Lens Filters for 4x5

[Alan Klein]

So I'm starting out with 4x5 with a Schneider APO 150mm Synnar MC on a Chamonix 45N-1 4x5. I need contrast filters for BW and polarizer. I have 77mm B+W screw-on filters from my medium format camera system. Could I use these with a step up adapter? I believe the Schneider takes a 58mm filter. (Where can I verify the size?)

Would I be better off getting a couple of new filters to screw into the Schneider lens without the adapter? How do you deal with lens hoods with Lee vs lens mounted filters on 4x5?

How about Lee filter resin types? Does 4x5 lend itself better to glass mounted on lens filters or to Lee type? Does Lee affect hoods placement?

thanks. Alan.

[Corran]

APO Symmar uses a 58mm. Yes, just get a step-up - I've literally used a 58-67mm on mine permanently. A normal lens has no issues with vignetting from step-ups in general.

The rest is personal choice IMO so no correct answer. I don't use lens hoods personally. I use both Lee GND rectangular filters and screw-in filters, sometimes at the same time.

IMO since you've already been shooting MF just do the same thing you would on MF with 4x5. It's not much different. Camera movements are about the only thing you'll want to familiarize yourself with.

[Two23]

I use the same sized filters that same way, or simply hold one against the lens with my hand. My filters are in, order used: orange, red, polarizer, green, and a set of ND. Thinking of getting a yellow. Keep in mind I pretty much only shoot b&w, or plates.


Kent in SD

[Alan Klein]

Do people shooting large format general not use hoods? Or something else?

[eli]

In studio use, stands with 'black cards/foam board are often used with a small boom or adjustable arm, to shield against excess light entering the non-hooded lens, some times more than one and at times, simply clamped to the stand.

Good photographers are, as a type, IME, apt to grab hold of anything to make a shot 'work' and good photographers can be very much the "MacGyver, or at least use an assistant whom is so.

Unless the job and clients/subject of a photo-shoot has a very high nose, and the studio/art director/company wants the shoot to be an 'event', which does happen, and everything has to be 'just right' and shiny from a store, you'll never know when you will run up against when a shoot is going on, and yes, a good Swiss Army Knife (SWK) and multi-tool is always a must, even in the smallest outing for a photo-shoot.

So is thick cotton string or linen cord, baby pins, bank clips, corn starch and brush, tacks, Spring clamps in every size and so many other 'non-photographic' items, that you'll need endlessly

IMO.

[neil poulsen]

Do people shooting large format general not use hoods? Or something else?

I think this is the case. I assisted a friend of mine for several years, who is a local, well known architectural photographer. During his film years, he photographed with 4x5 using a Sinar F1, and I never once saw him use a hood. The time that it would have taken to set up was far too valuable.

I've tended to adopt his approach. He would regularly shade the front of the lens to make sure that direct light would never fall on the face of a lens, or the filter that he would use. There's a Sinar clip that can hold black cards and position them in various orientations, depending on the position of the sun.

He used a bag bellows for almost all his exposures, and I think that this can help channel stray light into internal bellows nether lands. One thing that I like about my 171mm Arca camera (regardless of vintage), is that there's extra space around the 4x5 format, so that stray light is less likely to fall on the negative. Arca has since reduced their camera size to using 141mm lensboards, and because of the flare implications, it's unlikely that I would upgrade to the smaller size. (Not that I could afford it.)

I've seen references tha Fred Picker also used this approach.

None the less, my camera has the 6x9 front, which has a conveniently small compendium lens shade. I carry this lense shade with me, should the need arise.

I see 8x10 as being different, and I'm very likely to use a Lee, flexible compendium lens hood for this camera. For 8x10 or otherwise, I've replaced all (save one) my large lenses with smaller maximum aperture versions. This makes using a lenshood more convenient. It also makes for a lighter kit.

Based on input from John Sexton in a workshop that I attended, I'm more likely to use MC glass filters. I've standardized on 77mm filters and carry step-up rings to that diameter for all my lenses.

The one exception is my 610mm Repro Claron, which has an 82mm filter thread. With this lens on 8x10, I don't mind using 4" gel filters in my Lee compendium lenshood.

[neil poulsen]

Do people shooting large format general not use hoods? Or something else?

I think this is the case. I assisted a friend of mine for several years, who is a local, well known architectural photographer. During his film years, he photographed with 4x5 using a Sinar F1, and I never once saw him use a hood. The time that it would have taken to set up was far too valuable.

I think that I've tended to adapt his approach. Rather, he would use the dark slide and shade the front of the lens to make sure that direct light would never fall on the face of a lens, or the filter that he would use. There's a Sinar clip that can hold black cards and position them in various orientations, depending on the position of the sun.

He used a bag bellows for almost all his exposures, and I think that this can help channel stray light into the internal bellows nether lands. One thing that I like about my 171mm Arca camera (regardless of vintage), is that there's extra space around the 4x5 format, so that stray light is less likely to fall on the negative. Arca has since reduced their camera size to using 141mm lensboards, and because of the flare implications, it's unlikely that I would upgrade to the smaller size. (Not that I could afford it.)

None the less, my camera has the 6x9 front, which has a conveniently small compendium lens shade. I carry this lensshade with me, should the need arise.

I think that 8x10 is different, and I'm very likely to use a Lee, flexible compendium lens hood for this camera. For 8x10 or otherwise, I've replaced all (save one) my large lenses with smaller maximum aperture versions. This makes using a lenshood more convenient.

Based on input from John Sexton in a workshop that I attended, I'm more likely to use glass filters. I've standardized on 77mm filters and carry step-up rings to that diameter for all my lenses.

The one exception is my 610mm Repro Claron, which has an 82mm filter thread. With this lens on 8x10, I don't mind using 4" gel filters in my Lee compendium lenshood. This hood also works with glass filters.

[darr]

I always use a hood outside for two reasons: (1) helps improve contrast in some situations, and (2) for protection. There have been more than a few times my lens hoods got bumped by something instead of the lens. I buy cheap hoods that are easily replaced. I also use a 4x5 darkslide with an Ebony clamp on a cold shoe. See: http://www.badgergraphic.com/opencar...roduct_id=1613

Regarding filters: I had used the larger Lee filters inside their hood for many years (still have them), but made the switch to their Seven5 line last year. The largest lens adapter ring in the Seven5 system is 72mm, and this works out well for all of my 4x5 lenses, all my ALPA medium format lenses which are Schneiders, and all my Fuji APS-C lenses. I put an adapter on each lens before I go out to shoot, and use the Seven5 lens caps instead of the normal lens caps. It is a smaller system and very versatile. I stopped using screw-on filters years ago although I have a drawer full of them.

Alan you seem to be asking a lot of good questions regarding gear. Before you go out and buy what everyone recommends, take your time and look at the work of those that recommend gear. If you find a photographer's work you admire, ask them what gear they use. If it worked for them, it will work for you.

Kind regards,
Darr

[dfort]

I’m just getting back into large format after a very long absence. I never used a lens hood—too much chance of vignetting when using camera swings and tilts. Best way to shade the lens is with the dark slide from the film holder.

As far as filtering, I used Kodak gel filters taped to the back of the lens. That’s INSIDE the camera. That way the filter isn’t going to blow away. You don’t need to worry too much about focus shift with thin gel (actually polyester) filters.

This may seem very low tech but it was what most photographers I knew were doing back in the 70s and 80’s.


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[Bernice Loui]

Behind the lens filter can help reduce possible flare and lower contrast due to the filter in front of the lens. During the 70's and 80's filters were generally not anti-reflection coated and placing them behind the lens helped.

This is why there is a gel or square filter clip in the back of a Sinar shutter.

The cinema folks use a matt box with a covered filter slot. The matt box in front of the lens went a long ways to control stray light and filter-lens flare. This is important for the cinema folks as they often use more than one filter for a given take.

Placing the needed filter behind the lens inside the camera is often more difficult with a field camera due to how this can be done.

Some lenses have a threaded filter mount in the rear, this helps a good deal to allow using a filter behind the lens.

There is zero wrong with taping a gel filter at the back of the lens. It works.


Bernice

As far as filtering, I used Kodak gel filters taped to the back of the lens. That’s INSIDE the camera. That way the filter isn’t going to blow away. You don’t need to worry too much about focus shift with thin gel (actually polyester) filters.

This may seem very low tech but it was what most photographers I knew were doing back in the 70s and 80’s.