I'll rescan the print if I can find it -- don't hold your breath!
I'll rescan the print if I can find it -- don't hold your breath!
"Landscapes exist in the material world yet soar in the realms of the spirit..." Tsung Ping, 5th Century China
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.
Read a brief history here:
http://mammothcamera.com/thecamera.html
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.
Ancient history. I believe it was only there for a couple months or less anyway and went back to Polaroid.
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.
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)
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