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  1. #31

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    Quote Originally Posted by Jeff Kubach View Post
    To make my RB67 more sharp, I will shoot razor blades.

    Jeff
    Good one. Whetstones make things sharper, so I will shoot those instead of razor blades.
    ME Super

    Shoot more film.
    There are eight ways to put a slide into a projector tray. Seven of them are wrong.

  2. #32

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    I would first like to thank everybody that responded to my thread or private messaged me with helpful suggestions. This is a wonderful forum!

    I purchased a small light table and compared a few negative frames I had made prints of from both 35mm and 6x7 formats. Both formats appeared identical in sharpness through a loupe. This told me that something was going on during the enlarging process. Long story short it appears that my Beseler medium format negative carrier is not pressing the negative down firmly like the 35mm carrier does. I'm not sure if one side is bent or the joint attaching each half is loose, but something is wrong with how it is holding the negative. I can push on the 6x7 negative and it will jiggle up and down very slightly. The 35mm negative will not move.

  3. #33

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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

  4. #34

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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.

  5. #35
    AgX
    AgX is online now

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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.

  6. #36
    Poisson Du Jour's Avatar
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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!
    “The photographer must determine how he wants the finished print to look before he exposes the negative.
    Before releasing the shutter, he must seek 'the flame of recognition,' a sense that the picture would reveal
    the greater mystery of things...more clearly than the eyes see."
    ~Edward Weston, 1922.

  7. #37
    Sirius Glass's Avatar
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    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.
    Warning!! Handling a Hasselblad can be harmful to your financial well being!

    Nothing beats a great piece of glass!

    I leave the digital work for the urologists and proctologists.

  8. #38

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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!!

  9. #39
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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

  10. #40

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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.

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