Sunny 16) scene contrast and with the spot meter you knew exactly how many stops / EV there was on a cross-lit sunny day between a Zone 2 texture shadow like the tread of a black tire in the shadow of a wheel wheel on a car and the Zone 9 value of the white body of the car in direct sunlight. You never measured the brightest Zone 10 specular reflections off the paint or chrome you just developed the film to preserve that tonal difference on the print. The same development time test needed to be repeated for scenes with lower EV ranges between Zone 2 and 9 values in the scene such as open shade, cloudy, overcast but with the spot meter you can quantify it by EV range rather than just interpolate if only metering the the 18% card. Because Adams system requires different development based on scene range it is only really practical for sheet film cameras unless one has a camera with interchangeable backs or several camera bodies. The Kodak method of developing all scenes for the same time then changing Polycontrast paper grade via yellow / magenta filtration as needed is simpler and what I used for my 35mm photojournalism shooting. I would still spot meter Zone 2 for exposure and Zone 9 to know what the EV range of the scene was but always developed film for the EV range of a cross-lit sunny day. From notes on the EV range for each frame I’d know in advance what Polycontrast filtration I’d need when printing using the color head of my enlarger. Nowadays if scanning negatives instead of printing one would need to spot expose for ideal Zone 0-1-2 rendering on the negative and adjust development time of the negatives until the range of the negative always exactly matched the dynamic range of the scanner sensor under different lighting conditions or alternately develop so the most contrasting scene encountered (e.g., snow scape) did not exceed the range of the scanner. That would require adjustment of contrast with levels or curves for less contrast scenes in post processing.

this is not photography, this is magic! Love all the process

I finally picked up a pristine c1948 Deardorff 5x7 w/o front swing. What I really miss from my Rittreck 5x7 is the lack of "Shift". Given you can't always be on dead-center with your image, how have you adjusted to overcome lack of Shift? Thank you.

The best folding 8x10,really marvelous!!!!!!!!

Thanks for sharing with us.

Central Canmera Co in mumbai or BOMBAY DADABOOUY NAROJ ROAD NWAR VT serviced Linhof 😊and l mr. D'silva was best at servicing 0Linhof,Lieca and other precision optical scientific equipment.l dont know if after ths expert any one has taken his place as the navy etc have need forr service.Are u Aw

Hi David, I've only just discovered your excellent channel. As a motorcyclist and fledgling LF photographer with my own darkroom; your content is of great interest to me, but I note that you haven't uploaded a video for some time. Any plans to do so, please? Thank you.

Dude. Has anyone ever told you that you look like Eddie Van Halen?

Miss ya brother!

Excellent Deardorff and fantastic lens!

Magnificent place!

Fantastic fine art work,gorgeous darkroom and stunning prints a special moment!

Everyone’s into megapixels these days but 8x10 still rules on quality

Nice work, David!

I understand doing videos in parts but would be nice to see the pics you took in this video. Show the pics and then sell us on part 2 regarding the developing process.

What a nice youtube find for me, such a contrast from my Autodesk Maya tutorials!!!! Totally agree about those rock formations. Might get up to St Abbs and try and emulate your relaxed approach to the task at hand. Thank you for that!

Why did you use a 10x8 enlarger when you have a 504 with colour head in shot?

Lovely video Sir...was worried for the Sironar but I suppose the laws of physics overrule any worries !! On to part two now...

Love to hear you but you just aren't recording loud enough, and I've noticed that on your other recordings. We shouldn't have to put on headphones, just lower the volume ! LarryMac

Great video thanks. Any leads on what type of batteries the Pentax spot meter uses?

Interesting video thanks. [Would you recommend a fresnel David? - I just got a Technika and the ground glass is pretty dim. Thanks. ]

Hi Mr.David Chalmers, many thanks for the video, you clrarified aspects about the zone system chat were not cleare me. I Havel a Minolta Spotmeter F, lightmeter, for the average exposure bet wen the shows and the highlights at the A button everythings is cleare to me. While wuold like to understand why when I want to highlight only the readering of the shadows, S key, or only the highlights, H key, the digital screen gives me, for example, for iso 100 and time of a 125s, the reading is indicator of f.11,5 while on the scale that goes from f.1,4 to f.45, the reading is indicated by two arrows on the diaphragms f.5,6 and f.11,5 . Perhaps it is the aperture range of the diaphragms on which i can operate the display choice , also in relation the zonal system? Thanks for your attention. Kind regards.

Thanks! Bye.

Excellent, beautifully produced video. Superb darkroom. More please. Atb. 👍

Now, this is a real photographer. Inspiring!

Thank you! I found this very helpful. I particularly appreciated your tying together the metering decisions with the processing decisions. I won’t forget that. Thanks, again!

Do you really need a 5 4 to get those results? Have been taking photographs and printing for 50 years.

Great relaxing video. One point maybe to mention is why you turn the darkside over. To a new person starting out 4x5 can look pretty scary. Reminds me of a beach I was at in Wales but the large rocks were carved out by the waves. I'd taken a bronica s2a out for it's first time and the shots came out perfect.

Your spotmeter is too wide for metering the narrow black line. Any camera with an invercone wil do better; if the invercone "looks" in the direction of the camera. Or do a metering on a Kodak neutral grey cart

1. Be more careful (at 2:30) when removing the lens from the camera. You hit the rear group of your lens very hard against the frame of the standard. 2. Your cable release is long enough; do not stretch it over the bellows to the back of the camera. A cable release must always have been bent in a wide U-bend. 3. Use a magnifying (45 degrees) hood over you ground glass and it will look brighter. 4. Never use a viewing loupe with a translucent base.

I advised to mount a NEUTRAL filter; not a ND filter. ND filters have a density. B&W (Schneider), Helioplan, Zeiss and Hoya have made neutral filters. You might as well mount an UV-filter to protect the front element of your lens. Even a light yellow, a haze /pink/CR 1,5 filter can be used as long as you shoot B&W. I have seen hundreds of "non filtered" LF lenses with scratches. Each lens needs a protecting filter and two caps.

David, what kind of fresnel screen you had on this deardorff

Excellent!!!

привет. это где америка англия швеция арабия сербия германия ну где ты снимаеш

Thank you, Sir!

tough to hear

The ideology, location, bike & the man, excellent work my friend

The Linhof is wrong balanced ! You had better use the other 3/8 Ww hole in the coverplate.

Behold, mr. David Chalmers is frying in the sunshine his large format lenses. And so are his camera bag and filmholders. David Bailey, Terence Donovan and Brian Duffy were the three London East End photographers who shot the Swinging Sixties with all kind of cameras. Duffy once said on non professional photographer with a Hasselblad: " That wanker looks like a gynaecolosist from Kensington". Mr. Chalmers makes me think of a gynaecolosist.

Without an exposure meter and no focusing making a photo through the darkslide? It is magic !

Most photographers are very bad technicians, so they mistreat their cameras. If you want to be a photographer you must be a good technician as well. Know your View Camera, Hasselblad, 24 x 36 and your electronic flashgenerator. I have seen shocking things at Calumet's. Jaco van Lith, Rotterdam, The Netherlands.

Why are you whispering

one primary use of this drop-bed, is for wide-angle lenses, to allow the field of view, MILD wides, as to use ULTRA wides, one needs the in-body focus adaptor, or the in-body focus pinion on the 5x7 models, to get the lens close enough to the film.( hence the third notch on the bed {30deg.}).

one other reason for the back detaching, is that it increases bellows draw, 560mm to 590mm long, so that a 360-450mm lens can be focussed ( this is the triple part of the "triple extension" feature on the advertisments); and allows these telephoto lenses to be used on these cameras, boosting the application of this camera platform. PS: what format is it, is this the 5x7"? as from my recal of the bed features (style of focus knobs, standard knobs {knob rise/fall, not the park_brake lever ratchet style}, suspension bridge handle on the standard, not the squeeze knobs) it looks like it.

great camera, but one tip, you could have not fumbled with the front standard, by first setting the top bed to the wide-angle position, aka putting it towards the body, so the 'gap' was removed from the bed/base, this would align the tracks, so making it an easy slide from the storage pedistal, to the top track. so you could have shaved some of this time off the stopwatch. (this also saves wear on the guides under the standard too).

I used one when I was doing studio product photography. Love the camera and wish I still had it when I retired. Unfortunately, it belonged to the company where I worked. Nice video and memories.

hank you, Looking for one now. After the Doldrems of digital I need to move back!

I'd love it if you'd make a video about packing up the camera and transporting it, as most camera bags seem to not be able to accommodate a large format camera.

Great stuff Dave. I love the concept and the serendipity. Lovely work.