From: sparks@col.hp.com (John Sparks)
Subject: Re: Sinar questions
Date: Fri, 31 Jul 1992 16:18:23 GMT
Organization: HP Colorado Springs Division

In article <bcqm33-@lynx.unm.edu> collier@lacerta.unm.edu (Michael Collier) writes:
>
>after perusing the sinar bron catalog that arrived recently,
>i find i have some questions (with en eye towards an f1):
>
>1) sinar makes only a fancy sheet film holder, $400+? does anyone
>	else's work particularly well/poorly with sinar?

Sheet film holders for view cameras are standard sizes.  Just about any
sheet film holder (like those from Lisco and Fidelity for about $10-15)
will work (maybe some really old wooden ones wouldn't, but every one
I've seen including some of my fathers from the 1940's would work fine).
There are also Mido holders that several on the net have recommended,
but I have never used one.  Things are really standard in large format.
You can use almost any lens and almost any backs on almost any camera.
The Sinar holder is overkill for almost anything except maybe extreme
magnifications where the depth-of-focus is small and extreme film flatness
is required.  The Kodak readyloads in Kodak's holder (or maybe the mido,
does it have a pressure plate) are probably the second flattest film
holder available, but with something like landscapes the film flatness
is not an issue.

>2) any alternatives for rollfilm backs? $1000+ seems a little steep :-).

I'm not positive, but I think Sinars have standard Graphloc backs and if
so any roll film holders for Graphloc backs would fit (like Horseman and
Toyo).  If it doesn't have a Graphloc back, a Calumet roll film holder
(about $300??)  will work and is probably the least expensive new roll
film holder you can get.

>3) i don't see a polaroid back listed. any alternatives?

I have never heard of any large format Poloroid backs except the ones
Poloroid makes (well there is a Calumet 8x10 back, but no other 4x5
backs as far as I know).  Poloroid makes two backs for 4x5.  One takes
single sheets (and also takes the Poloroid labeled Fuji E-6 transparency
film and even Kodak readyloads).  The other takes film packs with a
slightly smaller image area (and no transparency films).

>
>4) what are the advantages of a recessed lensboard for very wide
>	lenses (47mm, 65mm)? assuming these are particularly helpful,
>	what would be appropriate for the new schneider 58mm?

There are no advantages of recessed lensboards unless the lens cannot be
used on the camera without them.  Recessed boards make it hard to get to
the lens aperature and shutter speed controls.  I know that 65mm works
on the Sinar F without a recessed lensboard (my former boss had one).
47mm doesn't really cover 4x5, but some people use them.  I don't know
if you can use a flat board with it (or the 58mm for that matter) or not
(you should check with Sinar or a Sinar dealer), but I would expect that
you can.  You must use a bag bellows with these lenses (maybe you could
focus with the standard bellows and a recessed board, but you couldn't
do any movements).  I think Sinar makes two wideangle bellows.  For
these lenses you want to use the one that is really a bag, not the other
pleated one.  The bag bellows is long enough to focus a 120mm lens at
infinity.

>5) what is "DB conversion"? looks expensive :-).

I have no idea.  I'm sure the Sinar literature describe what it is.

>6) anything else to want/avoid with respect to the f series?

They are great cameras for a suprisingly reasonable price.  I debated long
over getting a Sinar F1 (I had used the Sinar F my boss had) or a Zone VI
field camera.  I finally decided on the field camera because I shoot most
of my pictures on day hikes with normal to long lenses.  There have been
a few times when I would have rather had the Sinar, and if I used really
wide lenses I would have gone with the Sinar no question.  The Zone VI
works really well for what I want.  I folds up much smaller than the Sinar,
but with any lenses shorter than 120mm, the front standard in the normal
vertical position is to far from the film to focus at infinity.  The standard
must be moved closer to the film using a combination of front base tilt
and axis tilt to return it to parallel to the film.  The Sinar does not
have this problem.

One thing to consider is that you don't need to use the Sinar lenses with
the Sinar camera.  These lenses are just lenses made by Schneider and
Rodenstock that are inspected by Sinar.  Unlike small format cameras, the
best lenses are not necessarily those made (or sold in this case) by the
camera manufacturers.  Any modern lens by Schneider, Rodenstock, Fuji or
Nikon are good.  I have never seen or heard anything definitive claiming
one brand better than the others and the decision can be based mostly
on price (the Nikons seem to have the best prices right now).  If you 
shoot color transparency films you may want to buy all your lenses from
the same manufacturer to insure the color balance will be the same from
all you lenses.

John Sparks
Newsgroups: rec.photo