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  1. #31

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    Good Evening, Nathan,

    The ordinary Beseler negative carriers are just simple, flat metal; any distortion or warping should be immediately obvious. As you have noted, 120 negatives can often show a bit of movement when in the carrier, but my experience has been that this is irrelevant. Once the negative is in place in the enlarger, there is nothing to move it, except for the remote possibility that heat from the lamp might cause it to "pop." That's something I've never seen happen with my Beseler equipment. I've quickly scanned the comments above and don't recall anyone's mentioning the possibility of enlarger misalignment, although that might well show up in prints from 35mm also.

    Have you tried printing a different apertures to see if overall sharpness varies? If you're using ƒ8, you might try ƒ11 at twice the exposure time or ƒ16 at four times.

    Konical

  2. #32

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    Ha! What's the point of all the fuss in this or that camera lens discussion if you're neg doesn't even lie flat in the carrier? You're only as good
    as your weakest link.

  3. #33
    AgX
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    Quote Originally Posted by Chrismat View Post
    I have heard that most 35mm lenses are (generally) sharper than medium and large format lenses because of the amount of magnification a 35mm negative or slide has to go through for printing.
    Not quite.

    Smaller format lenses have inherently better resolution than larger format ones.

    But that decrease in lens resolution with increasing format is overcome by much faster rise of negative size and thus smaller enlargement.

  4. #34

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    Quote Originally Posted by DREW WILEY View Post
    Ha! What's the point of all the fuss in this or that camera lens discussion if you're neg doesn't even lie flat in the carrier? You're only as good
    as your weakest link.
    Very valid point!

  5. #35

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    Quote Originally Posted by Sirius Glass View Post
    The OP may have noticed that as the film format increases the depth of field appears to decrease vis-a-vis the changes of the circle of confusion related to the format size.
    I took a few samples to my camera club meeting, and the consensus was indeed my error with regard to depth of field and format size. Apparently my camera has schooled me in the laws of optics.

    P.S. I can't even imagine what large format photographers have to do to get a reasonable depth of field!!

  6. #36
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    They have to stop down quite a lot and then make long exposures. That's why they are mostly used for static subjects.

    “The contemplation of things as they are, without error or confusion, without substitution or imposture, is in itself a nobler thing than a whole harvest of invention”

    Francis Bacon

  7. #37

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    We LF types control depth of field by things like swing and tilt. That's why we get far more in acute focus than people using conventional gear.
    In a receding perspective, everything from your feet to infinity can be placed in correct focus. So it's actually a far easier problem with big view
    cameras.

  8. #38
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    Quote Originally Posted by DREW WILEY View Post
    We LF types control depth of field by things like swing and tilt. That's why we get far more in acute focus than people using conventional gear.
    In a receding perspective, everything from your feet to infinity can be placed in correct focus. So it's actually a far easier problem with big view
    cameras.
    Unless the subject is more than about 6 feet away.

    “The contemplation of things as they are, without error or confusion, without substitution or imposture, is in itself a nobler thing than a whole harvest of invention”

    Francis Bacon

  9. #39
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    Quote Originally Posted by Nathan King View Post
    I took a few samples to my camera club meeting, and the consensus was indeed my error with regard to depth of field and format size. Apparently my camera has schooled me in the laws of optics.

    P.S. I can't even imagine what large format photographers have to do to get a reasonable depth of field!!
    My cameras have schooled me once or twice.

    It's not always the lesson I first thought bit was though. One of the lessons I've learned along this line is that it's not really the format.

    Aperture and focal length are what controls DOF. Large format cameras just normally use longer lenses.

    Personally I've found that I like what lenses in the 150-180mm range do in 35mm, MF, and 4x5. I like the DOF there.
    Mark Barendt, Beaverton, OR

    "We do not see things the way they are. We see things the way we are." Anaïs Nin

  10. #40

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    True. The format doesn't cause the problem but simply highlights the same issues inherent in photography. Where you may be forgiven in smaller formats you begin to see issues in larger ones. With a 90mm lens in 35mm I am careful to get enough depth of field, but with the wider angle of view with the same focal length in medium format I forget that it is just as much of an issue.

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