Thanks Dan that explanation makes perfect sense. The standards in the "designed" configuration are to thick to allow the 2 planes to come close enough together or if they do just barely.
Thanks Dan that explanation makes perfect sense. The standards in the "designed" configuration are to thick to allow the 2 planes to come close enough together or if they do just barely.
When I was trying to find a way to get an SCII (in the Calumet 45nx form) to accommodate a 47mm lens, I tried this. I discovered that when the rear standard is reversed, one cannot slide in a film holder or pull the dark slide unless shooting in the vertical format--the upright is in the way.Originally Posted by Dan Fromm
Rick "been there, done that" Denney
All 90mm lenses are not equal. Just like all 45 cameras differ.
A Rodenstock Grandagon-N 90mm 4.5 has a flange focal distance (FFL) of 98mm. the 6.8 version is 94mm, a 90mm Schneider SA XL is 103.5 and the 90mm 6.8 SA is 103.4 while the 90mm 5.6 SA was 102.7 and the 90mm 8.0 was 98.8mm (all in Copal shutter)
So part of your problem may be which 90mm you are using.
Yes, of course you're right. I always forget that small detail until I try the trick, and shortly after I forget it again.
Dan "ars longa, memoria brevis" Fromm
Whatever you do, Dan... if/when you try that again just remember to have the back open toward the TOP. One can easily configure to vertical and have the back open toward the rail. Then no film holder can be inserted. Ha ha ha. Sometimes we all need to be embarassed by those smal details to be reminded of them. Ha ha ha.
Apparently we are looking at different things. The Linhof Color 45 (1958 to 1964) and its replacement, the Linhof Kardan Color 45 (1964 to 1975) hd a fixed bellows and accommodated lenses from 65mm to 360mm. Both had a hinged rail block so it was no big deal to put the rail block between the standards or, if needed, behind the rear standard to allow moving the standards closer together. This feature was also used on the later cameras the Kardan B as well as the original Kardan Super Color with the round rail. On all later Linhof Kardan cameras the rail did not use a standard bearer and instead the rail bottom mounted directly to the head so at all times the standards could be positioned as close or as far apart without taking anything apart or reversing anything. A feature that has always existed on Linhof monorail cameras. Even the older Kardan 57 introduced in 1956 took lenses from 90mm up without reversing standards.
And the Linhof Color and the Kardan Color 45 cameras did not have or require a bag bellows so I don't understand what the following means in regard to Linhof monorails:
"Of these, only the Norma design followed the trend to shorter lenses successfully". Obviously the Linhofs did also. Easily to 65mm on some and down to 35mm on more recent ones.
By that I mean without having to fundamentally redesign the back, bellows, and lens-board attachments to create a system camera that could be adjusted for a range of lens lengths and still provide movements. I used a Linhof Kardan Color in college. To use those short lenses, you still had to move the tripod clamp out from between the standards, just as you do with the Cambo. And with a short lens, shifting is going to be a challenge. Of course, in those days, lenses that short didn't have coverage for movements anyway, so it didn't matter--but that was my point.
Sinar was the first with a common back-board-bellows attachment in 1948 or '49, as I recall reading. The Super Cambo came out the same year as the Linhof Color. It was the Linhof Kardon B that had the first such flexibility, in the late 60's?
Rick "who added two inches to his biceps hauling around that Kardan Color" Denney
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