Linhof technika iv diagram
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Now, this is obviously not the case, but it's certainly what it felt like. I think what it came down to, for me anyways, is that it felt like I was spending more time setting up the camera than I was taking photographs.
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Movements silky smooth, and the entire camera is rock solid. Exploring a scene is no longer tedious quick setup, quick teardown. It takes no time at all to setup, and is so well made, just using it is a joy. It took about 6 months to find the right one, but I finally got one. I missed out entirely, as the light died before I even got under the dark cloth. The last straw was last October when I was out photographing with a few friends, and the one fellow got off two negatives before I even had my camera setup. I used to use my viewing frame almost to the exclusion of the Gandolfi, since it took so long to setup. It got to the point where I was spending more time looking at a scene trying to figure out if it was worthwhile to photograph, rather than getting the camera out and exploring the scene with the camera. I purchased a used Variant Level 3, and initially loved working with it - the flexibility was great! However, over time I became annoyed with how long it took to setup the camera, especially when the light was changing. After much research, I decided on a Gandolfi. I had a Toyo 45A-II, but hated how the front standard locking mechanism worked - if you have one, you know what I mean - combining front swing/shift are a nightmare based on my interest in photographing architecture, I thought I needed a camera with more (better) movements than the A-II. I have pretty varied tastes when it comes to photography - I photograph architecture, abstracts, and landscapes. Learn by doing, I always say.īack to the Gandolfi.
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#Linhof technika iv diagram how to
Regardless of what I'm doing, I tend to jump into the deep end, and worrying about learning how to swim later. Unfortunately, with all this flexibility, it takes a bit of time to setup. For those of you who are not familiar with this camera, you can read about it at I consider this camera to be a flat bed camera on steroids - it has all the movements, a massive amount of bellows draw, and can even be modified into a 5x7. My previous camera was a Gandolfi Variant Level 3 4x5. Herewith are some of my thoughts on this camera, and ones I've owned in the past. Lighting came from a flash 640W.I recently purchased a (silghtly) used Linhof Master Technika on eBay I received it last Thursday, and was out photographing with it twice over the weekend. Print was by contact over silver gelatine paper. The second photo was also made over Agfa ASA 100 13 x 18 cm. Print was made over aquarelle paper sensitised with a siver-gelatin emulsion. The following picture was made with natural light on Agfa ASA 100 13 x 18 cm film. Now the lens it is mounted in an Ica Excelsior because I have more backs for this one. I paid USD 60 for the whole set that included a tripod from the same vintage. It came along with a wooden camera 13×18 cm that I could not identify. I bought this one in Rome, in the Porta Portese flea market, in 1998. The same goes with Canon, Nikon high aperture lenses going up to f1.4 or f1.2 Cult names like Planar, that equipped Rolleiflexes, and also unsymmetrical types like Biotar or Summitar, Summicron (both Leica) all of them are further developments from the Double-Gauss idea. Almost every high-apperture objective used today is of the type known familiarly as the Double-Gauss lens. The double-gauss concept itself made its way in photographic lens history.