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Well I love the format (in terms of size and aspect ratio) but I tend to shoot colour and I have only seen 5x7 in b/w. Also I don't know where I can get 5x7 processed (I use Peak Imaging who will do 4x5 and 8x10). So that is a bit of a dilemma.
 
Well I love the format (in terms of size and aspect ratio) but I tend to shoot colour and I have only seen 5x7 in b/w. Also I don't know where I can get 5x7 processed (I use Peak Imaging who will do 4x5 and 8x10). So that is a bit of a dilemma.
Colour 5x7 is available from the US via the Kodak special order scheme: Portra 160 and 400, Ektar 100 and Ektachrome 100. Of course that would involve a once a year bulk buy, and it really needs a group of 5x7 photographers to band together to make that viable.
I process my B&W at home which is a hell of a lot easier in the Stearman Press 10x8 tank than by any other means I've tried. For colour I shoot with my RB67 or digitally.
 
Traditionally we never used 7x5 here in the UK that makes finding second hand DDS near imposible, and there were no 7x5 hangers for labs. Well into the 1960's we still used Half plate and Wholeplate formats here, and Continental Europe 13x18cm. My first LF camer 1972/3 was a Whole plate De Vere monorail with additional HAlf plate and 5x4 backs, by then Half plate and Whole plate film had largely disappeared.

.It was the advent of the Internet and particularly Ebay that really opened up the possibilities here of shooting 7x5 prices of LF cameras of all formats from the US were significantly cheaper than those here in the UK or Continental Europe. I paid £600 for a 10x8 Agfa Ansco Commercial View, with a 12" Dagor lens, cased with 4 spare lens boards, compendium hood, 3 DDS, and a dark cloth. Later that year I bought a Devere 5108 (10"x8") with 4 or 5 lenses, timer and large Beard easel for anothe £600. That was 2004 at the point where most commercial photogrphers had switched to digital, pro labs were closing and there was a wide range of LF cameras and enlargers on Ebay, there would be 20 or 30 De Vere 504's and usually a couple of 5108's.

Now prices have risen quite substantially and there's fewer bargains ariound, but they are there just harder to find :D

Ian
 
Traditionally we never used 7x5 here in the UK that makes finding second hand DDS near imposible, and there were no 7x5 hangers for labs. Well into the 1960's we still used Half plate and Wholeplate formats here, and Continental Europe 13x18cm. My first LF camer 1972/3 was a Whole plate De Vere monorail with additional HAlf plate and 5x4 backs, by then Half plate and Whole plate film had largely disappeared.

.It was the advent of the Internet and particularly Ebay that really opened up the possibilities here of shooting 7x5 prices of LF cameras of all formats from the US were significantly cheaper than those here in the UK or Continental Europe. I paid £600 for a 10x8 Agfa Ansco Commercial View, with a 12" Dagor lens, cased with 4 spare lens boards, compendium hood, 3 DDS, and a dark cloth. Later that year I bought a Devere 5108 (10"x8") with 4 or 5 lenses, timer and large Beard easel for anothe £600. That was 2004 at the point where most commercial photogrphers had switched to digital, pro labs were closing and there was a wide range of LF cameras and enlargers on Ebay, there would be 20 or 30 De Vere 504's and usually a couple of 5108's.

Now prices have risen quite substantially and there's fewer bargains ariound, but they are there just harder to find :D

Ian
I think with Intrepid Cameras doing 'quite nicely thankyou' with their 5x7, the interest can only grow in the UK.
 
Well it has taken me a while to get this far, a large hammer, lots of wd40, lots more oxalic acid and polish and a lot of time and sweary words but I have at last got the majority of a complete if somewhat modified4x5 camera at last.

At least everything now moves as it should and without needing the hammer any more. Most of the screws were replaced with stainless steel versions.
I'm still busy making up the ground glass holder and springback but it is on its way. The lens holder is just flat aluminium with a felt backing to give a light seal but it seems to work ok. I have plate holders but no plates yet my idea is to use these with some spray mount to hold photo paper for paper negatives but I also have a cut film holder and some film on the way so I can use film when I'm feeling a bit more confident with it.274680214_10222055483361703_418586489037533199_n.jpg274682243_10222055482201674_2733864269144295301_n.jpg274767252_10222055481921667_8428536388888551162_n.jpg274643015_10222055482801689_3481617836923623684_n.jpg
 
Well it has taken me a while to get this far, a large hammer, lots of wd40, lots more oxalic acid and polish and a lot of time and sweary words but I have at last got the majority of a complete if somewhat modified4x5 camera at last.

At least everything now moves as it should and without needing the hammer any more. Most of the screws were replaced with stainless steel versions.
I'm still busy making up the ground glass holder and springback but it is on its way. The lens holder is just flat aluminium with a felt backing to give a light seal but it seems to work ok. I have plate holders but no plates yet my idea is to use these with some spray mount to hold photo paper for paper negatives but I also have a cut film holder and some film on the way so I can use film when I'm feeling a bit more confident with it.View attachment 3028View attachment 3030View attachment 3031View attachment 3029

Well done. My first true view camera was a Calumet of slightly newer vintage.
 
A bit of camera DIY repairs and it's ready to take a photo which it hasn't been able to do for over 50 years. Not the prettiest springback in the world but it works for now. I might redo it using stainless as I'm not sure the brass will stay springy enough
 

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wasn't happy with the brass - so springback MK2 made from stainless piano wire and much better springyness has been created. Much happier with this version and how it works - just need to dig out some stainless washers to replace the little bits of brass
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Never thought I'd see a LF camera using piano wire and pop rivets but if it works, why not! Well done that man.:cool:
 
Very interesting. You’re right about the brass bits.
May I ask what is the semi-circular cutout at the bottom of the screen’s frame?
My Gandolfi has copper alloy springs, but they look like bronze, not brass.
 
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The cut out is becausse there is a steel spring clip that goes across the bottom of the internal slot which pushes the glass intp a channel at the top end the cut out allows you to push the spring doewn to remove the glass - not currently fitted because I wanted to get everything else sorted before putting the glass in
 
Rick, I'm quoting you here as it's more appropriate:

The intrepid seems good value to me - I have one on order - the problem with second hand as I have found out the hard way is getting spare parts to make them work is like finding rocking horse poo - I've spent more on bits for the old cameras than the intrepid cost new and it has taken me much longer to find the bits (and still haven't found some of them) for the second hand cameras although that was part of the fun for me.
At least with a new camera you can be sure it is all there and all working and intrepid lens boards are only £15 each.


Part of the issues with parts for second-hand LF cameras are greatly compounded when the cameras are US made and either were never sold new here, or only in small numbers.

I'm in that position with a B&J Grover monorail which I was given by another member here, it's missing the focus frame and had no rail. A friend picked up some hex rail for me yesterday, and now I can finish restoration. IT takes time sourcing parts, but I've always managed to get them with patience, and at reasonable cost.

Ian
 
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I'm sure I will get the bits I need eventually - my point in the other post was that these things can take quite a while and for someone wanting a working camera soonish the intrepid does seem like a good option. I've got my calumet at the point where I can try to take some photos but it has taken me a couple of months to gather the required bits to do that whereas the intrepid will arrive in about six weeks fully sorted and is much more likely to go places with me being light and fully functioning. In fact I got it to take to Ireland when I go because hauling the Calumet around would take up half the car. My ICA is still awaiting some sort of film holder so that is just sitting looking pretty rather than being a fully functional camera. I also can find 4x5 bits really easily whereas 9x12 seem rather rare especially here. I got a couple of other folders that I can turn into a sort of Frankencamera which will give me some movements but nothing to match the intrepid.
 
! have 4 Hüttig AG, Dresden, 9x12 plate holders, they are the same edge fit as some Zeiss Ikon quarter plate holders I sold recently. You would need to find some 9x12 film sheaths, I've sold all my spares unfortunately.

Hüttig was one of the four companies that amalgamated to for ICA in 1909, the Hüttig;s 1908 Ideal became the ICA Ideal and after 1926 the Zeiss Ikon Ideal.

Ian
 
That sounds interesting Ian how much would you want for them? I don't have much left after investing in the intrepid but I'm certainly interested. film plates wont be a problem I'll use some acrylic with paper negatives
 
Delighted Ian - those dark slides fit fine so that's another camera up and working - thank you so much
 
Literally just looked at the MyHermes collection receipt, I can throw it away now :D I still have around 100+ metal dark slides that don't fit any of my cameras . . . . . . . . . .

Ian
 
My c.1900 Gandolfi, shown before restoration when purchased in 2019 and in active use last year after scrubbing up a bit. Still works as smooth as silk and the original Ross lens is superb.
According to the seller, who I knew personally and who had worked for decades at the University of Cambridge Department of Geology (as was), it was possibly purchased by them from new, at the same time that Gandolfi made cameras used by Herbert Ponting on Captain Scott's Terra Nova expedition 1910-1913.
On its return - if indeed it was one of those taken to the Antarctic - it was used in the Geology Department's photographic department well into the 1960's, mainly to photograph rock slices using the intriguing Planar 50mm f4.5 macro lens on its home-made wooden adapter housing, also shown.
Allegedly, this is the same camera shown in the attached photo of Ponting at work in the Antarctic. I can't validate this, but it would be nice to believe it is true.
_RSH2500.jpg_RSH2502.jpg_RSH7340.jpgIMG_5669.jpgponting_camera_archive.jpg
 
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