Outfitting new Chamonix: lens and film holders

**Peter Lewin** · 2-Jan-2019, 12:17

There is a lot to be said for picking one film, and sticking with it until you are really comfortable, it just eliminates more variables. I standardize on Ilford HP5+ across all formats, with an EI of 200. Many others on this site prefer the slower but finer-grained Ilford FP-4. I like to support Ilford, who continue to manufacture all the chemicals and papers we need to keep our darkrooms going. I know that there are Forum members who can comment on Arista, Foma (more common) and Berrger (from what I have heard, a good but pricier and harder to find, option).

**Doremus Scudder** · 2-Jan-2019, 12:37

90mm is fine to start with if you want to shoot that wide. You're going to add lenses to your kit anyway later. The next lens could easily be a 135 or 150mm; they're plentiful and cheap. FWIW, 135mm and 90mm seem to be the focal lengths I use most (in that order).

Used Lisco or Fidelity filmholders are plentiful as well. Be patient till you find a batch for around $5-$6 each and buy that. Then test for light tightness with photo paper (cut paper to size, load holders, place holders in bright sun for a while, both sides, then load the holder in the camera, pull the darkslide and let it sit for a while with the sun shining on the light trap area, flip holder, repeat, then develop the paper; if it's all white, you're good to go!). I have 60-70 used holders of various brands that I've bought over the years from eBay, etc. and only one or two have been bad. Just look for ones in good physical condition.

Do get a lens wrench as suggested above. If you can find lenses for sale already mounted on Technika-style boards, you save yourself the expense and trouble of buying a board and mounting the lens.

Best,

Doremus

**Laminarman** · 2-Jan-2019, 12:38

Originally Posted by Peter Lewin

There is a lot to be said for picking one film, and sticking with it until you are really comfortable, it just eliminates more variables. I standardize on Ilford HP5+ across all formats, with an EI of 200. Many others on this site prefer the slower but finer-grained Ilford FP-4. I like to support Ilford, who continue to manufacture all the chemicals and papers we need to keep our darkrooms going. I know that there are Forum members who can comment on Arista, Foma (more common) and Berrger (from what I have heard, a good but pricier and harder to find, option).

I agree with that too Peter. I'm sitting on a stash of 120 Acros which I must have just gotten the last of. I had no idea it was discontinued so now will learn something about that film only to not have access to it. Bummer. I do shoot FP4 in my Hasselblad and enjoy that but will probably start with HP5 in 4x5.

**Two23** · 2-Jan-2019, 12:48

Originally Posted by Laminarman

Sure not a lot of choices if all you want is Kodak or Fuji. Does anyone shoot anything "different" and get good BW landscape results. Arista, Berrger, Foma..etc?

Ilford FP4 is excellent. I use Ilford HP5 when I need a faster film. Ilford is 90% of the film I've been using for the past 10 years.

Kent in SD

**Nodda Duma** · 2-Jan-2019, 13:43

Originally Posted by Laminarman

Sure not a lot of choices if all you want is Kodak or Fuji. Does anyone shoot anything "different" and get good BW landscape results. Arista, Berrger, Foma..etc?

I shoot dry plate. Just to be different.

**rohanbassett** · 2-Jan-2019, 16:03

Originally Posted by Laminarman

I agree with that too Peter. I'm sitting on a stash of 120 Acros which I must have just gotten the last of. I had no idea it was discontinued so now will learn something about that film only to not have access to it. Bummer. I do shoot FP4 in my Hasselblad and enjoy that but will probably start with HP5 in 4x5.

Acros has two main strengths: tiny grain, and no reciprocity failure till 120 seconds. If memory serves, you don't plan to shoot much 4x5 at night, so I wouldn't worry about what you're missing out on — Acros is perfectly suited as a 120 film and the grain is still imperceptible. Enjoy the Acros you have!

**Larry Gebhardt** · 2-Jan-2019, 16:03

If you do decide to go with a slower f/8 90mm I'd order the camera with the Fresnel lens. I prefer a plain ground glass in general, but even in normal daylight conditions seeing the corners with a 90 f/8 is difficult.

**Laminarman** · 2-Jan-2019, 17:55

Originally Posted by Larry Gebhardt

If you do decide to go with a slower f/8 90mm I'd order the camera with the Fresnel lens. I prefer a plain ground glass in general, but even in normal daylight conditions seeing the corners with a 90 f/8 is difficult.

I've only used the ground glass in the past (like 30 years ago in college). Does the Fresnel over over the GG or is used in place of it?

**Larry Gebhardt** · 2-Jan-2019, 18:03

My understanding is the fresnel is usually under the ground glass and since it affects the light path it needs to be placed at a different position from the ground glass that's over it. This must mean you can't just add one after the fact. My Chamonix was one of the early models where the thickness was not correct and I removed the fresnel. Placed behind the GG it works, but is fragile so I have a sheet of mylar over that for protection. I think there are other focus screens that have the frosted image surface and the fresnel built together and just goes under clear glass for protection. I don't think that's what Chamonix is using. Hopefully someone will correct me if I'm wrong on any point.