MCrooks, don't let found money corrupt you. Lenses that won't cover your intended format are at best a distraction.
Sometime in the '60s Agfa bought Dr. Staeble Werk, a lens maker in Munich. Staeble, as part of the Agfa empire, made all of the lenses for Agfa repro cameras. They were sold to other makers of repro cameras, can be found badged Helioprint, Staeble, Repromaster, Eskofot. They are sort of known quantities but there's no strong consensus about how good they are. Some users say they're superb, one whom I respect (not me in disguise) said "nothing to write home about." The consensus, not 100%, is that they cover around 70 degrees. I once got a pair, 150 and 210, in case my 150 and 210 Konica Hexanon GR IIs weren't any good. The GR IIs were good enough and my Staeble lenses' diaphragms had very stiff click stops, end of that discussion.
Under any of their names Staeble repro camera lenses are hard (= expensive) to put in shutters. About the only repro camera lenses one can be reasonably sure will go directly into a standard shutter without a visit to the machine shop are G-Clarons and most shorter Apo-Ronars. Some examples of some of the others, e.g., Apo-Artars, also go into standard shutters.
Lenses whose cells won't go into a standard shutter are snares for the unwary. I discuss several ways to make them usable here: http://www.galerie-photo.com/telecha...2011-03-29.pdf In general the economics are unfavorable.
Hey Dan, there is no found money here I'm working with little to no budget. I had my brother pick up the copy camera with two lenses for $60. He hasn't gotten my any precise detentions but he guessed the thing stands 4 foot tall 3 wide and 2 deep and weights in at close to 200lbs. All looking like a plus to me, except for the weight. I'll have to wait and see once I get it out here. As for adapting to a shutter I have a friend that works at a full service machine shop that is always willing to take craft beer in trade for machine time and a challenge.
Also I skimmed the article you shared and it looks like a lot of great info. I'll read it in full tonight. Thanks for passing it on!
Nothing personal, but you've been corrupted. Those little lenses won't come close to covering the formats you want to shoot. That's why they're a distraction. I know, you can always change direction.
The camera's bellows might be usable for your project.
That you can get low cost machining is wonderful.
Good luck, have fun, do your homework,
I see where your coming from now. Also I just got word that the bellows is 19.75 x 25.25 on the inside opening and has not light leaks! Plus fully functioning rail system, cog drive and ton of usable steel stock. So for sixty bucks I'll count it as a win.
A 32" is a lens with 1.25 diopter or two +0.625 for better quality. A 40" lens is +1 diopter, or two +0.5. The field curvature would be wonderful, sharpness so-so unless stopped down, but you would not know until you tried. The Leitz 560mm telyt is an achromat, that means sharpness in center is doable with the right lens. You could start with a Canon 500D.
Not sure how a 500D fits into build or lens discussion of a 20x20 wet plate camera, but I'll sleep on it.
Originally Posted by Øyvnd:D
My 25 inch Protar V should do it. Zeiss said it had a 46 inch image circle at small stops. However, f/18 and wet plate don't sound like they go together.
: For £60 you get a achromat with the best out of focus rendering available, with focal length of 500mm: www.ebay.co.uk/itm/300725377063 . Place it behind the aperture, start with paper negative or ambrotype with a tiny aperture f32-f128. Look at others ambrotypes with menisc lenses www.google.no/search?q=ambrotype+meniscus push "Pictures"
Originally Posted by Øyvnd:D
Or try this:
Reinhold's longest won't cover 20x20, let alone 20x24, but perhaps he can make one long enough to serve.
you know.....I got this huge contraption--like a giant peephole--anyways---I was experimenting with this thing and found that if I put it behind a big coverage lens, the focal length gets expanded and the coverage as well...I had it mounted behind a 250 fuji w and the image circle was gigantic--I ran out of movements with an 11x14 deardorff studio camera testing it....I didn't ever shoot anything with it like that...it was used as a projector 2x image expander--HUGE 6" piece of glass on one end --negative lens (the "teleconverter")....so if you can find one of them that can take your regular lenses that cover 8x10 and make them supersized to cover uuuuuuuulf. this thing I found would work with the 250 and a 190 wf ektar to expand coverage and focal lengh...but when I tried a 360 on it, it would not form an image--so there's a limit---I thinik with one of them you'd get your coverage without buying a super huge dedicated lens for uuuuulf...
it's identified as:
2x Visual Image Compensator
VICOM INC. ROCHESTER, N.Y.
MADE IN U.S.A.
there's a sticker on it that says
851 W. GRAND AVE.
CHICAGO, ILLINOIS 60622
I assure you that at the present day there is no "Show It" or anything even remotely related to this sort of object at grand and halsted....so don't bother calling that number