Schneider Componon-S 150mm Lens for Copy Work???

(Dr. Slick) wrote in message . com...
Hello,

This was recommended by someone:

http://cgi.ebay.com/ws/eBayISAPI.dll...tegory=29 986


Except they had a 135mm version, but it should be close.

My artwork is between 8.5"x11" to 3'x4'.

My question is: how would you go about mounting this enlarging
lens into a Crown Graphic Special? What shutter would be optimum?

I admit that I shyed away from this recommendation, because it
didn't come with a shutter. But perhaps it's not too difficult to do.

Thanks for your patience with a newbie!


Slick

The 150 componon S should mount directly into a copal 0 shutter. You
can use an existing shutter if you have one, but you will have to
compensate for the aperture scale if the existing lens is a different
focal length than the one you are using to replace it.

Harold Clark

Stacey wrote in message ...

Someone else indeed has suggested using the lens cap itself, but
this would lead to a lot of camera shake, it would seem to me.


Which is why you use a hat..


Hmm... could you explain this technique in detail?

How do you keep light from entering the lens, without touching the
camera with the hat? It would seem to me that removing a hat that
you had placed on a camera would certainly introduce tons of movement
and vibration.


S.

(Harold Clark) wrote in message . com...

The 150 componon S should mount directly into a copal 0 shutter. You
can use an existing shutter if you have one, but you will have to
compensate for the aperture scale if the existing lens is a different
focal length than the one you are using to replace it.

Harold Clark


That sounds a bit too easy, according to the other posters.

Front to back lens spacing will be the same? No adaptor of any kind?


S.

On 2/19/2004 7:54 PM Dr. Slick spake thus:

Stacey wrote in message ...

Someone else indeed has suggested using the lens cap itself, but
this would lead to a lot of camera shake, it would seem to me.

Which is why you use a hat..

Hmm... could you explain this technique in detail?

How do you keep light from entering the lens, without touching the
camera with the hat? It would seem to me that removing a hat that
you had placed on a camera would certainly introduce tons of movement
and vibration.

I think the general idea is simply to shade the lens with the hat. You could
hang the hat on the lens, load the film, pull the dark slide, remove the hat
(but hold it so it still shades the lens) long enough for the camera to
stabilize, then pull the hat away to make the exposure. Since you're dealing
with low light levels indoors, it should work fine.


--
It's fun to demonize the neo-cons and rejoice in their discomfiture, but
don't make the mistake of thinking US foreign policy was set by Norman
Podhoretz or William Kristol. They're the clowns capering about in front of
the donkey and the elephant. The donkey says the UN should clean up after
them, and the elephant now says the donkey may have a point. Somebody has
come out with a dustpan and broom.

- Alexander Cockburn, _CounterPunch_
(http://www.counterpunch.org), 9/17/03

David Nebenzahl wrote:

On 2/19/2004 7:54 PM Dr. Slick spake thus:

Stacey wrote in message
...

Someone else indeed has suggested using the lens cap itself, but
this would lead to a lot of camera shake, it would seem to me.

Which is why you use a hat..

Hmm... could you explain this technique in detail?

How do you keep light from entering the lens, without touching the
camera with the hat? It would seem to me that removing a hat that
you had placed on a camera would certainly introduce tons of movement
and vibration.

I think the general idea is simply to shade the lens with the hat. You
could hang the hat on the lens, load the film, pull the dark slide, remove
the hat (but hold it so it still shades the lens) long enough for the
camera to stabilize, then pull the hat away to make the exposure. Since
you're dealing with low light levels indoors, it should work fine.



I even do this outdoors with my 8X10 and seems to work fine. An old fedora
works great and thrift stores have 'em for like $1.00.
--

Stacey

Someone else indeed has suggested using the lens cap itself, but
this would lead to a lot of camera shake, it would seem to me.


If the exposure time is long enough to allow use of a lens cap in the first
place then any momentary shake of the camera while the cap is being removed
and replaced would most likely constitute such a small percentage of the
total exposure time that it wouldn't matter.

"Stacey" wrote in message
...
David Nebenzahl wrote:

On 2/19/2004 7:54 PM Dr. Slick spake thus:

Stacey wrote in message
...

Someone else indeed has suggested using the lens cap itself,
but
this would lead to a lot of camera shake, it would seem to me.

Which is why you use a hat..

Hmm... could you explain this technique in detail?

How do you keep light from entering the lens, without touching the
camera with the hat? It would seem to me that removing a hat that
you had placed on a camera would certainly introduce tons of movement
and vibration.

I think the general idea is simply to shade the lens with the hat. You
could hang the hat on the lens, load the film, pull the dark slide,
remove
the hat (but hold it so it still shades the lens) long enough for the
camera to stabilize, then pull the hat away to make the exposure. Since
you're dealing with low light levels indoors, it should work fine.



I even do this outdoors with my 8X10 and seems to work fine. An old fedora
works great and thrift stores have 'em for like $1.00.
--

Stacey

Your color temperature varies as the lights heat up especially with tungsten
bulbs Image would probably be a little orange. You can get enlarging lenses
adapter for shutters. As I said before we used to set up MP-3s this way
using
the Tominon or Ysarex shutters, the rear element is the problem, smaller
than
the front Schneider may even sell an adapter ring. For the subjects you want
to photograph use a 150mm better coverage, also better coverage than the
Xenar
or G-Claron, or the Tominon for that matter.
One question what tripod are you using sounds like you may be getting camera
shake, at 32 seconds you need to be on a rock to keep the camera steady.
Just
changing you balance while exposing will give shake, as will a truck driving
by. Do yourself a favor and get a couple of Lowell TotaLights at a 1000
watts
halogen each you will drop your exposure time and even out your lighting.
Cost
about $300 for 2, good light stands about $60 each. I'm not a fan of strobes
for copy work this is what I use. You will also see better to focus with
brighter light, and it will give you the option of using polarizors to
supress
gloss on the art work.

Tom
No, thought you said your exposures were 32 second if it 32 seconds at f32 so
be it.

Tom

(Tom Monego) wrote in message . ..

Tom
No, thought you said your exposures were 32 second if it 32 seconds at f32 so
be it.


It was 11 seconds at f32.


S.