Starting with ULF

[pkr1979]

Hi all,

I do 810, and Im considering larger formats. However, what does one need to consider before getting into this when it comes to the different formats, cameras/lenses, film availability and price?

Cheers
Peter

[Andrew Plume]

Hi Peter

I have an 'Empire State' 11 x 14, it's here behind me where it's resided (sic) for the two years, next year it's going to get a full run out, it didn't cost me too much (thx to a great seller on here), film is readily available i.e. Adox and as to lenses, I have an E Francais (Paris) casket set which fully covers the format (which as casket lens sets aren't overly popular (and for many years) cost very little). No shutter of course but that far from phases me..................

Total cost (apart from film) under £1,000 UK£ which I consider to be a reasonably cheap investment in this format. Since buying, I've found that film holders are probably the costliest investment

And fwiw I just fancied a format larger than 8 x 10 and it really is significantly larger - I've found that simply looking through the GG has the effect that I go around different areas of the ground glass simply looking at the overall effect - it's simply something different and it was that that appealed to me

Good luck and regards

Andrew

[Andrew Plume]

Peter, Hi again

The 11 x 14 size (and I'm more than happy to be corrected if wrong) is as far as I know a 'US initiated size whereas the British ULF formats started at 10 x 12 and 12 x 15 (again please correct me, someone, etc), I suspect that I was 'drawn' to 11 x 14 by Brett Weston's work, an Artist/Photographer who I've always significantly respected. Brett's father, Edward did a lot of work in 10 x 8 (and no larger, again correction required from those on here, if necessary, please?.....) as far as I know

Brett if you weren't aware was a (great) friend of one, Donald Ross, his son Merg posts on here regularly, Merg's work, I hold in very high esteem. I'm not sure if Merg has ever used ULF Cameras....? Anyhow, I'm rambling on,..............hopefully others will 'chip in' as I know that there any many ULF Photographers on here

Good luck and regards (again)

Andrew

[jp]

I've done 35mm, 6x6cm, 4x5, 8x10, and some 14x17. The biggest issues I've seen with the biggest format are:
* space in the darkroom for trays for processing
* tripod suitable for the big camera. If you have an overkill tripod for 8x10 you'll probably be OK.
* film holders are somewhat expensive but don't lose their value.

Film is available in the 21st century sense in that you can get it from a forum member selling excess, or be patient and order new well in advance of needing it.

[Vaughn]

An important question is 'why?'

My answer for going 11x14 was simply that I wanted bigger prints (and was up for the challenge). I only contact print using alt processes. This is big enough for me. Perhaps if I was in my 30s again I would consider bigger, but an 11x14 or 5.5x14 print is a very comfortable size to work with and to view.

Larger formats have longer 'normal' focal length lenses as the film size increases. DoF becomes an increased concern. Choices and the practicality of longer than normal lenses decrease...a second tripod for the lens might be needed. Wider then normal focal lengths with enough coverage become more commonly used.

[Two23]

I thought of moving up from 5x7 to 11x14 but decided to just go to 8x10. I want to make contact prints. My thinking is everything is more expensive: film or dry plates, holders (both film and wet plate), lens choice gets expensive and dramatically smaller, will need a heavier tripod, and the system would be very heavy to hike with. I mostly wanted to use it to do wet plate in the field and this just didn't look practical. Who knows, might change my mind in the years to come though.


Kent in SD

[Pere Casals]

/lenses,

https://www.angusparkerphoto.com/blog/2015/2/ulf-lens-recommendations-14x17

[Greg]

Camera: Started out by acquiring an 11x14 Improved Empire State View Camera in the early 1980s. Around 2000 sold it and acquired an 11x14 Burke & James Commercial wooden flat bed. Then probably 6 years ago sold it and acquired a new 11x14 Chamonix. First 2 cameras were sold for maybe 4 times what I paid for them. The new Chamonix was a splurge, but without regrets.

Lens: A 508mm f/7 Caltar in an Ilex No. 5 shutter. Found it in the early 1980s and still use it. It definitely covers 11x14, projects a bright image on the GG, and is very undervalued so can still be found for a great price. Sharpness and contrast are excellent.

Holders: Started out with 11x14 Medical (can't remember the brand) which additional strips off plastic, one each side, that had to be removed (easy). Can still be found for bargain prices at state surplus stores/outlets especially associated with Health Centers, you just have to be patient and look around. Few years ago replaced most of them with 11x14 Chamonix holders. Two I kept are dedicated to an 11x14 Pinhole camera (acquired an 11x14 Burke and James back and built the camera around it).

Film: Begger initially and loved it till it was discontinued. Since then Ilford HP5 plus, which B&H stocks. Tried X-Ray film, but just wasn't for me. Always preferred pan film with a decent ASA.

Tripod: Initially a Burke & James wooden Commercial? tripod with a very simple hinged wooden platform head. Linhof Heavy Duty tripod for a while but was really heavy to transport around. Finally about 6 years ago when I acquired the Chamonix, got a large Ries with a large Ries head.

Darkroom: 4 11x14 trays. Large plexiglass washer maybe 10 years ago. JOBO tanks about 5 years ago. Also a Stark SST4 to rotate the JOBO tanks in a temp controlled water bath. Chose it over a full sized JOBO, saved me a chunk of money and prefer to fill and empty the tanks by hand. Initially Edwal FG-7 in a 9% Sodium Sulfite solution. Now Rodinal, HC-110, or Diafine.

Prints: Platinum/Palladium or Salt printed from 11x14 digital negatives. Had access to a large EPSON scanner till a while ago. Now use my EPSON V750 and scan the negatives in 4 or more sections, until next year when I plan on getting a large ESON scanner. Able to dodge and burn, control contrast, and with carefully controlled digital negatives save a lot on Platinum/Palladium chemicals.

Started out with what I could afford at the time and just traded up over the years. The 508mm Caltar was an exception, found it at a camera store in the 1980s with a "make me an offer" tag on it. At the time spent way more than I intended on spending, but was well worth it.

[William Whitaker]

Before committing to ULF consider negative storage. Sleeves in your preferred size may well require some searching. Likewise print storage is a consideration. As mentioned, tray size may be an issue, as well as where to store those larger trays if space is at a premium. Since you'll [probably] be contact printing, do you have a large enough printing frame? Chemistry requirements are proportionately larger than 8x10.
These items are rather mundane compared to discussing things like impressive lenses. But they're important to the overall process.
ULF is a sea change. Proceed wisely.
:)

[pkr1979]

Hi all,

And thanks alot for getting back to me. Lots of useful information here... from not so costly lenses to negative files. And I agree, the mundane is just as important as the fun in a process like this.

Vaughn, as to why, you and Jim responded to another thread I started (regarding PQ Universal) and your carbon printing workshop in Yosemite came up and it made me curious (I live in Oslo, Norway and are married with two small children - so if my wife will permit to travel across the Atlantic for that remains an uncertainty) - on both carbon printing and larger formats, since it is contact printing ULF would be cool. A question though, in your experience, are certain films particularly suited for carbon printing?

I have pretty sturdy tripod I expect will do. I also have a Jobo CPA2, but will have to get bigger tanks if moving up from 810. I would also have to get trays and lightning source for contact prints. I have actually only developed E6 and black and white reversal myself… and I am a bit uncertain on what is the max size for a jobo tank on that machine. How does people develop these large negatives… in trays? There is a 20x24" tank that might fit.

I had a quick look at B&H to check what they sold of film… and here is an issue… I like the aspect ratio of 810 (67 is my favorite)… but the BW film I prefer at the moment is Ilford Ortho Plus – which they only have in 12x20(?). If I went for 11x14 there is also color film available (no Ortho+ though), but if I choose to move up from 810 it would be cool to maybe go up to 14x17 or 16x20 (I don’t actually mind carrying my Cambo SC 810 around – but a 16x20 might be troublesome though?). What are the different sources for getting film for the different formats? I didn’t see any 14x17 film at B&H. Film availability is somewhat important.

I'll think this through before I potentially step up :-)

[Pere Casals]

How does people develop these large negatives… in trays? There is a 20x24" tank that might fit.

The simplest solution is using tray development, this 11x14" paper safe was sold for $18:

197239

Place emulsion up, you make the development with lights open, then close lights and move the sheet to another tray with the stop bath and after 30s you may do the rest lights open, and while fixing/washing you can develop next sheet, so you may process 4 to 6 11x14" sheets in one single hour, with the jobo regular procedure it will take way more.

Also with tray development you may agitation as a control factor, with reduced agitation you may compensate extreme highlights.

I use this way for 8x10, I put my hands inside xtol, but one may use nitrile gloves if using less skin friendly chem.

[Tin Can]

Pere, you always suggest paper safes

I worry PAPER SAFES may become rare

and using them for tray development may ruin them for their original purpose and then be discarded into our ever increasing landfill stream

they are not recyclable!

the good thing is, they are still available new

https://www.bhphotovideo.com/c/product/83099-REG/General_Brand_PR1620PS_Paper_Safe_16_x.html

I have new and old paper safes and use open trays in full dark as most people do...

[Greg]

I also have a Jobo CPA2, but will have to get bigger tanks if moving up from 810. I would also have to get trays and lightning source for contact prints.

Tray processed my 11x14 negatives till a few years ago. Had always wanted to switch to processing my 11x14 negatives using JOBO drums but couldn't find a "large format sheet film drum" a JOBO #3027 for processing 11x14 negatives FS anywheres. Took a chance and acquired a JOBO #3062 drum, which JOBO recommended for only processing (2) 11x14" prints. Found it to work fine for processing 2 11x14 negatives at a time. I believe I once read a post by Oren Grad that he also uses a JOBO #3062 to process his negatives, but maybe wasn't him that posted that, not sure. Anyways, a while back seriously considered acquiring a 16x20 camera which was up at auction. Researched out acquiring a JOBO #3028 large format sheet film processing drum for 16x20, and was quoted a hefty 4 figure price so just passed up on that whole endeavor. 11x14, safe to say, is the largest format that I will ever use. Never was able to find out what was so special about JOBO's #3027 and #3028 large format sheet film drums, except that the film had to be "loaded on a custom built insert and then placed into the drum" per my out dated JOBO catalog.

[jp]

For film, Ilford has an annual special order window for unusual sizes. If you want to play/learn and or don't mind the look xray film is common in 14x17 and can be cut down under safelight conditions to smaller sized if needed.

[John Layton]

B+H almost always has 11X14 Ilford HP5 in stock.

Don't use this format all that much these days...but when I do, I'll typically use my 305mm (most recent design) G-Claron - a moderate wide angle for this format which seems to cover well at infinity, although I will typically either use back (base) tilt or, if a front axial tilt I'll make sure to drop the lens a bit to ensure infinity coverage. The 305 is also a great lens for near life size to life size close ups without running out of bellows extension. For awhile I made good use of a Kern (Swiss) built 14 inch Goerz Blue Dot Trigor, which (for me) was sublime.

I tray process 11X14...using Pyro, Pyrocat, or HC-110 (depending on the image) and contact print onto VC silver. Used lots of AZO back in the day and loved it!

Camera is home made, but has been seriously gutted to save weight - to the point where its now almost unusable. Hmmm...maybe its time to talk to Richard (Ritter)!

[Oren Grad]

Jobo drums: I use the 3062 and 3063 drums, *without* the special sheet film inserts that Jobo used to sell. WARNING: there have been reports that the ribs in the drum walls can result in uneven development with pyro developers. I've used only standard developers like D-76 or Ilford DD-X.

Storage sleeves: polypropylene or polyester (much more expensive!) sleeves are available to accommodate most ULF sizes so long as you don't insist that the sleeve match the exact size of the negative (for example, you can use 16x20 sleeves for 12x20 or 14x17 negatives).

Contact printing frame: I just use a large slab of glass. Every spring-back frame I've ever tried, in any size, produces florid Newton's rings in my darkroom.

For me, handling very large trays for printing is the biggest hassle in the darkroom. In mine, 11x14 trays are no problem, 16x20 is do-able but a nuisance, 20x24 would require heroic measures and I've never tried it.

Film: Ilford FP4 Plus and HP5 Plus are available in many ULF sizes, and Delta 100 in a more limited range, by annual small-quantity special-order program (if you're willing to buy a few thousand dollars' worth at a time, you can probably special-order them at other times too). 11x14 HP5 Plus is often available from stock at B&H, occasionally dealers who have participated in the annual special order have a few extra boxes on hand in one size or another. Fotoimpex offers ULF sizes of Adox CHS 100 II by special order and sometimes from stock. I think Bergger Pancro 400 is available in some ULF sizes. Some Kodak films are available in a few ULF sizes by special order. The minimum order amount is somewhere north of $10,000, but Keith Canham periodically organizes group orders; email him, or keep an eye on his Facebook page for news on which emulsions/sizes he's working on.

[Jim Fitzgerald]

Hi all,

And thanks alot for getting back to me. Lots of useful information here... from not so costly lenses to negative files. And I agree, the mundane is just as important as the fun in a process like this.

Vaughn, as to why, you and Jim responded to another thread I started (regarding PQ Universal) and your carbon printing workshop in Yosemite came up and it made me curious (I live in Oslo, Norway and are married with two small children - so if my wife will permit to travel across the Atlantic for that remains an uncertainty) - on both carbon printing and larger formats, since it is contact printing ULF would be cool. A question though, in your experience, are certain films particularly suited for carbon printing?

I have pretty sturdy tripod I expect will do. I also have a Jobo CPA2, but will have to get bigger tanks if moving up from 810. I would also have to get trays and lightning source for contact prints. I have actually only developed E6 and black and white reversal myself… and I am a bit uncertain on what is the max size for a jobo tank on that machine. How does people develop these large negatives… in trays? There is a 20x24" tank that might fit.

I had a quick look at B&H to check what they sold of film… and here is an issue… I like the aspect ratio of 810 (67 is my favorite)… but the BW film I prefer at the moment is Ilford Ortho Plus – which they only have in 12x20(?). If I went for 11x14 there is also color film available (no Ortho+ though), but if I choose to move up from 810 it would be cool to maybe go up to 14x17 or 16x20 (I don’t actually mind carrying my Cambo SC 810 around – but a 16x20 might be troublesome though?). What are the different sources for getting film for the different formats? I didn’t see any 14x17 film at B&H. Film availability is somewhat important.

I'll think this through before I potentially step up :-)

I can add my experience with ULF for you. I shoot 820, and 1417. I built and sold my 1114 to a good friend. I build all of my cameras so that is not an issue for me. When you go to ULF film holders are the expensive part. Richard Ritter builds beautiful holders. For example two 14x17 holders were $450.00 each USD. I found some Lotus 8x20 holders for a great deal 4 for $1,000.00. Holders are out there so you have to look for used one as they do come up but are not cheap. Film I have a freezer full of film in all sizes I shoot. Expired but still good, even my Bergger 200 dated 2006! Ilford's special order run is once a year and I would shoot FP-4 in ULF because it will build density in development better that HP-5. My opinion there. My main film in 8x10 is Efke 25 and it was discontinued some time ago but I have stock. Another film to consider for me in 14x17 was Shanghai 100. It ends up about $10.00 a sheet including delivery compared to FP-4 @ about $18.60 a sheet. I've only shot two sheets and they need a lot of development. I use 2:2:100 Pyrocat HD and develop for 14 minutes to build density for carbon printing. I tray develop one at a time. So I'd use either of these two films in ULF.

Lenses for my 8x20 are simple. My go to lens is a Rodenstock Gerogon 360mm. F-9 great coverage and sharp as all get out. No shutter as I'm at F-45 or 64 so cap off cap on.

A 24 inch Artar is great for 14x17 and again no need for a shutter. I'm a landscape guy so long exposures are the norm for me. My favorite lens for this format and my 8x10 is my Cooke Series XIV triple convertible. I use the 19" component on 14x17 or the 25Inch one.

A good carbon fiber tripod and head is a must or a good Ries tripod. I have one of each. Carts and backpacks etc.

My choice is 14x17 over 11x14. Image size in my carbon contact prints was the deciding factor. The 14x17 had more presence in my eye.

That's my .02 hope it helps. I love my 20 pound 14x17, I mean I carry more than that weight with my 8x10 system! Good luck.

[Vaughn]

...
Vaughn, as to why, you and Jim responded to another thread I started (regarding PQ Universal) and your carbon printing workshop in Yosemite came up and it made me curious (I live in Oslo, Norway and are married with two small children - so if my wife will permit to travel across the Atlantic for that remains an uncertainty) - on both carbon printing and larger formats, since it is contact printing ULF would be cool. A question though, in your experience, are certain films particularly suited for carbon printing?
...
Warning -- Jim is nuts. He builds his own ULF cameras out of walnut -- also tripods and even a lens barrel out of walnut. Actually he is a nice, talented guy -- he just likes walnut, a lot. My Ries A100/250 supports my 11x14 very well...and it is what Jim uses for his 14x17. Getting up to 16x20, one would probably seriously considering a two tripod system for field work.

Films. One that does not work for most alt processes including carbon is TMax100. It has a built-in UV blocking layer and takes forever to expose through...TMax400 is fine and dandy, but on the expensive side...and I hate the concept of only 10 sheet boxes. I'll use just about any well made, consistant film. I have some HP5+ in 11x14 and will eventually will use it, but as Jim said, it does not build up contrast readily. So I will save it for particularly high contrast scenes that do not need much building up. FP4+ does expand nicely, and seems to do it very well, as the mid-tones seem to expand and keep up with the highlights. So FP4+ is an available excellent film...and hopefully the yearly sheet film order from Ilford continues.

I have used the Ortho Plus in 8x10 and liked it, but it was a while back and I'd have to get use to it again. I was hoping it acted more like Kodak's Copy Film, which it did not, unsurprisingly...that's a fun film (I have a small supply of 8x10). I'll have to look into the special order to see if I can get Ortho Plus in 11x14. Tech Pan is another nice old film for contrast -- I have some 4x5 sheets still. General rule is the slower the film, the higher its inherent contrast...seems to be so. But any film is better than no film.

I develop 11x14 in open trays...trays are 12x16. For 8x10s I use the 3005 Expert Drums. It would be fun to have some sort of monster drum that could do five 11x14s at a time. LOL!

My second carbon workshop (after the one I gave with Jim) was a shorter version of the Yosemite experience and was given at PhotoCentral in Hayward, CA. The program there is run by Geir Jordahl and his wife Kate. Geir is from Bergen and is always showing me beautiful houses for sale over-looking fiords and such. If I wanted to be in the dark all winter, it would be tempting!

[Two23]

Does a Ries J250 head support an older 8x10 field camera, such as Gundlach Korona/2D/Seneca?


Kent in SD

[Jim Fitzgerald]

Does a Ries J250 head support an older 8x10 field camera, such as Gundlach Korona/2D/Seneca?


Kent in SD

Yes it will. I use an old Ries C tripod with the J250 head with my 8x10. Camera is about 11 pounds and it is just fine.

[tgtaylor]

Tray processed my 11x14 negatives till a few years ago. Had always wanted to switch to processing my 11x14 negatives using JOBO drums but couldn't find a "large format sheet film drum" a JOBO #3027 for processing 11x14 negatives FS anywheres. Took a chance and acquired a JOBO #3062 drum, which JOBO recommended for only processing (2) 11x14" prints. Found it to work fine for processing 2 11x14 negatives at a time. I believe I once read a post by Oren Grad that he also uses a JOBO #3062 to process his negatives, but maybe wasn't him that posted that, not sure. Anyways, a while back seriously considered acquiring a 16x20 camera which was up at auction. Researched out acquiring a JOBO #3028 large format sheet film processing drum for 16x20, and was quoted a hefty 4 figure price so just passed up on that whole endeavor. 11x14, safe to say, is the largest format that I will ever use. Never was able to find out what was so special about JOBO's #3027 and #3028 large format sheet film drums, except that the film had to be "loaded on a custom built insert and then placed into the drum" per my out dated JOBO catalog.

Although I use the 3005 drum for processing 8x10, I have on several occasions used the 2840 print drum to develop 2 sheets of 8x10. All you need is the clips to keep the sheets separated which also makes it a snap to load. I suspect the inserts perform the same function as the clips. Never had a problem other than sometimes they are hard to remove when the water is drained from the tank. Although I haven't tried it, unloading the sheets with a full tank of water would eliminate that.

Thomas

[pkr1979]

It gets narrowed down then. Im not so keen to carry 2 tripods so Im not going larger than 14x17.

About X-ray film, is it so its not as sharp because of double sided emultion? Does X-ray film with emulsion on just the one side also exist for ULF (either as deafult or to cut down)? I think its awailable with emulsion on just one side for 819?

And, ahem... where are these things sold cheap?

[jp]

a photographer seller on ebay is selling single sided (ektascan b/ra) 14x17" for our uses. I have no connection....

[John Jarosz]

Darkroom space, sink sizes/space and a suitable lightsource (and space for the lightsource)are extremely important, especially if to get into alternate processes.

Print mounting via dry mount tissue requires a huge press.

If you choose alt process consider a size where x-ray film can be easily used. 8x20 is not so friendly to x-ray film but 7x17 is. 14x17 x-ray film is usable right out of the box, or can be easily cut to size for 7x17. There is no 20x24 or 16x20 x-ray film. While x-ray film is substantially cheaper, that may change as more hospitals switch to digital.

A really stiff and robust (read heavy) tripod is a requirement as you are basically going to mount a kite on top of it.

Good luck

[pkr1979]

This might be a bit silly, however, Im thinking a 14x17 camera with a 11x14 reducing back - does such a thing exist? That would allow me to work with color on 11x14 and BW on 14x17. And a lens between 460mm and 560mm.

[Andrew Plume]

Have a look on here (to see what is and could be available):-

http://www.chamonixviewcamera.com/accessories/reducingbacks

regards

Andrew

[pkr1979]

Have a look on here (to see what is and could be available):-

http://www.chamonixviewcamera.com/accessories/reducingbacks

regards

Andrew

Very cool - thanks!

[Andrew Plume]

Very cool - thanks!

thanks

much appreciated

regards

Andrew

[Jeroen]

Where are you going to get 11x14 colour film in Europe? As far as I know, Fotoimpex sells colour film in 8x10, but not larger. Provia 100 (€22,75/sheet) and Portra 160 (€27,5/sheet) and 400 (€30,50/sheet). Ouch.

[pkr1979]

It will have to be from BH. They sell Portra 160.

[Jim Fitzgerald]

This might be a bit silly, however, Im thinking a 14x17 camera with a 11x14 reducing back - does such a thing exist? That would allow me to work with color on 11x14 and BW on 14x17. And a lens between 460mm and 560mm.

Not silly but it would be the way to go if you were going to shoot both formats. On one had you are talking about shooting x-ray film because of cost and now 11x14 color film? You are just dreaming I hope?

I've built 5 14x17 cameras and they are not cheap to build but I can do it for about $3,000.00 on the cheap. Reducing back $500.00 Film holders are $450.00 each and 11x14 maybe $300.00, a lens 19" Artar, $500.00 . Shanghai film ISO 100 is about $100.00 for 10 sheets. Tripod system maybe a Ries series A with head $1,200 or more. So what is that without the color film about $6,000 to $7,000. Just some rough figures. With the Chamonix system you will need to use their holders and they are $600.00 each in 14x17 plus the camera. My 14x17 is just like the Chamonix.

11x14 color film? Most likely a special order from Kodak and it would be a minimum of $10,000.00. Keith Canham may have some and I know he does special orders for color film so he would be the contact.

As far as a 14x17 goes I have one for sale. It can do up to 16x20 horizontal. It is set up as a 14x17 and a reducing back could be made. In the past I've offered it as a package with the camera, 24 inch Artar, film holder, box of Bergger 200 expired film, backpack all for $3,000.00. Shipping to Norway would be very expensive is the only thing. When you go to this size it is very expensive all the time.

Hope this helps give you the idea of some of the costs involved.

[pkr1979]

Whoa... I didnt see the minimum quantity you have to get of Portra 160 on the BH website.

I expected this to cost abit, but I am in no immediate rush. I will also have to explain to my wife how this is not a bad idea and that will give me some time to save up. Im getting in touch with Keith to see how he organizes getting color film... If that becomes to much of a difficult (costly) to obtain I will not need a reducing back. Its an interesting offer Jim, and yep, shipping it will be a substantial part of a total cost. Maybe I will have to build my own as well ;-)

[John Kasaian]

Hi all,

I do 810, and Im considering larger formats. However, what does one need to consider before getting into this when it comes to the different formats, cameras/lenses, film availability and price?

Cheers
Peter

The cost of film holders comes to my mind. Used 11x14 and larger are quite expensive!

[MAubrey]

The cost of film holders comes to my mind. Used 11x14 and larger are quite expensive!

They go used for $150 often, but you're not guaranteed that the specs are the same from one to the next...which is true for all ULF holders.

[Pamelageewhizz]

I'm awaiting the arrival of a new 11x14, I've been shooting 8x10 for a number of years. My question to you all is what would be considered a "prime lens" for that size?

[Pamelageewhizz]

I've been shooting x ray film on occasion and have never had any problems with it. I have not seen it in a two sided emulsion. You might want to try ZZ Medical (I don't have any connection to them). ZZ has the film in green or blue.

[Jim Galli]

I'm awaiting the arrival of a new 11x14, I've been shooting 8x10 for a number of years. My question to you all is what would be considered a "prime lens" for that size?

2 lenses in almost every ULF kit; 355mm G-Claron, and 450mm Nikkor

[Two23]

2 lenses in almost every ULF kit; 355mm G-Claron, and 450mm Nikkor


Those seem to be very close in focal length. Why would someone have two fairly expensive lenses so close together?


Kent in SD

[Jim Fitzgerald]

For ULF work I use for my 8x20 a 360mm Rodenstock Gerogon and a 21 1/4" Kodak Ektanon. Both inexpensive lenses in barrels. Stopped down to 64 I don't need the weight of a shutter. For the 14 x17 I use the 19 inch component of my Cooke XV triple convertible along with the 25 inch component and my 30 inch Artar.
Brass lenses for these is a whole different story as I have those as well.

For my 11x14 I used a 15inch and 21 1/4 inch Ilex process lenses. Both sharp and contrasty. For my landscapes I don't need the shutter. When I use the brass lenses I have Packard shutters.

[Jim Galli]

Those seem to be very close in focal length. Why would someone have two fairly expensive lenses so close together?


Kent in SD

Think about the question you're asking a bunch of GAS infected folk. If in your heart of hearts you're story is that you aren't affected . . . OK.

[Luis-F-S]

Think about the question you're asking a bunch of GAS infected folk. If in your heart of hearts you're story is that you aren't affected . . . OK.

Yup have the 12 and 14” G-Claron then up to the 19” Artar. Never felt the need for the 450 Nikkor

[Corran]

A 270mm or 305mm G-Claron might be more your cup of tea, for a wide angle on 11x14.

[Tin Can]

GAS IS GOOD!

Our Gas will run out and in time another generation will find what they desire

Just as we did

[William Whitaker]

Those seem to be very close in focal length. Why would someone have two fairly expensive lenses so close together?


Kent in SD

Because they're there. Both are big coverage modern lenses with modern coatings in modern shutters. I had both until last summer I (somewhat regrettably) sold my Nikkor M-450. But, like Jim F, I can use the 19" component of my Cooke XV instead. Choice between Nikkor and Cooke... Are you kidding???

[Michael Roberts]

Whoa... I didnt see the minimum quantity you have to get of Portra 160 on the BH website.

I expected this to cost abit, but I am in no immediate rush. I will also have to explain to my wife how this is not a bad idea and that will give me some time to save up. Im getting in touch with Keith to see how he organizes getting color film... If that becomes to much of a difficult (costly) to obtain I will not need a reducing back. Its an interesting offer Jim, and yep, shipping it will be a substantial part of a total cost. Maybe I will have to build my own as well ;-)

Curious why you want to shoot 11x14 color. I have done it and concluded it’s overkill for my purposes. Do you mind sharing your goal? Color contact prints, or what?

[Luis-F-S]

A 270mm or 305mm G-Claron might be more your cup of tea, for a wide angle on 11x14.

Have that also

[Joseph Kashi]

A 300mm Dagor works fine as a wide-angle on my 11x14 by f/32, as does my 305 G-Claron, as another poster has noted. The Fujinon 250mm/6.7 original W is claimed to have an 80 degree coverage and that "should" work if you don't need a lot of movement. These are typically not very expensive on Ebay.

For longer focal lengths, the 19" and 23" cells of my B&L Protar VII set have adequate 11x14 coverage. The 12" +/- Protar VIIa combination of these two cells may be a bit tight on image circle for 11x14.

Unless you are planning to scan and greatly enlarge an 11x14 negative rather than contact print, the optical demands upon the lens are not exceptionally high and, IMHO, can be met by quite a number of affordable older options. Good contrast will likely be more important than sheer resolution if contact printing or only printing to small enlargement ratios.

[Tin Can]

I bought a Nikkor-W 360mm F6.5 with good shutter. It has more coverage than the 450 Nikkor.

Yes it is big but so is everything ULF. The lens is the smallest bit

I like Nikkor and newer shutters.

Here on Ken Lee's website is the complete Nikkor brochere. http://www.kennethleegallery.com/pdf/Nikkor_LargeFormatLenses.pdf

Scroll down for coverage data.