12x20 Where to begin!!

[tim810]

I am recieving my camera in about a week. It is a Richard Ritter 12x20 back and bellows. The rest is my Cambo 8x10 SC with some of my own fabrication mixed in. The lens I am going to have to start with is a 24" APO Ronar (The shutter is a 4x5 darkslide attached to a lens cap (my own fab). Finally, one film holder (till I can afford more). I picked up some Berger BPF200 film. I plan on only contact printing: POP, standard silver gel, and soon to come Carbon using BS carbon tissue and my own hardend papers.

I have been shooting LF for about 4 years. Most of which has been 8x10. The reason for this post is to make sure all my I are crossed and T's dotted.

I have no problem changing film, Developing film ( I am extra cautious with my records etc). The things I am wondering about have to with bits I have heard about increased problems with depth of field (what are the problems). My lens goes from F9-F260.

When I made the swich to LF I read everything I could get my hands on. There are no books that I am aware of that talk about ULF to any extent. Ther is about a paragraph in Steve Simmons book on LF.

What exactly should I look for in my transition. What are the biggest differences excluding the obvious (weight, size, handling of materials).

I just want a smooth transition to using this format. While I am shooting I see things that catch my eye and scream for this format. I have a list in my notebook of shots I want to make with this camera. Lots of verticals too (my favorite).


Any insight would be great
Thanks all
Tim

[Andrew O'Neill]

I don't shoot 12x20, but it all goes up exponentially. You will go through more solutions, will need sleeves for the negs and some way to store them; bigger paper to print on...
Are you developing the film in trays?
How are you managing to fit the Ritter back onto your Canham? I have the Canham Light Weight version...

[tim810]

Solutions I have. Sleeves are on order. Paper I have. I will be doing tray developing in WD2D pyro. It is what I am familiar with.
As far as fitting the Ritter back to my Cambo I am using the rear standard from my 810, detaching the "foot ball goal" part from the rear standard (where the shift controlls are). Than I manufactured a piece out of mahogany to fit in the slot that this bar fit in. Next I will put together a bracket that will be similar to that on the rear of RR cameras. I will use angle brace, and aluminum rod to make it work. Here are some really crappy photos of the start of this project. I am at a stand still for now till I have the camera back in my possetion. I will post better photos later.
Cheers
Tim

I don't shoot 12x20, but it all goes up exponentially. You will go through more solutions, will need sleeves for the negs and some way to store them; bigger paper to print on...
Are you developing the film in trays?
How are you managing to fit the Ritter back onto your Canham? I have the Canham Light Weight version...

[steve simmons]

I have started working with 7x17 and I am chronicling my experiences in a series of articles in View Camera. The first installment, including how I tray develop the film, was in the Nov-Dec -7 issue. The second installment is in the Jan/Feb 08 issue.

steve simmons

[John Bowen]

Tim,

EVERYTHING needs to be so much larger. Bigger film/prints mean bigger trays, which means you might need a larger sink and/or a larger print washer. Bigger negatives means bigger negative sleeves and bigger storage boxes. Bigger prints means bigger mats and even bigger storage boxes. You'll need a bigger contact printing solution such as a contact printing frame or vacuum easel.

The depth of field issues are those that you are probably already familiar with. As the lens gets longer the depth of field gets shallower. With a 24" lens, there just isn't a whole lot of DOF. I find this causes me to spend a little more time trying to get my swings and tilts "just right" prior to stopping down the lens. I shoot 7x17 and find that I use my 355 G Claron and 450 Nikkor M much more than I do my 600 Fuji. I just think the 355 & 450 match up better with my way of seeing than the 600 does.

Oh yeah, you will also need a larger dark cloth and perhaps heavier duty tripod. I had Kevin Saitta make me a dark cloth. His is great, I purchased one from the formulary prior to purchasing Kevin's and the formulary dark cloth wasn't nearly as opaque.

Welcome to the wonderful world of ULF,

[tim810]

I am actually going to finish building my 14x22" contact printing frame today. I haver a dark cloth being made for me by a couple of friends of mine. I already have the trays and have put them in the sink I use for developing to make sure they fit, they do (barely).
As for DOF that is what I thought, I just wanted to make sure I wasn't missing any info. I am waiting for a reply on a 355 G Claron that I am interested in. I tend to gravitate twards a wide angle point of view. The only lens I use on my 8x10 is a 240 f5.6. I think the 355 will suit me well. I sometimes go searching for narower points of view and that is why I chose to purchase the 600. I figure it will be a good addition to my lens kit.

I can't wait to start shooting!!!

[Jim Fitzgerald]

I second the darkcloth. I made a new darkcloth out of a twin size sheet and some very nice velvet opaque material from a fabric store in town. I put it over my 8x20 and man is it dark. The best thing I've done so far. The other thhing I noticed is the space you need to load holders. I live in a one bedroom apartment and load holders in the bathroom. It takes some space. If you leave the slides in the end of the holder it is out about 40"! I take them out and then load. My go to lens is my 360 Rodenstock Gerogon. Great coverage and it was cheap. The packard is fine for it but most times I'm using the cap because I'm at F-45-64 most of the time. I have a 21 1/4" Kodak ektanon that I haven't shot yet and will try on the next outing. It goes to 128. ULF makes you think even more. It is a bitch when you develop a neg and you see something that you did that makes it a throwaway. On the other hand there is a lot of image to work with and sometimes you can crop. Keep the darkcloth over the back. I lost two great shots due to a slightly smaller holder causing a light leak.

Jim

[tim810]

I am able to use a huge dark room for film changing, but I will be purchasing a Harrison tent to do stuff in the field. I was told that there was one big eanough. At the moment I only have one holder so field changes are going to be necesasary for a while, untill I can afford more holders. Recomendations for size of tent and other options are welcome.

[John Bowen]

Tim,

I have the Harrison "Jumbo" film tent. It is designed for 11x14, but much to my surprise, I was able to change 7x17 film in it during a recent road trip. However, with 12x20, you will need an additional 6" to load film. I just don't think there is an additional 6". I have heard of/seen a solution with a Harrison film tent that had additional side tents that zipped on to the main tent. I didn't see any mention of it on the Camera Essentials website. I would suggest you call or e-mail them. I would be curious to hear what you find out.

One bone-head move I made on my recent trip, is I loaded the film incorrectly, ie, I loaded 4 sheets of film with the notches on the top left as opposed to the top right and exposed the back of the film....I was quite upset, but live and learn.

[Jeremy Moore]

tim, now the big question: when are you going to change your username?!