Give my creation... LIFE!!!!

[Kerry L. Thalmann]

Howdy Folks,

Some of you may know that I've been working on a 7x17 camera based on an ARCA-SWISS F-Line monorail for the past several months. Well as of about two hours ago, the Franken-ARCA LIVES!!! (bonus points if you can name the source of the quote I borrowed for the title of this thread - come one, it's an easy one).

Sorry to be such a tease, but I won't be posting any photos of the creature until next week. It will make it's public debut at the Large Format Conference in Rockford later this week. Hope to see many of you there. If not, watch this space next week for some digisnaps of the Franken-ARCA.

Kerry

[Jack Flesher]

"Young Frankenstein" Do I win a copy of the first contact print you make?

[Ron Marshall]

From Mary Shelley's book.

[Kerry L. Thalmann]

"Young Frankenstein" Do I win a copy of the first contact print you make?

Jack wins! Too easy I suppose, but I love that movie. It still cracks me up everytime I watch it.

Sorry, no contact print prize. But since you were the first to identify the source of the quote, if you send me your email address, I'll email you a couple jpegs of the completed beast as a private preview to it's public unveiling in Rockford.

Kerry

[Michael Daily]

But seriously, Frau Blucher aside, why the size 7x17? The arcane 8x10 from book plate sizes, etc. I 'understand' multiples of 8x10 up and down the size charts and accept the arbitrary nature of them and even the "golden proportion" ratio 1:1.618 (approx.). Why this size?
(Thanks for all the info you share on lenses, etc.) I'm a fan...
Michael

[Kerry L. Thalmann]

But seriously, Frau Blucher aside, why the size 7x17? The arcane 8x10 from book plate sizes, etc. I 'understand' multiples of 8x10 up and down the size charts and accept the arbitrary nature of them and even the "golden proportion" ratio 1:1.67 (approx.). Why this size?
(Thanks for all the info you share on lenses, etc.) I'm a fan...
Michael

The 7x17 size goes back about a century. Out of the standard banquet sizes (7x17, 8x20 and 12x20) it is the most manageable. I'd love to shoot 12x20, but the thought of carrying the camera, holders and lenses up and down steep mountain trails is daunting.

There are mini-banquet formats (4x10 and 5x12), but I wanted something larger for contact printing. I do shoot 4x10 in color, but for black and white, 7x17 seemed like a good compromise that is "small" and "light" enough to carry, but big enough to contact print.

For 7x17 I already had a few lenses that would cover the format, and then I traded another lens for a couple holders earlier this year. Then Kodak and Ilford started their special order film programs and suddenly my fate was sealed.

Kerry

[Oren Grad]

Congrats, Kerry - won't be able to make it to the conference this year, but I'll look forward to seeing your snaps of the critter...

[Ralph Barker]

Congrats, Kerry. Are you handing out e-cigars? ;)

[Michael Daily]

OK, thanks. That explains the practicality of the size, but is there anything beyond that practicality of "lugging" upslope? Contact printing is understandable--that is the standard of quality. As a sometimes student of Art History and Esthetics, I often wonder at the choices for the particular sizes that are chosen. Mine for 35mm, 4x5, 5x7, and 8x10 are generally driven by the easily available equipment and film, rather than by the esthetic considerations. I work following the conservative philosophy of choosing a camera, lens, film, printing method and materials, and then try to work within those constraints. I'm pretty "strait-laced" in that regard. As such, I often wonder why others choose the ways they do: is it for practical reasons, what is available, or is there some other reason? Thanks for your comments.
Michael

[Oren Grad]

As such, I often wonder why others choose the ways they do: is it for practical reasons, what is available, or is there some other reason?

Michael, I've never been able to get comfortable with 4x5 and 8x10 - they're just too square, and rarely fit the way I see things. Maybe it's because I grew up in 35mm. Anyway, discovering that mismatch set me on a long odyssey among ever more exotic formats. For a while now my favorite has been 6.5x8.5, though I still tinker in many others, including long panoramic formats. If I had my druthers, rather than 4x5, 5x7 and 8x10, the formats that survived in regular commercial use would have been 3.25x4.25, 6.5x8.5, and 7x11.

[Brian Sims]

Only someone with an "Abby Normal" brain would shoot such an elongated rectangle as 7X17. Unless, of course, you are shooting in the portrait orientation, such that you can say to your assistant, "elevate me!"

[Frank Petronio]

All of you should already know that interchangable "system" cameras are immoral -- Those parts can be plugged into each other to make all sorts of unholy illegitimate cameras! In some states this sort of thing is illegal, and I certainly hope you wise up and realize that we don't want these sort of "incestous" mechanisms coming East. It might be OK in the Northwest cause they're all hippie types anyway, but I'm fearing for the breakdown of tradtional formats and solid, rectangular values. I think we should petition the government to pass some new legislation outlawing these half-breed, mutants. And maybe sin-taxing any large format camera that doesn't conform to the rightous 4x5-8x10 proportion. Maybe grandfather in the old Koronas and Folmer & Schwings since they were made by good American heartland companies, but tell me, can we really tolerate a single one of these bastardized French "contraptions?" Standards are important I tell you!

[Kerry L. Thalmann]

Now, now Frank. Come one, we live in a global economy. The back for my camera was made in Vermont, the ground glass was made in Montana, other parts were made in Indiana and here in Oregon - and that's just the parts made in the United States. The bellows was made in England and the parts that were made by ARCA-SWISS are old enough that they were actually made in Switzerland. It truly is a harmoniuos blend international manufacturing expertise. As is my 4x10 Swiss Lotus. It has major components made in Austria and I recently upgraded to a Metric front format frame with Micrometric Orbix that was most likely made in France and is mechanical marvel. Hey, if the typical "American" automobile can have parts made all over the world, why can't my cameras?

Kerry

[Oren Grad]

Well, the Razzledog is quite a mutt, with German, American and Australian parentage at the very least... dunno what the Kennel Club would have to say about that! ;)

[Kerry L. Thalmann]

OK, thanks. That explains the practicality of the size, but is there anything beyond that practicality of "lugging" upslope? Contact printing is understandable--that is the standard of quality. As a sometimes student of Art History and Esthetics, I often wonder at the choices for the particular sizes that are chosen. Mine for 35mm, 4x5, 5x7, and 8x10 are generally driven by the easily available equipment and film, rather than by the esthetic considerations. I work following the conservative philosophy of choosing a camera, lens, film, printing method and materials, and then try to work within those constraints. I'm pretty "strait-laced" in that regard. As such, I often wonder why others choose the ways they do: is it for practical reasons, what is available, or is there some other reason? Thanks for your comments.
Michael

A lot of it has to do with what's available. In addition to 4x5, 5x7 and 8x10, I've shot several roll film formats, including 6x12cm and 6x17cm. 6x17cm always seemed just a little too long and skinny to me. In the roll film formats, I definitely preferred 6x12cm over 6x17cm. I've been shooting 4x10 on and off for several years and have gotten used to "seeing" in this format. As 7x17 is very similar in aspect ratio, it seemed like a natural progression for me.

Several years ago, Dick Phillips made a few 8x16 cameras. I find the 2:1 aspect ratio interesting (like a supersize 6x12cm), but with only a handful of cameras ever made, the need to get holders custom made (I know, anything above 8x10 these days is a custom made holder, but I did manage to pick up six AWB 7x17 holders on the used market) and the very limted availability of film, it made more sense to go with the better supported 7x17 format.

Kerry

[Dan Jolicoeur]

May I ask if unveiling it at the convention has some possible business opportunities or is this strictly for your personal use?

The size and design concept have been in the back of my mind for a while. Can't wait to have a peak!
Congratulations on finishing it,
Dan

[Jack Flesher]

After having the Non-Disclosure-Agreement forms properly executed, I got my preview 'peek' at Kerry's new creation... I am sworn to secrecy but wanted to let you all know I am impressed -- and it takes a lot to impress me! I'm really looking forward to watching the story unfold as Kerry ventures into the field with this "King Pano" :)

[Ralph Barker]

"King Pano"? Isn't 7x17 too small to be called "Panosaurus Rex"? Maybe "Velocipano". ;)

[Frank Petronio]

If Kerry needs any help securing the intellectual property, I have some Sicilian contacts that can assist...

[Jack Flesher]

It will need a name.

Franken-Arca is somewhat apt due to the conglomeration of parts, but that implies a major cludge and IMO it looks way too professional to suggest that.

Velocipano -- Hmmmm. Implies light and nimble which is good, but also implies extinct so I don't know... King Kong is at least contemporary sci-fi, strong and yet showed a delicate side -- and still kicked the Tyranosaurus' butt ;)

[Frank Petronio]

the Thalmannaitor?

[Ralph Barker]

. . . Velocipano -- Hmmmm. Implies light and nimble which is good, but also implies extinct so I don't know... King Kong is at least contemporary sci-fi, strong and yet showed a delicate side -- and still kicked the Tyranosaurus' butt ;)
You need to watch more on the Discovery and Science channels, Jack. Velociraptor is the species getting all the air time! ;)

[Jack Flesher]

Thalmannator -- I like it! (Though it sounds like a kitchen appliance!)

Ralph, you're probably right, but I only have time to watch about an hour and a half of TV per week as it is ;)

[Ralph Barker]

the Thalmannaitor?

Not bad. Kerry could call it "Ah-node" for short. But, it may not be beefy enough, and would be spurned by the Sierra Club. ;)

How about "The Talmann Clipper" - sailing up mountain sides, clipping the tops and bottoms of scenes?

[Michael Daily]

Franken-Arca is probably apt. Mary Shelly's creation is hardly a monster or even creature. She describes in her book the attempt to "create", not just animate. Frankenstein's goal was to abolish death and create immortality. The search for perfection lumbers on--for an appreciation of how far the creation of Frankenstein go, see the last quarter of the book and ignore the sensationalizing movies... Bravo, Kerry.
(BTW, this is the level of discussion I have missed elsewhere.)
Michael

[Kerry L. Thalmann]

May I ask if unveiling it at the convention has some possible business opportunities or is this strictly for your personal use?

The size and design concept have been in the back of my mind for a while. Can't wait to have a peak!
Congratulations on finishing it,
Dan

Dan,

The reason it will be unveiled at the large format conference is that it will be the high point of my part of the presentation on Modifying, Assembling and Building Large Format Cameras. Richard Wasserman has also agreed to put his 7x17 Sinar based conversion on display during my presentation. So, there will be two ULF/monorail conversions on display side-by-side. My co-presenter will be J.B. Harlin who has made 4x10 and 8x20 vertical format cameras for his wife Susan. I'm just a guy who likes to tinker with things and leave the dificult parts to people more skillful than I. J.B. is a true craftsman who builds beautiful cameras from scratch. So, hopefully, the presentaion will have something for everyone.

I'd love to offer a line of ULF conversion kits to help people move up to the bigger formats, but it would really depend on market demand. Given the struggles I've seen others have, either supporting existing product lines, or bringing new ULF products to market, I want to make darn sure the business model is sound and the demand sufficient before jumping into a commercial venture of this type.

So, for now, I'm just looking forward to shooting with my newest camera a try to see how well it all works. I suspect it will function nicely, as it's similar in concept to the 4x10 ARCA based convertion I assembled previously.

Kerry

[Frank Petronio]

What I would like to see photos of is how you pack it and all the related gear. Even though I am far to lazy to attempt climbs and overnights with a LF camera - heck, I complain about my airline carry-on - I do appreciate your semi-obssesive weight trimming and packing details. Your old Toho article is really one of the best things ever done on the subject.

[Kerry L. Thalmann]

What I would like to see photos of is how you pack it and all the related gear. Even though I am far to lazy to attempt climbs and overnights with a LF camera - heck, I complain about my airline carry-on - I do appreciate your semi-obssesive weight trimming and packing details. Your old Toho article is really one of the best things ever done on the subject.

Frank,

I'm still working out the details on carrying the system. I designed the camera to fold up as compactly as possible - which may have made it a little heavier (more metal, less wood) than it could have been if I was willing to go with a more bulky design. The good news is it collapses very small. Just like the smaller format ARCA-SWISS cameras, the front and rear standards collapse onto a short 15cm rail section. The thickness of the camera body, with lens mounted, is about 5" (basically limited by the length of the ARCA-SWISS function carriers - which are touching when the camera is fully collapsed).

I envision this going in the mail body of a large panel loading backpack, probably along with the film holders. Another posibility is a external pack frame with custom made soft-sided cases/bags. In the maximum configuration (30" max. extension), I end up with a second piece that consists of a 40cm rail/40cm extension bracket that can be stowed elsewhere in the pack. In the minimum configuration (18" max. extension), I substitute a second 15cm rail section and a 30cm extension bracket for the longer rail/extension bracket. This is the same rail configuration I use with my 4x10 Swiss Lotus and supports lenses up to the 450mm Fujinon C.

Once I get this all figured out, and use it in the field for a while, I plan to write an article on the whole experience - everything from designing/building the camera to using it in the field. Who knows, it may even lead to a series of articles on ULF cameras, lenses, techniques, etc. There seems to be a growing interest in the ultra large formats over the last year or two. I wrote an article on mammoth cameras for View Camera a couple years ago, but new brands and models have come to market and others apparently are gone. Perhaps an update is in order.

Kerry

[Kerry L. Thalmann]

Franken-Arca is probably apt. Mary Shelly's creation is hardly a monster or even creature. She describes in her book the attempt to "create", not just animate. Frankenstein's goal was to abolish death and create immortality. The search for perfection lumbers on--for an appreciation of how far the creation of Frankenstein go, see the last quarter of the book and ignore the sensationalizing movies... Bravo, Kerry.
(BTW, this is the level of discussion I have missed elsewhere.)
Michael

Michael

I like Franken-ARCA. I'm hopeful that the switch to the ultra large format, black and white film and contact printing will breath some new life into my photography. Perfection is a stretch goal - immortality only a dream.

Kerry

[Bill_1856]

That's "Fraunk n steen."

[Jack Flesher]

That's "Fraunk n steen."

One of my favorite scenes in the movie!

:D :D :D :D

[paulr]

The scene with Gene Wilder and the Creature performing 'puttin' on the ritz' ... as a scientific demonstration ... makes me pee in my pants every time i watch.

[paulr]

Also in the Mary Shelly parody department ... can anyone identify this quote:

"Those fellows at Radio Shack said I was mad, but who's mad NOW??!!"

[Bill_1856]

Also in the Mary Shelly parody department ... can anyone identify this quote:

"Those fellows at Radio Shack said I was mad, but who's mad NOW??!!"

John Caradine: Everything You Wanted to Know about Sex...(?)

[Graeme Hird]

..... It might be OK in the Northwest cause they're all hippie types anyway, but I'm fearing for the breakdown of tradtional formats and solid, rectangular values. ..... Standards are important I tell you!
Frank, you're just too square! Lighten up man - I'm sure the manufacturer of the "FarnARCA 717" has a very firm understanding of the importance of standards - both front and rear ..... :D

Kerry, I can't wait for the unveiling. My suggested name comes from an Aussie term - "farnarkling" - which means to spend time doing pseudo-productive work. Sort of like what I'm doing now instead of actually performing the work I'm paid for on company time .... ;)

Cheers,
Graeme

[paulr]

John Caradine: Everything You Wanted to Know about Sex...(?)


more recent than that.

hint ... he refers to the creature as "the greatest advance in labor relations since the cat-o-nine-tails."

[Kerry L. Thalmann]

OK, now that the Franken-ARCA has made it's public debut at the conference in Rockford, here's some pics of the completed camera:

http://www.thalmann.com/Franken_ARCA/Franken-ARCA_1.jpg
The camera with a 600mm Fujinon C focused at about 100ft. I have enough rail and bellows for about 6½" - 7" more extension.

http://www.thalmann.com/Franken_ARCA/Franken-ARCA_2.jpg
The front and rear standards compressed onto a short 15cm rail section. Even with a lens mounted (240mm Computar) the thickness of the camera is about 5" (with the little rail section sticking out by about an inch).

http://www.thalmann.com/Franken_ARCA/Franken-ARCA_3.jpg
The camera with a 305mm G Claron focused at about 20ft.

Kerry

[Oren Grad]

Franken, my foot - nothing crude or half baked about this one. Kerry, that's fabulous. Congratulations on a really nice piece of work!

[Ralph Barker]

I agree with Oren. You'll have to come up with a different name for it, Kerry. I see no ugly "stitch marks" on this beauty.

[Sheldon N]

I like it!

My .02 addition would be to either anodize or paint the rear support frame black, then to strip the wood (admittedly beautiful) and stain it a deep dark ebony color. I think that it would look super slick, and a little less piecemeal, if it were all black.

[Donald Qualls]

Well -- seems to me Viktor Frankenstein named his creation "Adam"...

[Michael Daily]

Very nice, Doktor, but can it dance? Lovely work! Congratulations on the birth of your creation and a successful coming out party.
Michael

[Kerry L. Thalmann]

I like it!

My .02 addition would be to either anodize or paint the rear support frame black, then to strip the wood (admittedly beautiful) and stain it a deep dark ebony color. I think that it would look super slick, and a little less piecemeal, if it were all black.

The company that makes the aluminum t-slot extrusions also offers them in black anodized. However, to keep the cost down I used "mill ends" bought as surplus on eBay (basically the left over bits and pieces from other people's orders). I did pick up a couple shorter black anodized sections, but haven't been able to get one long enough for the cross brace. Perhaps if I really like using this camera, I may order the custom black anodized parts to make it look more "stock" and less piecemeal. For now, I just plan to use it as is for a while and see how well it works and how much I like it. First things first.

Kerry

[Kerry L. Thalmann]

I agree with Oren. You'll have to come up with a different name for it, Kerry. I see no ugly "stitch marks" on this beauty.

Oren and Ralph,

Thanks for the comments. I actually like the name Franken-ARCA. It has kind of grown on me.

Kerry

[Kerry L. Thalmann]

I like it!

My .02 addition would be to either anodize or paint the rear support frame black, then to strip the wood (admittedly beautiful) and stain it a deep dark ebony color. I think that it would look super slick, and a little less piecemeal, if it were all black.

Oops, I almost forgot. At one point I thought about painting the wood parts black, but decided I liked the beauty of the mahogany too much (I picked special pieces for the rear frame just for the beauty of the grain). Besides, thanks to Canham and Lotus there is a precedence for cameras combining beautiful natural wood with black anodized metal work.

Kerry

[Bill_1856]

more recent than that.

hint ... he refers to the creature as "the greatest advance in labor relations since the cat-o-nine-tails."

Okay, I give up. What is it from?

[paulr]

Okay, I give up. What is it from?

The Simpsons!

Montgomery Burns creates a giant robotic creature which he hopes will replace the entire human workforce at the nuclear power plant ('lazy slugabeds! they'll be sucking at my teet no longer ...')

[Jack Flesher]

Awesome job Kerry! I would not paint or stain the wiood as I like the hybrid 'look'.

[Frank R]

You can always have the aluminum parts anondized by a shop. Places around here charge a minimum of $99 though.

Great looking camera BTW.

[Kerry L. Thalmann]

You can always have the aluminum parts anondized by a shop. Places around here charge a minimum of $99 though.

Great looking camera BTW.

Frank,

The parts have already been clear anodized. I'm not a plating expert, but is it possible to re-anodize them in black without stripping off the existing finish?

Kerry

[John Jarosz]

Anodizing with color has two processes. First the part is anodized (there are two kinds, clearcoat and hardcoat). Then it is dyed the color you'd like. Not all colors are possible but there are quite a few.

http://asuwlink.uwyo.edu/~metal/anodizing.html

This site sells kits for do-it-yourselfers;
http://www.caswellplating.com/kits/aluminum.htm

I'm not suggesting that you do this, but rather you can use the info to get a better understanding of anodizing. Just FYI

John

[David Karp]

It is a beautiful beast. Actually, it is both beauty and beast. I loved the way it compresses to such a "small" size.

[Hugo Zhang]

Kerry,

It's a beauty to behold!

My Arca-Swiss Discovery has been sitting in my closet for 6-7 years. I just love the smoothness and precision of Arca. Now I think I have got some ideas from your pictures.

[Frank Petronio]

Congrats Kerry,
No matter what its name, it is the Boss. Very sweet.

So, what tripod is under that beast? And the B1 is enough? Or are you going to buy a Gitzo 5-series for when you work close by?

How many 7x17 do you hope to eventually have for your shooting adventures? And what film(s) will you shoot?

[Kerry L. Thalmann]

So, what tripod is under that beast? And the B1 is enough? Or are you going to buy a Gitzo 5-series for when you work close by?

How many 7x17 do you hope to eventually have for your shooting adventures? And what film(s) will you shoot?

Frank,

That's my 1325 with the B1 head. For shorter lenses (up to the 450 Fujinon C) it actually seems up to the task. For longer lenses, I can use a second tripod (my 1227) or perhaps something like this:
http://www.thalmann.com/Franken_ARCA/Trekking_Pod.JPG

That's an 800mm Nikkor T-ED focused at infinity on my 4x5 ARCA-SWISS also supported by my REI trekking pole.

I bought a Gitzo G1570 head (the older, heavier model) intending to use it with the 7x17, but have found the B1 to be more rigid (the 1570 is like a diving board under the monorail, perhaps it works better with flat bed cameras that have more surface area for contact with the head), half the weight and much more compact.

I plan to own just one 7x17 camera. Since it is an ARCA-based design, I can reconfigure it for different applications. If I'm looking to go lighter, I can use my non-geared front standard and a shorter 30cm extension bracket and two 15cm rail sections (the same configuration I use with my 4x10) and handle lenses up to the 450 C and save over a pound and a half of weight. Should I ever want to go REALLY long, I have plenty of rail sections and can even add an intermediate standard and an extension bellows if needed.

For film, I curently have a freezer full of TMAX400. I plan to add a slower speed film, either FP4+ or Efke PL100. I'll probably test a box of each in 4x5 or 8x10 and see which I like better.

Kerry

[Frank Petronio]

Sorry I made a typo. I meant to ask how many holders you hoped to eventually have for practical shoots during your trips? I know some people only travel with one or two but I doubt that will be the case with you -- I'd fear the holders may end be more costly than the camera!

Wasn't that 1570 head meant to be used with the dual screws into the camera? That seems like it would be a pretty solid head with twin 3/8-16 thumb-screws into th stiff Arca rail brackets.

[Kerry L. Thalmann]

Sorry I made a typo. I meant to ask how many holders you hoped to eventually have for practical shoots during your trips? I know some people only travel with one or two but I doubt that will be the case with you -- I'd fear the holders may end be more costly than the camera!

Wasn't that 1570 head meant to be used with the dual screws into the camera? That seems like it would be a pretty solid head with twin 3/8-16 thumb-screws into th stiff Arca rail brackets.

Frank,

I'm lucky to have six AWB 7x17 holders. I got two from a friend in a trade for a lens. It worked out well for both of us. Then I recently bought four more like new holders on eBay for about 2/3 of what they costs new. So, I'm set for holders.

The problem with the 1570 is the platform flexes. I would not have thought it from looking at it, but it does. As I said, I think this head may be better suited to a camera with a larger base to match the larger surface area of the platform.

Kerry

[Jack Flesher]

Kerry/Frank:

I noticed the flex on the platform of the big Gitzo pan-tilt head too. I am thinking an Arca B2 might be the order of the day for the heavy view cameras as it is hecka-stout. The Burtinsky is stout too but the B2 has separate tilt axes which makes it easier to level like the Pan-Tilt heads.

Ah crap... Another Arca purchase.

;)

[Kerry L. Thalmann]

Kerry/Frank:

I noticed the flex on the platform of the big Gitzo pan-tilt head too. I am thinking an Arca B2 might be the order of the day for the heavy view cameras as it is hecka-stout. The Burtinsky is stout too but the B2 has separate tilt axes which makes it easier to level like the Pan-Tilt heads.

Ah crap... Another Arca purchase.

;)

Jack,

The B2 may very well be the perfect head for these big, heavy ULF monorail conversions. I was actually quite pleasantly surprised at just how solidly my B1 holds the Franken-ARCA. It's an amazingly strong head for something so light and compact and is fine for everything but really long extensions and then it's more of a geometry issue than an issue of head rigidity. With the rail extended out to >24" I think a lightweight second support under the lens will provide more rigidity that a heavier main tripod/head.

I was also surprised by how easy it is to use the B1 with the Franken-ARCA. With the tension preset set to max., I can use the two metal uprights on the sides of the rear standard to aim the camera where I want it and there is enough tension to hold it in place when I let go to tighten the knob. It certianly doesn't flop around all over the place like you might expect with other ball heads.

I may eventually get a bigger heavier tripod and head for "road kills" (maybe a Ries, or maybe a G1548/B2 combo), but for hiking and backpacking the Gitzo 1325 and ARCA-SWISS B1 I've been using for years seems to fit the bill quite nicely. In addition to the fact that the combo only weighs about 6lb. 2 oz., they were bought and paid for years ago. I've certainly got my money's worth out of this combination. They weren't inexpensive when new, but I've gone through several cameras, lots of different lenses, a couple light meters and countless other items since I bought these two, but have never had the desire to replace or upgrade the 1325/B1 combo.

Kerry

[Frank Petronio]

Bob Watkins at Precision Camera Works (the Arca US service center) often has demos/repaired B2s to sell if you ask him nicely...

I'm a heavy duty kind of guy and that Gitzo 1548GT seems like the ultimate set of sticks to me...

Being from the NW, I'm sure you've seen the photos of Darius Kinsey with all his big toys arranged around him - some with 20 foot tripods.

I'd love to see a nice portrait of Kerry like that ;-) Maybe I can do it next time I am out? Nude maybe?

[Michael Jones]

The company that makes the aluminum t-slot extrusions also offers them in black anodized. However, to keep the cost down I used "mill ends" bought as surplus on eBay (basically the left over bits and pieces from other people's orders).

Kerry

Kerry:

Can you tell me where the aluminum can be purchased - surplus or otherwise? That will be the perfect reinforcing material my project camera. Thanks.

Mike

[Kerry L. Thalmann]

Kerry:

Can you tell me where the aluminum can be purchased - surplus or otherwise? That will be the perfect reinforcing material my project camera. Thanks.

Mike

Mike,

The t-slot aluminum extrusions I used are made by a company called 8020 Inc. They sell t-slot profiles in various sizes, both metric and inch. I used their 25mm metric profiles, but combined inch and metric joining hardware (the economy t-nuts from these two sizes are interchangeable). They have complete PDF catalogs online at www.8020.net. They don't sell direct, but you can order through their distributors such as Reed Supply and Air, Inc. You can also buy used and surplus items on 8020 Inc Garage Sale eBay Store (seller ID: 8020inc). That's where I bought all my extruded profile sections. The pieces I bought were between 16" and 24" long and I paid $2.00 - $4.00 per piece - very economical - it only took two of these pieces to make the rear support frame on my Franken-ARCA. I paid more for screws than I did for the extrusions.

Kerry

[Jim Rice]

Kerry,
She's beautiful.