Just wait until you see 4x5 chromes. Don't even think about looking at 8x10 chromes.
And 11x14 chromes will make you weep!!
Long live Ed "Big Daddy" Roth!!
"I don't care about Milwaukee or Chicago." - Yvon LeBlanc
Originally Posted by Konical
Certainly would, especially after finding that all your holders have light leaks given the cost of each sheet.....
Originally Posted by papagene
As to the OP, well, you're doomed. 6x9 is the next step, then 4x5"...
Originally Posted by DWThomas
I would like to offer you an "escape" from this dire situation but I too have become entrapped in this whirlpool!
I recently purchased a Hassey 503CXi w/80mm CZ lens et. Then added a 150mm plus the PME5 viewfinder.
Now I'm realizing that this kit will be fine for me here in New York - but what do I do about having MF gear in Tucson?
Oh no, not another kit! :o
And yet, I keep telling my wife that this camera stuff is cheaper than a mistress....
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Thanks guys, I got a good many smiles out of this thread. I guess if there's that many folks caught in the maelstrom, my situation is perfectly normal!
As to the LF suggestions, there has been a B & J Press 4x5 in the "collection" here since the mid-60s, though its bellows looks a bit stiff and the whole beast is not exactly mint. When I set it up for the 2005 Worldwide Pinhole Photography Day, it was hard not to notice that 4x5 B&W film in modest quantities was nearing a buck a sheet. Having "suddenly retired" in 2002, a few years sooner than planned, going to MF was a carefully researched decision. An MF enlarger fits better in my modest darkroom too. I still have a roll of Portra 160NC to try, then I think I'll settle back to delve more deeply into B&W for a while. I have acquired extra SQ backs so I can switch films easily -- it will no doubt happen here and there -- especially after seeing these first results.
The beauty about the square 6x6 format for me is that when I project my slides on my 60"x60" screen it fills the screen.
No. See my signature line.
Originally Posted by DWThomas
One lens? What in the world are you thinking? There is no hope for GAS once a format or process bites you hard. Up until recently, the majority of my aquisition fervor was getting equipment into the darkroom. Then there was that damned Mat-124 that was cheap... Then there was that first RB67 Pro body with the 180 & 90 lenses. Then there was the second body because it was so cheap, and the other lenses, backs, backpack, filters, etcetera, so on and so forth. And then there is that 100-200 zoom that I have had my eye on...
If given the outcomes of other formats I use, there will come a point that I have everything conceivable for the RB kit. And it will stay that way for a while. Then, a couple years down the line, I suspect that I will want to try an RZ body and lens... The rest will be fairly predictable. The GAS problem now is moving into 8x10. My signature line says it all...
BTW on the Digisix & Digiflash, they are great meters. I use the latter with a Nikon shoe adapter on my grip for all the MF work, and it has been the staple for most 4x5 ambient and flash work. The only exception has been some difficult architectural stuff where I have used Minolta Spotmeter F and some intriguing Zone System convolutions to extract the maximum detail. As to the temperature thing, you will find that real handy the first time you shoot a Polaroid sheet and wonder how long to time it out...
When you come to a fork in the road, take it...
The only known cure for this condition is to locate the nearest 10 story or higher building and to jump. This is >99.7% as a permanent cure. Bottoms down.
Claire (Ms Anne Thrope is in the darkroom)