one final tip when loading, that I missed off that list; for the backs on 4x5" 's ALWAYS wind on IMMEDIATELY!! there are NO interlocks, so you can do a multiple exposure, or a 'dud' frame ANYTIME, so you need to pay attention. and...… ALWAYS watch out for the winding lever!, esp. when removing the camera from a bag/wrap, or pouch, as this is easy to flick, esp. as the locking levers for them are just as easy to flick too!
Very clear instructions 😊🙏 👍thanks for the tip about the option to make black and white prints from portra color film, something I have never thought of before, sounds like two birds with one stone.
Hi Lee. Thanks for your comment. In my quest to find one film as my "go to" film I had a few important requirements...I must be able to easily develop and scan it myself, it can't have objectionable grain, should have medium-high ISO/ASA, can produce descent quality color and black and white prints, and it must have a generous dynamic range. The film that best met these requirements was Portra 400. Another big bonus with this film is that you can achieve strikingly different looks simply by adjusting the exposure. To see a couple examples of black and white conversions, watch my video about the DaYi 6x17 camera. At the end are the samples.
Thanks for pointing me to the sample black and white images Richard, they do look really good, the tonality is rich and tasty. I do also like the color images as well, they have that Disney dreamy look that doesn’t exist in slide film🤩
@@PhotoYipy With the ability to work with images in post-production, we can produce an image that is similar to about any other film. So, I chose to stick with one film and keep things simple.
some loading tips, DON'T get the film unwrapped UNTIL the film holder is out of it's shell, the wind-on spool is in place, and the winding system is ready to go, as if you don't HOLD ONTO the open roll (controlling your material, as some schools, RUclipsrs say) it can unwind, like a toilet roll, and this slack can disrupt the film's frame spacing, or at worst jam the advance system (esp. for Hasselblad H, Contax), as those "electric advance" systems can't be backed up {reversed} to fix anything; also here is a good point to say one more thing about loading, the 'paper' which holds the roll shut MUST be removed completely, as for Hasselblads, or other complex backs, any 'rubbish' inside can jam things, or at worst cause a shift in the focal plane (missed focus), or dust/water spots when developed, or even cause the light seals to not shut correctly {when the door shuts}, causing a leak (lightning/sun ray pattern); one last tip, CHECK the spool locking pins, and the locking of the film leader, as this can come ary during shooting, esp. with motor advance, it can pull the film leader off, and the spacing, etc. all goes to hell (and you need a dark box to re-spool, and reset everything)- also if you are over zealous with hand winding, so be gentle, think of a waltz, 1+2+3, or saying the word "polaroid" slowly, by syllables (this, like in 135 stops lightning marks, from generated static from too fast a motion).
a suggestion, if you want the "there and back again" convenience in 6x12, then go for a SINAR Vario back, it is adjustable format, even when shooting (it uses the format slides as the dark slide); there is even a Zoom, which only changes format before loading film, single formats of 6x6 ,6x7 & 6x9 and these ALL come with a mask for the Ground Glass, so no worries about framing the shot, and, as these are thin backs, NO spacers are required to focus it, like the Lomograflok back, Hassy PB, or others; and they are all standard, so no need to use the Graff lock bars .
one final tip when loading, that I missed off that list; for the backs on 4x5" 's ALWAYS wind on IMMEDIATELY!! there are NO interlocks, so you can do a multiple exposure, or a 'dud' frame ANYTIME, so you need to pay attention.
and...…
ALWAYS watch out for the winding lever!, esp. when removing the camera from a bag/wrap, or pouch, as this is easy to flick, esp. as the locking levers for them are just as easy to flick too!
Excellent information! Nice to hear from someone who has such vast experience. Very helpful!
Very clear instructions 😊🙏 👍thanks for the tip about the option to make black and white prints from portra color film, something I have never thought of before, sounds like two birds with one stone.
Hi Lee. Thanks for your comment. In my quest to find one film as my "go to" film I had a few important requirements...I must be able to easily develop and scan it myself, it can't have objectionable grain, should have medium-high ISO/ASA, can produce descent quality color and black and white prints, and it must have a generous dynamic range. The film that best met these requirements was Portra 400. Another big bonus with this film is that you can achieve strikingly different looks simply by adjusting the exposure. To see a couple examples of black and white conversions, watch my video about the DaYi 6x17 camera. At the end are the samples.
Thanks for pointing me to the sample black and white images Richard, they do look really good, the tonality is rich and tasty. I do also like the color images as well, they have that Disney dreamy look that doesn’t exist in slide film🤩
@@PhotoYipy With the ability to work with images in post-production, we can produce an image that is similar to about any other film. So, I chose to stick with one film and keep things simple.
some loading tips, DON'T get the film unwrapped UNTIL the film holder is out of it's shell, the wind-on spool is in place, and the winding system is ready to go, as if you don't HOLD ONTO the open roll (controlling your material, as some schools, RUclipsrs say) it can unwind, like a toilet roll, and this slack can disrupt the film's frame spacing, or at worst jam the advance system (esp. for Hasselblad H, Contax), as those "electric advance" systems can't be backed up {reversed} to fix anything; also here is a good point to say one more thing about loading, the 'paper' which holds the roll shut MUST be removed completely, as for Hasselblads, or other complex backs, any 'rubbish' inside can jam things, or at worst cause a shift in the focal plane (missed focus), or dust/water spots when developed, or even cause the light seals to not shut correctly {when the door shuts}, causing a leak (lightning/sun ray pattern); one last tip, CHECK the spool locking pins, and the locking of the film leader, as this can come ary during shooting, esp. with motor advance, it can pull the film leader off, and the spacing, etc. all goes to hell (and you need a dark box to re-spool, and reset everything)- also if you are over zealous with hand winding, so be gentle, think of a waltz, 1+2+3, or saying the word "polaroid" slowly, by syllables (this, like in 135 stops lightning marks, from generated static from too fast a motion).
Very helpful and well presented explanations. I look forward to your continued contributions. Thank you for sharing.
a suggestion, if you want the "there and back again" convenience in 6x12, then go for a SINAR Vario back, it is adjustable format, even when shooting (it uses the format slides as the dark slide); there is even a Zoom, which only changes format before loading film, single formats of 6x6 ,6x7 & 6x9 and these ALL come with a mask for the Ground Glass, so no worries about framing the shot, and, as these are thin backs, NO spacers are required to focus it, like the Lomograflok back, Hassy PB, or others; and they are all standard, so no need to use the Graff lock bars .
Thank you for this very informative reply. I appreciate you taking the time to share your knowledge with our followers...much appreciated!
Good morning Sir, i have Linhof 4x5, thanks for exemple. Bye.