Has anyone converted a Polaroid 20x24 camera to accept standard films?
Is this possible? Would it make any sense to do it?
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Has anyone converted a Polaroid 20x24 camera to accept standard films?
Is this possible? Would it make any sense to do it?
Tracy Storer probably knows. His "about me" page on this forum indicates this: "20"x24" Polaroid with accessory sheet film back."
The cameras were originally built with a processor for the film built in, it's the large wooden box you can see behind the bellows on my homepage here:http://mammothcamera.com/Quote:
Originally Posted by Drew Bedo
A little over 20 years ago, a client approached me to ask if it would be possible, and paid me to build an accessory box that mounted in place of the processor box. On the rear was a ground-glass spring back, and we used double sided 20"x24" sheet film holders to shoot Bergger BPF200. The film was tray processed and printed conventionally.
In 2016 I delivered a new 20x24 for Polaroid film to a customer in Europe which also had an accessory back to allow the use of film or wetplate holders.
As far as I know, I am the only one who ever did it in the history of the Polaroid 20x24 cameras.
Tracy: t5hanks for the link. I had no idea . . . .
Is that the same camera that Elsa Dorfman was using for quite a time?
see here:
https://www.youtube.com/watch?v=Qt-NraquF5E
One like it. I worked with Elsa a lot when I lived in Boston.Quote:
Originally Posted by Ron (Netherlands)
Is it true there are only 5 of those cameras worldwide?
Quote:
Originally Posted by Tracy Storer
There was one set up for Big Camera Day on the Plaza (Santa Fe, NM, 2003?), but the dry air caused too many light leaks -- perhaps in the developing box. It was going to be used to take a photo of the Plaza and the other big cameras. I did instead, but wish I had had the 250mm back then instead of just the 300mm.
Were you there Tracy?
8x10 contact print
Some very expensive and lovely gear in this photo....................'GAS' beyond words
regards
Andrew
In the film Elsa mentions there were 6Quote:
Originally Posted by diversey
Great shot, can you post a bigger size of the print so we can enjoy all the gear shown?Quote:
Originally Posted by Vaughn
I'll rescan the print if I can find it -- don't hold your breath!
Yeah, that was me, with the Wisner system John Reuter had just taken delivery of at the Santa Fe Workshops. The reason for the light leaks was design shortcomings. The original cameras had the processor built in, what we call an "all-in-one" where the camera and processor are permanently attached to the studio stand. Wisners' arrangement could have been better, but with a separate film cassette and processor, there are so many moving parts to eliminate all the light leak possibilities and combinations.Quote:
Originally Posted by Vaughn
Read a brief history here:Quote:
Originally Posted by diversey
http://mammothcamera.com/thecamera.html
Vaughan, I added a couple notes to your photo:Quote:
Originally Posted by Vaughn
1. Steve Simmons
2. Jan Pietrzak
3. Patrick Alts restored 18"x22" Empire State
Thanks! A great history of 20x24 Polaroid. It is true 5 were made originally.
Quote:
Originally Posted by Tracy Storer
Ron W. had one of his 20x24's at the View Camera Magazine conference in 2002, and it was fun to hang out with him (not to mention with everybody else there also!). From what I remember that camera was set up with a regular film back. We all had a great time...I miss those days.
What happened to the one at Pan Pacific Camera in LA?Quote:
Originally Posted by Tracy Storer
Ancient history. I believe it was only there for a couple months or less anyway and went back to Polaroid.Quote:
Originally Posted by Bob Salomon
I got involved with the cameras as a student in 1983/4 and "retired" from 20x24 in 2017 after running the Boston studio, then 20x24 West based in San Francisco, and having built three new cameras from scratch.
Right. As mentioned elsewhere, Ron built an aftermarket cassette (which took a 150' roll of Polaroid negative) and separate processor that were compatible with the 20x24 "field" cameras he was already making. The processor would take the standard 50' rolls of "receiver sheet" aka Polaroid paper, and one developer pod per shot to be processed.Quote:
Originally Posted by John Layton
A "case" of 20x24 film is:
1x150' roll of negative
3x50' rolls of receiver sheet
45xdeveloper pods
I worked extensively with the original cameras built by Polaroid as well as assorted Wisner 20x24 systems owned by various folks. (then built three new 20x24 cameras myself)
I think it was there till he was arrested and the store closed. Steve had built a studio for it when they moved to the new store. Then it seemed to disappear. Wonder if it went with the store’s assets. Never saw it in another store.Quote:
Originally Posted by Tracy Storer
No. It went back to Polaroid, 100%. He stole the Fuji 1200mm lens though.Quote:
Originally Posted by Bob Salomon
Wasn’t the only thing he stole!Quote:
Originally Posted by Tracy Storer
Just watched the B-Side. Wonderful film. So the camera used 1200mm lens? It seems the sitters were placed only 8-12 feet away. Did Elsa used a shorter lens?
Found the answer: she used a 600mm f/11 lens made in Chicago.
The Fuji-A 1200s were extremely rare and not often used. The New York studio does have one again. The vast majority of work done with the camera was with 600mm as a "short-normal". Elsa used a "De Golden Busch" / Melles Griot which IIRC was 610mm. I used a Fuji 600A during my Boston years, a Fuji 600C for most of my California years, and later on, used 600 and 610 Apo NIkkors.Quote:
Originally Posted by Hugo Zhang
Tracy,
Thank you for this information.
Hugo
For my 20 x 24 work lens wise I use the Schneider 550 XXL Fine art lens for about 75 percent of the film work with a 1000 mm Germinar (sp) for the rest. Wet plate is the 37 inch Dallmeyer 8D, and a Dallmeyer 30 inch RR. Not sure if that is relevant in the thread but thought it might be useful for those interested in this format. If it takes away from the polaroid history purpose of the thread feel free to delete
Monty
Monty,
Good to know this. I always thought a longer lens is preferred for portraits. For example, an 18 inch lens for 8x10 portraits because you add 8 and 10 together. It seems ULF life size portraits can be done with shorter lenses, even for head/shoulder shots.
When I do 14x17 or 16x20 head/shoulder shots with natural lights, a 32-35 inch lens will require lots of bellows draw. Maybe I should just try to use a shorter lens.
John Reuter and the 2024 Polaroid made an appearance at Victor School (Al Weber) in Summer 1983. Not much of a camera in the outdoors. Hard to transport and wobbly. In the studio it was fidgety at best. John was the gem of the system. He handled the camera, lighting, and lenses with an expertise seldom seen. Fun times.
Not to derail the thread but... Tracy, are you still making studio camera stands?
HugoQuote:
Originally Posted by Hugo Zhang
I’m not very technical with my photography. I read an article years ago when I first made the jump to ULF by Ron Wisner in which he described the counter intuitive premise about shorter focal lengths as it pertains to ULF negatives. In short you don’t get the distortion you do on smaller formats (no mis-proportioned noses) when using short focal lengths on large negatives. Peter LeGrand I believe used a 355 G Claron on many of his beautiful larger than life 20 x 24 headshots of Columbia College in Chicago (great view camera article on that project). As I said I use the Schneider 550 XXL on all portraiture when shooting film. I use the 37 inch Dallmeyer 8D on full body wet plate portraiture. Dallmeyer 30 inch Rapid Rectilinear for head and shoulders wet plate. Here are examples of the 550 in a pt/pd print and a 20 x 24 wet plate full body with the 8D. PM any time to discuss further. I always enjoy your contributions to us all and would gladly give something small back in return.
https://www.mocp.org/detail.php?type...=7359&t=people
Not sure of every focal length on these portraits and my memory is the resource on the View Camera Article referenced about the 355 G Claron. Many of thesewere taken with the 20 x 24 Polaroid as well I believe although these prints shown here are prints I think. Hope this is useful.
Monty
Hugo,Quote:
Originally Posted by Hugo Zhang
I don't shoot ULF so feel free to poke fun at my comment, but on 8x10 I've always used 10" or 12" lenses for portraits.
I tried longer lenses, such as 14", 15" and 16", but always felt uncomfortable with them. Everything looked too flat and definitely lacked the sitter's presence.
So give shorter FLs a try, you might be pleasantly surprised.
Ari,
I use 12" for full or half body and it is perfect. But for head shots, even a 14" lens does not look quite right. My lenses of choice for 810 heads is Universal-Heliar 42cm and Dallmeyer 3A.
Monty,
The second picture was shot with the 550mm and it is 20x24? It looks so good!
since we're talking about 8x10, my go to for most photographs is a 300 5.6. I've used a 210 Fuji (inside lettering) for full and waist up portraits when I wanted more breathing room in the photo.
Yes,
direct email to my gmail address for more info.
Quote:
Originally Posted by cuypers1807