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  #11  
Old 7th February 2016, 04:47 PM
Jerry Bodine Jerry Bodine is offline
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In case you're not aware, do make sure you check the groundglass for hood-caused vignetting with the lens stopped down to the taking aperture. I learned this with the very first box of color transparency film I put through my 4x5 Sinar Norma.
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  #12  
Old 7th February 2016, 05:56 PM
JOReynolds JOReynolds is offline
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But isn't it a lovely camera! I used one in the sixties but retired, on a fixed income, I couldn't afford to run one now. I enquired after the cost of one box of film, processing E6, packing in a library page and hires scanning.
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  #13  
Old 7th February 2016, 06:33 PM
Jerry Bodine Jerry Bodine is offline
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Quote:
Originally Posted by JOReynolds View Post
But isn't it a lovely camera! I used one in the sixties but retired, on a fixed income, I couldn't afford to run one now. I enquired after the cost of one box of film, processing E6, packing in a library page and hires scanning.
Yes, 'tis lovely. In 1966 at my first of several AA workshops as a bachelor (shooting only 35mm with my Leica M3 - not knowing what I was doing) I recall having a brief chat with Richard Garrod, one of AA's very skilled assistants, while he was working to get a b/w shot with his 8x10. I asked him how much 8x10 b/w film cost per sheet, and he said "about 50 cents" . He had no idea what he'd planted in me. That started me down the road to only large format with my Normas 4x5/5x7/8x10, today working in b/w exclusively. Now I'm happily retired/married doing my thing, dealing with life's interferences.
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  #14  
Old 7th February 2016, 07:22 PM
DaveP DaveP is offline
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I'm with the no-hood brigade. I have had a Lee compendium hood in the past, but mucking around with it for each shot trying to get maximum shadage without it being visible was a pain, to basically no benefit at all. These days if there's any prospect of direct sunlight hitting the front of the lens I just stand in the way or use hand or darkslide to shade it.
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  #15  
Old 12th February 2016, 06:39 PM
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Martin Aislabie Martin Aislabie is offline
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My take on the subject is slightly different.

I started off intending, if required, to flag the lens.

I even bought an Ebony Lens Shade Clip to hold the GG Cover Plate to shade the lens.

I hold the Film Holder Darkslide to shade the darkslide aperture.

However, flagging with the Lens Shade Clip has proved difficult to manage on longer focal length lenses in anything stiffer than a breeze.

I also have found that flare is worst on the longer focal length lenses with their inevitable larger image circles.

So, I have bought myself a Mamiya G3 Lens Shade. It is a thing of beauty - a carefully crafted rack and pinion concertina lens bellows.

The plan is to set the camera up for the shot, then assess if the Lens Shade will be required and then rack out the hood until the point that it can be seen in the picture. Finally, withdraw the hood until it just shades the front of the lens.

Of course, in the winter time the sun is so low in the sky in the UK that it is almost impossible to shade the sun out of quite a lot of shots, so will offer no advantage.

But in the spring, summer and autumn, the lens shade should come in to its own, effectively shading the lenses in "contre-jour" lighting conditions.

Before I discovered the G3 Lens Hood, I had considered buying some rubber lens hoods, which can get set to wide-angle/normal/telephoto positions. They might just do the trick for you - available from Amazon.

Martin
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  #16  
Old 12th February 2016, 08:57 PM
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Argentum Argentum is offline
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I have a Lee Filters setup with bellows lens shade which can be adjusted for the lens foccal length.

The bellows is attached to the filter holder. You can get different bellows for different formats.

It works on 35mm, MF and LF. You just need the correct step up rings from Lee to fit each lens.

What doesn't appear to have been mentioned is that with camera movements such as tilt and shift you can quickly find that your lens shade gets in the way. The Lee system works to a point but with more extreme movements you may have to compress the bellows so far as to make it pointless using them.

However, the filters work across all lenses and formats.

There are specialist compendium lens shades such as the linhof ones which cater for tilt and shift movements more than a bellows system but they are even more expensive.

A normal rubber lens shade is not likely to cater for any tilt, shift or swing since its not adjustable.

Lee filter system video: http://www.leefilters.com/index.php/camera/system
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Last edited by Argentum; 12th February 2016 at 09:27 PM.
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  #17  
Old 13th February 2016, 09:16 AM
Paulographic Paulographic is online now
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When I had LF gear I used a Bronica SQ Pro Bellows lenshood for one of my lenses which happened to be 65 mm threaded at the front but came with a 65>67 step-up ring.I preferred to have a hood permanently attache to my Zenzanons, still do and still have the bellows hood lying idle. I don't know if there was one made for the ETRS or GS series as the rectangular shape might be a little more efficient on 4x5.
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  #18  
Old 13th February 2016, 11:53 AM
JOReynolds JOReynolds is offline
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Quote:
Originally Posted by Mike O'Pray View Post
You never see them in any films or TV programmes that use 4x5 press cameras.
Quite right! Most movies of the epoch showed 4x5" cameras with flash guns and expendable bulbs. Lens hoods would provide no benefit because the principal light source is behind the lens.
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  #19  
Old 13th May 2016, 08:12 PM
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Nabhar Nabhar is offline
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Quote:
Originally Posted by alexmuir View Post
I wondered what other people use. Are screw-in rubber or plastic hoods of any use?
Alex, at the risk of ridicule, here's my evolving 4x5 arrangements. As you can see, from the bottom up (converted surveyors tripod-£22 total), my priority has been economy.
The red hood was formerly the lid from a small Nescafe jar, while the larger ''77mm step-up adapter'' was from the medium-size Nescafe jar. I screw in my 77mm red, yellow and polariser filters carried over from my old RB67pro s set-up into this. Both of these knocked up for pennies.
The Crown Graphic has limited movements anyway, so I don't really have many vignetting concerns if and when I will be using these. My point is that, the capability is there if I'm desperate.
(Also shown is a home-made loupe that allows ground glass viewing - with the open gg protector door still attatched - fantastic magnification performance for what it is; a cannibalised single lens from an unused set of small binoculars, and some plastic tube; negating the need, and cost, of a dark cloth).

Now I just need to get a film holder and some film, and I'll be able to tell you if it all works together. Softly, softly, catchy monkey.

JP
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  #20  
Old 13th May 2016, 08:28 PM
alexmuir alexmuir is offline
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Your setup looks great! I have just been doing without a hood at the moment. I still have the bellows one that came with the camera, but i haven't got round to fixing it yet. I have bought the bits, though! I suspect it will only be useful indoors, and too much hassle to use on location. I like your idea for a loupe. I'm using a pair of +3.5 reading glasses. You just have to be careful not to try walking anywhere whilst still wearing them.
Alex


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