Thanks guys, glad to have such input!
Google sketchup... ponoko.. what is this, the 21st century?! That's some crazy stuff; amazing what you might be able to build from an armchair. Duely noted.
Michael, you're thinking exactly as I am about mounts with precision turn-screw adjustments. The body can get you in the ballpark, the fine adjuster get you on the money.
Thermal expansion might've been a red herring, but I just meant to ask about materials in general, and CMB did once mention that Bermpohl tri-color cameras (made of teak) did have this problem. Plastic's the way to go...
Good call on focal lengths. This is an issue that these cameras tried to address in the past. I'll have to do some digging, but there were retrofocus lenses to somewhat overcome these difficulties... I'm gonna post a list of cameras and their lenses here in a few minutes...
. . .
Ok, here's a list of cameras and their lenses from Issue 15, Volume 3 (1942) edition of The Complete Photographer
Curtis Color Scout - 2.25x3.25" - 7.5" Goerz Dogmar f/4.5 (190mm)
Curtis Color Master - 5x7" - 14" Eastman Ektar f/6.3 (355mm)
McGraw Hand Camera - 6.5x9cm (2.5"x3.5") - 140mm Goerz Dogmar f/4.5 (5.5")
McGraw Professional - 5x7" - "none"
National Daylight (or Tungsten) Feather-Weight - 3.25x4.25" - 8.25" Goerz Dogmar f/4.5 (210mm)
National Studio Deluxe - 5x7" - 12" Goerz Artar f/9 (305mm)
A much earlier model:
Bermpohl Naturfarbenkamera - 9x12cm (3.5x4.75") - Hugo Meyer & Co. Gorlitz Doppel Plasmat 21.5cm f4
Sure enough, these are some pretty long lenses. Anyone care to find the film-diagonal:focal-length coefficient?
This is promising, a Curtis Color Stellar 133mm f/5.3 on 4x5". here and here
Last edited by holmburgers; 03-05-2012 at 11:21 PM. Click to view previous post history.