How to use the amazing 14 5/8 oz Globus 4"x5" Camera shell for today's photography!

[Asher Kelman]

There was a surprise revelation that ~40 unsold brand new original 16 year old stock of the legendary lightweight stainless steel Globus 4x5 camera suddenly available. The warehouse was being sold and everything had to be sold or dumped. The link to this madness is here (http://www.largeformatphotography.info/forum/showthread.php?t=79652).

Right now there are just two units left and one with a lens, both brand new!

I purchased one with a lens and one without. My idea is to use one for lightweight street focus, hoping the push-pull focus control is accurate. I can always use the ground glass and a viewer, but I am betting on being able to learn to use the weird focus mechanism and get sharp pictures. I'll need a viewfinder and I'll be set.

5 film holders would give me 10 shots and that's a lot of pictures and not to bulky.

The one with no lens I can make into a pinhole of zone plate camera.

I'll keep you informed my my progress and hopefully others will add their own uses too.

Asher

[Ben Rubinstein]

Just when I was musing, yet again, about LF film and how much I missed the glorious Type 55.. :-)

[Asher Kelman]

Just when I was musing, yet again, about LF film and how much I missed the glorious Type 55.. :-)

I am having a love affair with film. It means less pictures but more thought and it's restful.

The advantage of the Globuscope 4x5 is its lightweight thin steel construction. The users right side of the camera has a built in solid aluminum bar which holds the tripod mount and could be used for a leather handle. That shape is reminiscent of some chef's kitchen, someone remarked. I wonder how this unique form of the Glubus 4x5 actually came about?

An interesting find on Ebay (http://www.ebay.com/itm/4x5-Wide-Angle-Camera-w-65mm-f4-5-Rodenstock-Grandagon-/150632669586?pt=Film_Cameras&hash=item2312682192#ht_616wt_898) is a camera that looks like a wooden copy of the 4x5 Globuscope!


http://openphotographyforums.com/2007_OPF_AK/OTHER /ebay231268219.jpg

Wooden 4x5 Camera $1369 4x5 Wide Angle Camera w/65mm f4.5 Rodenstock Grandagon

So the price of $900 for a brand-new lightweight original is very attractive! I wonder which camera came first. This or the Globus Brother's version?

Asher

[Grant Kernan]

First some history:
I first saw an ad in Shutter Bug late 1984 months after I started a small photo business. I was shooting interiors and I wanted the large negative and the extreme ease of use. It turns out that I was the first person to purchase this Beautiful little camera. I have serial # 005 shipped early 1985. $1358 Canadian plus shipping and tax landed the camera at my door. The three Globus brothers and a family member got the first 4 cameras. They did design the camera late in 1980 but it took them a couple of years to make all the parts. They tooled up and made somewhere around 100-150 bodies. No one seems to know an exact number. Each body cost Globus over $100 before they began to engrave The Globus 4X5 Logo and each individual serial number. Today it would cost 2-3 times that to retool and stamp out all the parts. After all the bodies sold someone asked me why someone would't make some more.
Price. They would cost more than what people are willing to pay.

Who knew that I would stumble on over 40 cameras in 2011. I had used it for 15 years and then it sat looking cool collecting dust on top of a cabinet. I modified the mounting block to take a Sinar Zoom Back but by 2005 I had pretty much switched to digital with a Betterlight Super6K HS USB2.

I contacted Marty Roberts at JMLOptical on January 05 2007 to find out about the lens design. They sent me a design PDF and also a bit of background information.
Their part # 58960. They sold 50 pcs of that to Globus in 1982. This was a 6 element lens with a Copal 0 shutter. I have an outline drawing of this lens. JML would need $2500 for each lens if they were to make singles. The design is unique in that the large element is inside the camera. This equates to a smaller front element for light to strike. I might add that this sharp wide lens has such little light fall off that it requires only a bit of dodging and burning to make stunning 20X24 prints.

Early summer 2011 I was exploring using Medium Format lenses on a Sinar Norma and a Betterlight Pano Adapter for panoramic landscapes. I presented this idea at the 2011 Betterlight conference.
Mark VanderSys of Pixel Light Digital Imaging had seen the list of topics and he contacted me to help him outfit his Linhof Field camera before the conference. He planted the seed to come up with a black plastic box camera to lighten our load. On the way home the light bulb went off. I had a GLOBUSCOPE 4X5 sitting on a shelf. I immediately went to work modifying a lens mount and the Globuscope 645 Super 6K panoramic camera was born. I contacted the Globus Studios to inquire about getting a lens mount made. Not only did they find the parts they found a couple spare camera bodies. Mark bought a Camera and for awhile we had the only two "Modified Medium Format Globuscopes" for use with the Betterlight scanning backs. Then Gerard [the machinist] phoned me up to say that he had found another 40 bodies. We have offered them up for sale. And so now You Know...

All the bodies will start shipping after the cheques arrive at Globus. Each camera will have its own serial # so we will be able to get a better idea how many are really out there. It would be good to see how high the serial # actually go...

[Asher Kelman]

Thanks Grant for tracking down all this interesting background to this unique and lightweight 4x5 camera. For myself, the camera with the JML 65 mm lens is going with me to Europe for handheld and tripod photography in Paris, Florence and hopefully London too.

So how practical might it be to carry around the Globuscope film camera? Of course, it can't be slipped into even a jacket pocket, but at least the weight is going to be within reason for a photographer used to carrying a Canon body and at least one lens.

The Canon 5DII is 1.8lb, the 14 mm lens adds 1.42 while a Canon EF 16-35mm f/2.8L II is 1.4lb, the EF 17-40mm f/4L USM Lens is jusy 1.05 lb. If we use the lightest lens, the EF 17-40mm, then the total weight for the Canon ultrawide angle lens is at least 2.95 lb. So, assuming 1.5 lb for the JML lens, the 4x5 film camera would come in at ~ 2.3lb. With a film holder, that still lighter than the Canon digital camera with any lens!

Still, the 4x5 film camera could do with a handle! So that's my first task! Next a viewfinder and the Fotoman viewfinder with a mask seems a good bet. I'll need to train myself in focusing, first with the ground glass and the with with the scale on the lens. This is push-pull so it might be a challenge.

Asher

[Ben Rubinstein]

You up for travelling with a single (and extremely wide) focal length?

[Asher Kelman]

You up for travelling with a single (and extremely wide) focal length?

Hi Ben,

I love extremely wide focal lengths and with digital cameras, spend a lot of effort to stitch overlapping frames so as to go even wider. The ultrawide view is replacement for being able to turn one's head or move one's eyes from side to side to build up the gestalt of the place. Sometimes, this experience is apt.

Having one focal length is really for handheld and light tripod work. If I can get away with it, I'll also take my 8x10 and then it's a big question of what lens to take with. I have small light 240mm and 300 mm lenses in Copal shutters that would work. The longest lenses are being equipped with adapter rings for a Packard shutter, (~1/30 second), and that includes 450mm, 600mm for the 8lb Chamonix 8x10, (and then 760 and 1200 mm for my stay at home camera obscura).

In Florence, we're near the one bridge I am obsessed with and that's the Ponte Vecchio. At sunset I'd like to have my 8x10 with the 150mm Super Symmar XL. However, the 65mm on the Globus may be just fine. I know everyone photographs this landmark, but then, I'm romantic and love the place!

In the end I may just take the Globus camera if it arrives in time, and then the GXR with the 50mm Macro lens and if I splurge the 28mm module too, both APS C size sensors. I just need to have used it and processed the film before going to Europe. It has no handle, so I have to rig something up to defeat the cold metal. MAybe just gaffer's tape.

Asher

[Jerome Marot]

Would you post some pictures of the camera itself so that we know what you are talking about? The link to the large format photography forum requires registration.

[Asher Kelman]

Would you post some pictures of the camera itself so that we know what you are talking about? The link to the large format photography forum requires registration.

Thanks for your interest.

OK here's the camera:


http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/Globus/_0033994_600pxl.jpg

Asher Kelman: The camera upside down, held by the side for inserting 4x5 film holders. The threaded mount seen
here is not a tripod mount. OK for a light handle, or the spirit level designed for the camera. I may remove it.



http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/Globus/_0034005_600pxl.jpg

Asher Kelman: The back with a 4x5 loaded film holder. Notice the Fotoman optical viewer with a mask inserted.



http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/Globus/_0034000_600pxl.jpg

Asher Kelman: Side by side with a Canon 5D and a 50 1.8 lens

http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/Globus/_0034002_600pxl.jpg

Asher Kelman: Side by side with a Canon 5D and a 50 1.8 lens

[Asher Kelman]

The big thing about this camera is that one is carrying around a 19mm or 20 mm 50-800 M Pixels camera if you scan the film.

My idea is to also have the GXR 50mm and hopefully that will be manageable. I can have 5 film holders in my special photography vest and a light tripod plus cable release.


For reference here are the weights:


Ricoh GXR 50mm f 2.5, my walk around camera 1lb 1/8 oz

5D II 50mm 1.8 lens and RRS L Bracket 2lb 9 3/4 oz

5D 50mm 1.4 2lb 10 1/4 oz

Globuscope Camera no lens 14 5/8 oz

Globuscope Camera 65 mm lens 1lb 12 1/4 oz

Globuscope Camera 65 mm lens + loaded 4x5 film holder 2lb 4 1/2 oz


Oh, I forgot, we must add on the weight of the Hoodman Tonopah-dusty viewer, (minus larriette, which that wouldn't stay on). One can, if one wishes, simply hold up the rubber hoodman ground glass viewer to the Glbus ground glass and it works fine for checking focus.

I'll discuss focus shortly. Any questions?

Asher

[Jerome Marot]

Thanks, now I understand better. You don't plan to use the camera on a tripod?

[Asher Kelman]

Thanks, now I understand better. You don't plan to use the camera on a tripod?

Hi Jerome,

Thanks for following my quest for WA LF. Yes, on a tripod when shooting the Ponte Vecchio again in Florence. I'm obsessed with the sight. Lambrettas, Vespas, BMW's, Mopto Marinis, Veloteq Sorrentos and more, buzzing like swarms of bees over the bridge near my hotel up river from the famous bridge. And then there are lovers on the stone columns supporting the road and bridge and lone guys strumming to themselves on guitars and ahead, the dark sparkling waters and beyond that the ancient bridge I keep returning too. So this is a place for shooting with the Globuscope with film for the WA view and then with the GXR 50 mm for the people. I'm hoping to get pictures of a swarm of Italian scooters rounding the corner.

Otherwise the camera will be handheld. So I'll have to try it out here in Los Angeles and see if my technique is up to it. I will try some transparencies but think I'll really need negative film or else I'll be in trouble with dynamic range.


http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/Globus/Mark VanderSys Bracket Cropped.jpg

Grant Kernan: Mark Vander Bracket on globuscope Camera with Betterlight Scanning Back inserted instead of 4x5 film holder


The tripod mount will be arriving shortly from Mark Vander. It's a beautiful L bracket that mounts for the right hand and gives a place I can add a wooden handle for cold days or just some rubber hot water pipe pipe insulation split to open and fit over it. The L bracket will allow for mounting a tripod in landscape mode.

Asher

[Asher Kelman]

Fitting the Fotoman optical viewer. This little 2 0z critter is made of plastic with some nice WA front lens and a much smaller rear optic. There's a diopter adjustment. Not Zeiss or Leica optics but it's adequate and bright. The provided masks gets one roughly to the format you want. They slide in from the side as if they were Waterhouse stops.

The foot of the viewfinder is metal and painted. That makes it a very tight fit for the flash shoe of the camera. So I first tried some silicon oil, but it hardly worked. Then I sanded the paint off the foot of the Fotoman viewer and finally gently increased the acceptance height of the slot in the flash mount of the Globuscope. Now the Fototman slides in and is snug and still secure.

I think one can use the ground glass for focus handheld with the Hoodman rubber ground glass viewer against the ground glass. One might have to be aware that the ground glass is actually plastic and so one should not push in with the viewer, but rather rest it on the surface. I may still check the flatness of the plastic surface, but it might be that the exact distance is not so critical with this focal length of 65mm.

I plan to focus both with the ground glass and on a tripod and then aiming freehand using the hyperfocal distance and the Fotoman viewer.

Asher

[Mark Hampton]

asher,

very cool... looking forward to checking oot what this puppy can do.

cheers

Thanks for your interest.

OK here's the camera:


http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/Globus/_0033994_600pxl.jpg

Asher Kelman: The camera upside down, held by the side for inserting 4x5 film holders. The threaded mount seen
here is not a tripod mount. OK for a light handle, or the spirit level designed for the camera. I may remove it.



http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/Globus/_0034005_600pxl.jpg

Asher Kelman: The back with a 4x5 loaded film holder. Notice the Fotoman optical viewer with a mask inserted.



http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/Globus/_0034000_600pxl.jpg

Asher Kelman: Side by side with a Canon 5D and a 50 1.8 lens

http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/Globus/_0034002_600pxl.jpg

Asher Kelman: Side by side with a Canon 5D and a 50 1.8 lens

[Ben Rubinstein]

Remarkeably small!

[Doug Kerr]

Hi, Asher,

Nifty rig.



http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/Globus/_0033994_600pxl.jpg

Asher Kelman: The camera upside down, held by the side for inserting 4x5 film holders. The threaded mount seen here is not a tripod mount. OK for a light handle, or the spirit level designed for the camera. I may remove it.

Is it just too feeble for that?

Best regards,

Doug

[Asher Kelman]

Hi, Asher,

Nifty rig.

Well, there's only 150 or so on this planet! I have two. One is just the shell with no lens. I may use it fro a pinhole camera!


Is it just too feeble for that?



It's only fixed at one point to the stainless steel body from the inside with what amounts to a single rivet. So I worry that any torsion will distort the metal and eventually fatigue it. OTOH there's a solid block of aluminum on the back, right side, opposite where the film holders are inserted. That has threaded holes and I'll use that instead but with an L bracket.

Asher

[Doug Kerr]

Hi, Asher,

It's only fixed at one point to the stainless steel body from the inside with what amounts to a single rivet. So I worry that any torsion will distort the metal and eventually fatigue it. OTOH there's a solid block of aluminum on the back, right side, opposite where the film holders are inserted. That has threaded holes and I'll use that instead but with an L bracket.

Makes sense to me. You have a really nice setup underway there.

As an editorial aside (le crayon rouge ne dort jamais), it is always disconcerting to see what I think I would call a "viewfinder" called a "viewer" (although of course that might well be the manufacturer's terminology - I havn't looked).

Congratulations on your fabulous project.

Best regards,

Doug

[Asher Kelman]

So while waiting for the "official" L bracket, I attached one from ReallyRightStuff.com meant for a Bronica SQ, (I believe, it has no markings).

So here's the L bracket mounted on the Globuscope!


http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/Globus/_0034196_600pxl.jpg


http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/Globus/_0034218_600pxl.jpg


http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/Globus/_0034217_600pxl.jpg

http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/Globus/_0034216_600pxl.jpg

Asher Kelman: Using a MF L bracket from RRS as a grip and tripod mount for the Globuscope



As you can see, the L bracket makes a great handle. However, for cold weather, this would need to be covered.


Asher

[Asher Kelman]

A problem arises in using such a lightweight camera and a viewfinder at one's eye. I thought that I might be tilting the camera upwards. So I asked my friend, Yeney to hold the camera for composing a picture. She thought it weighed nothing.

http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/Globus/_0034052_600pxl.jpg



http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/Globus/_0034051_600pxl.jpg


Well, I was right! In putting the viewfinder to the eye, there seems to be a tendency to tilt the featherweight camera upward. Just something to be careful about when using the camera handheld.

Asher

[Doug Kerr]

Hi, Asher,

Well, any excuse to show us a real cute girl. Good work!

But seriously, it looks as though it might be better for the lookenpeeper to be a little bit aft.

Best regards,

Doug

[Asher Kelman]

Hi, Asher,

Well, any excuse to show us a real cute girl. Good work!

Well, we'll share more then!

But seriously, it looks as though it might be better for the lookenpeeper to be a little bit aft.


Great idea, Doug. But again, we have to be aware of the leverage issue on the thin steel. /i'll try to get a rear extension rigged.

[scott bye]

Hi Asher,

I have the other Globuscope w/the JML. I noticed in your picture that it looks like the GG has a bow inward like mine does. Did you test it with film to see if it causes a focusing issue? I was thinking about replacing mine with a Maxwell Brightscreen, but it might be very costly. I noticed with this lens it is difficult to see the image on the gg indoors.

Are you going to buy a center filter for the camera? Do you know which type of center filter to buy?

Scott

[Asher Kelman]

Hi Asher,

I have the other Globuscope w/the JML. I noticed in your picture that it looks like the GG has a bow inward like mine does. Did you test it with film to see if it causes a focusing issue? I was thinking about replacing mine with a Maxwell Brightscreen, but it might be very costly. I noticed with this lens it is difficult to see the image on the gg indoors.

Are you going to buy a center filter for the camera? Do you know which type of center filter to buy?

Scott

Hi Scott,

Congrats on your new Globuscope!

Yes, the GG does seem to bow in. I need to remove it and put it on the table and see if it's indeed warped. I have sent one body with no lens to SK Grimes to evaluate for any replacement or inserting a cone for a 90mm lens.

Did you get a price on the Maxwell Brightscreen?

I have tried focusing with a Hoodman rubber viewer and it looks pretty good. A dark cloth might br better. However, that's for copying an 85" x56" painting at about 15 feet. Exact focus becomes less important for scenes at a greater distance.

I wish there was a helical focus adaption possible of that lens and that's what Adam of SK Grimes will tell us. However, it may not be needed. We just need to take the pictures.

Are you going to do some test shots?

Asher

[scott bye]

Hi Asher,

Yes I might try it out this weekend, I am waiting for the snow to fall here in Michigan. Nothing too scenic to take near Detroit/Ann Arbor Area.

I did have a Maxwell brightscreen and sold it for 75.00 on ebay, wish I never sold it. They go for about 400.00 new. Here is the website if you want to contact Bill Maxwell for more info. I might be interested but I really don't want to spend 400.00 again.

Scott

[Doug Kerr]

Hi, Scott,

Are you going to buy a center filter for the camera? Do you know which type of center filter to buy?

What is a center filter? Sounds like it could be something to compensate for natural vignetting.

Thanks.

Best regards,

Doug

[Asher Kelman]

Hi, Scott,



What is a center filter? Sounds like it could be something to compensate for natural vignetting.


Exactly! However, if the film is scanned or otherwise one gets a digital file, vignetting can be corrected by a nifty program for Windows and Mac called CornerFix (https://sites.google.com/site/cornerfix/). You just need to take a reference picture of a white/grey neutral surface in the light for that lens and focal length and focus distance. Correction is automatic. However, be warned that you could be introducing noise in the corners according to what corrections need to be made.

Asher

[Bart_van_der_Wolf]

What is a center filter? Sounds like it could be something to compensate for natural vignetting.

Hi Doug,

Yes, that's correct. The filter is specifically matched to the lens to compensate for the vignetting / fall-off characteristics of the lens. The filter is darker in the center, and more transparent towards the corners, thus ensuring that the sensor/film gets more uniformly exposed. This prevents underexposed corners, which may otherwise get more noisy in digital systems due to a relatively low photon count.

Of course the amount of vignetting varies with aperture, whereas the fall-off is more constant due to the corner rays striking at a more oblique angle. So it is only a partial (vignetting) solution, but better than nothing.

Cheers,
Bart

[Cem_Usakligil]

Hi Asher,
.....vignetting can be corrected by a nifty program for Windows and Mac called CornerFix (https://sites.google.com/site/cornerfix/). You just need to take a reference picture of a white/grey neutral surface in the light for that lens and focal length and focus distance. Correction is automatic.
Capture One Pro does that too. Following Bart's advice, I have bought two pieces of opaline glass (15x15 cm) and I have sandwiched them together with a mm distance between the two layers. This I use (by holding it against the lens as a filter and by taking a picture of the sky or a diffuse light source) in order to take evenly illluminated neutral images which I can then use in C1Pro to correct vignetting and also any dust bunnies automatically. But I must admit that I did not try it with scanned tif files but only with raw files so I am not certain if it works with tif files. Will check and report back later....

[scott bye]

Well instead of doing all of this I would rather buy the center filter, any recommendations?

[Doug Kerr]

Hi, Bart,

Yes, that's correct. The filter is specifically matched to the lens to compensate for the vignetting / fall-off characteristics of the lens. The filter is darker in the center, and more transparent towards the corners, thus ensuring that the sensor/film gets more uniformly exposed. This prevents underexposed corners, which may otherwise get more noisy in digital systems due to a relatively low photon count.

Of course the amount of vignetting varies with aperture, whereas the fall-off is more constant due to the corner rays striking at a more oblique angle. So it is only a partial (vignetting) solution, but better than nothing.

Thanks. Makes sense. I'm embarrassed I never heard of it.

On a matter of terminology, when I said "natural vignetting" I meant what is more often called "fall-off". Natural vignetting (such as the infamous cos^4 falloff) is contrasted with mechanical vignetting, optical vignetting, and sensor angle-of-incidence vignetting.

Thanks again.

Best regards,

Doug

[Asher Kelman]

Well instead of doing all of this I would rather buy the center filter, any recommendations?

Scott,

I'm not sure we're going to need a center filter. It's most important if one is stitching. Otherwise I'd first shoot and see if there's a problem. I personally like some vignetting as it gets attention to where it matters. I'll look into the choice of center filter after I see some prints.

For the folk that intend to use the camera for the Betterlight Scanning backs, one is only using ~ 65 x 85 mm or so of the film plane and the issue of vignetting is decreased. If one is using the scanning back for a panorama by rotating, (locked, the centrally placed), scanning sensor, the effect of vignetting is reported to be minimal.

Asher

[Grant Kernan]

Lets see if

[Cem_Usakligil]

Lets see if
Let's see if... what?

[Grant Kernan]

Lets see if this works meant I would edit my response but I timed out

BTW There is one more Globus with a JML lens available for $900. please tell the folks.

To address Scotts queries:

"To centre filter or Not to centre filter" that is the question;
I don't see a need for using a CF [centre filter] with negative material and it is not recommended with the Betterlight. This all involves the slow JML 65mm F:8 aperture.
First the large element is inside the camera and with film stopping down to F;22-32 evens out light fall off. The Betterlight is so light hungry that the filter would be counter productive.
Only 50 lenses were ever made in one batch and a CF was never specifically designed for the Globuscope4X5. Schneider makes at least three-#1 #2 #3. Various lenses use these so
if you are shooting chrome then look for something designed for this focal length & f stop. Be forewarned that this is a very different design. It will take some trial and error.
Perhaps folks have filters that you could try? Use a larger filter and a step up ring so that you don't introduce mechanical vignetting.

Next;
The GG isn't all that great. 26 years ago I threw mine out and replaced it with a plastic fresnel from Calumet. It is still going strong. Calumets is a one piece GG and Fresnel. Works perfect.
Bob Solomon talks about the Linhof problems with their plastic fresnels warping so Globus is in good company.

I used the Globus with colour neg and B&W film. I filtered with gels. My 72mm Gel holder does vignette slightly. Note the top corner of the TEE PEE.
The rest of the pics would actually look better with some darkening in the corners The 72 X 96 mm throat or scanning area of the Betterlight means that 645
Medium format lenses can be used. I have the first Globuscope sold and one of the last bodies as well. The earlier version is 26 years old and now outfitted with a Bronica ETR Bayonet mount.
My later body will be out fitted with a Mamyia 645 bayonet for use with a 1 lb 10 0z 50mm f:4 shift lens. In Pano mode the sweet spot of the lens will be used and I don't expect to see any
chromatic aberration at all. And I can use a slit lens cap to provide an excellent lens hood.


How does one post photos here?

[Asher Kelman]

How does one post photos here?


Well Grant, it's simple. We place the pictures somewhere online. Flickr or any other online server.

Then one gets the address of that picture, (in case you have a problem, simply drag that image to a new browser window or use the command with the mouse, "open in new window" which is the same thing.

Now insert that URL between and

So here are your 3 pictures Globuscope using a negative film and the JML lens, 160 NC.

[IMG]http://openphotographyforums.com/2007_OPF_AK/Grant_Kernan/Andy 1.jpeg


http://openphotographyforums.com/2007_OPF_AK/Grant_Kernan/Andy 2.jpeg


http://openphotographyforums.com/2007_OPF_AK/Grant_Kernan/Andy 3.jpeg


Grant Kernan: [I]3 Examples of Interior Architecture Images

These are all taken with film.

Grant also has another Globuscope camera adapted to use Bronica 6 x4.5 lenses and a
BetterLight Scanning Back inserted under the ground glass for a regular 4x5 film holder.
The camera can use any standard Bronica 6x4.5 camera lens without further adaption.

Grant adds that these pictures were all from a box of "rejects" from years back that he just rediscovered! The images pictures are taken with the standard JML lens and there's no retouching. The second one is a contact print. The last picture has some vignetting in the upper left corner due to the placement of a 72mm filter over the lens. So vignetting does not seem to be an issue with the JML lens.

Asher

[Asher Kelman]

I have no part in the sale of the Globuscope cameras. I bought two and one is a shell to add a lens with a helical lens cone and the other has the JML 65mm lens. There's one more of these available on the entire planet. Well my son and my wife recognized that that I had a new camera, (it didn't work to say, "What this? I got this from Will Thompson for $60 2 years ago, don't you remember"). They wanted to know, "Where's the rest of the camera?. That's because this is the lightest 4x5 camera ever and so small.

So if you have $900 to spare, this would be a great investment as well as a fun camera. The last one on eBay, sold for ~$1500, I believe.

It's ready to use the minute you get it.

Just need some 4x5 film holders.

Asher

[Asher Kelman]

Well, some are lucky and have scanning back for the Globuscope. Grant kindly provided this Pano: You may need to scroll to the right!



http://openphotographyforums.com/2007_OPF_AK/Grant_Kernan/Cowbay_Infared.jpg


Grant Kernan: Cowichon Bay Regata 1/24 size
Ifrared - Color Panorama

These are all taken with the Globuscope camera adapted to use Bronica 6 x4.5 lenses and BetterLight Scanning
Back.Bronica PE-180mm F: 4.5 Zenzanon at taken at f11.5 1/400 line time 165 degree panorama Colour Infared
false colour. It took 93.5 seconds from start to finish Printed 16 inches by 8 feet on canvas.




Look at the Zoomify picture here (http://www.akphotos.ca/regatta.shtml) with more pictures of the regata and a related Zoomify picture here (http://www.akphotos.ca/Cowichan-Bay-Village.html).

Asher

[Doug Kerr]

Hi, Asher, Grant,

Beautiful shot.

The cyan/sepia duotone is unique but effective.

Best regards,

Doug

[Asher Kelman]

What's very satisfying to me is that there's no stitching required and no corrections for vignetting or anything else. The stitching back is controlled by software on a mac laptop and it has the capability to really be precise in focus. The back records 43 line pair/mm!

My set up is more modest. Just the film camera and one fixed lens. :)

Asher

[Grant Kernan]

Thanks Doug,
It is actually similar to false colour science of several decades ago.

The Betterlight Scan Back usually uses an IR filter in the optical path. Here I did not use it and I did not [colour balance] to a grey before I scanned. I merely balanced afterwards to achieve the cross processed look or Duotone.

What I am trying to accomplish is to show the different possibilities with the Fearther-weight Globuscope4X5, the scan Back and film.

In the next few days I will upload some spinouts, rollouts and dragouts.

BTW I had some info wrong. Betterlight has only sold 83 panoadapters so it is a very rare piece of hardware. Betterlight will most likely make another batch, but safe to say less than 100 will eventually make there way into the world...

Grant

[Asher Kelman]

Thanks Doug,
It is actually a false colour scenario.

The Betterlight Scan Back usually uses an IR filter in the optical path. Here I did not use it and I did not [colour balance] to a grey before I scanned. I merely balanced afterwards to achieve the cross processed look or Duotone.

Grant,

That's neat that the filter can be removed so easily. Now does it alter the focus, or that does not matter since you adjust on the laptop screen anyway? Also how does it change the ISO?

Asher

[Grant Kernan]

When one removes the IR filter, the light sensitivity jumps substantially. Flarr uses a Betterlight to shoot in caves. Fascinating!! Our eyes can't see a thing but the back can!

The focus is altered;
Although I can't see a thing...
Focus verification easily sees...works in the dark.

Daylight is similar but exposures are very short.

[Asher Kelman]

When one removes the IR filter, the light sensitivity jumps substantially. Flarr uses a Betterlight to shoot in caves. Fascinating!! Our eyes can't see a thing but the back can!

The focus is altered;
Although I can't see a thing...
Focus verification easily sees...works in the dark.

Daylight is similar but exposures are very short.
It would be interesting to test it some time and find a rough numerical value by which sensitivity is increased. I guess it might make a difference indoors and outdoors and on the temperature.

Asher

[Bart_van_der_Wolf]

It would be interesting to test it some time and find a rough numerical value by which sensitivity is increased. I guess it might make a difference indoors and outdoors and on the temperature.

Hi Asher,

Not so much the temperature, which is usually a few hundred degrees K too low for any meaningful IR exposure contribution, but moreso the reflectivity of IR by various subject matter. Chlorophyl in green leaves reflects a lot of IR, and human skin does a good job as well, but other subject matter is transparent to IR or absorbs it very well. That's why IR exposure can be a bit of a guess and may require a few test shots and a good interpretation of the resulting histogram. Using an incandescent lightsource (a Planckian radiator) like the sun, or traditional lightbulbs, helps a lot.

Cheers,
Bart

[Asher Kelman]

Hi Asher,

Not so much the temperature, which is usually a few hundred degrees K too low for any meaningful IR exposure contribution, but moreso the reflectivity of IR by various subject matter. Chlorophyl in green leaves reflects a lot of IR, and human skin does a good job as well, but other subject matter is transparent to IR or absorbs it very well. That's why IR exposure can be a bit of a guess and may require a few test shots and a good interpretation of the resulting histogram. Using an incandescent lightsource (a Planckian radiator) like the sun, or traditional lightbulbs, helps a lot.


Bart,

What about lower energy infra red coming from our bodies. That's been toted as an entertainment but isn't that also what allows folk to be scanned to see though clothes for hidden weapons or contraband?

Asher

[Mark Hampton]

Bart,

What about lower energy infra red coming from our bodies. That's been toted as an entertainment but isn't that also what allows folk to be scanned to see though clothes for hidden weapons or contraband?

Asher

Asher,

and used to show up bruising in the skin !

*

[Grant Kernan]

If a DSLR has the IR filter removed it would behave quite differently than just using a R72 filter on a camera set up for normal photos.
The Betterlight does not have a permanent filter built in. Instead, a 2 or 3mm IR filter is added either inside the camera behind the lens or outside on the lens-for normal photography.

Exposure is based on IR reflectance or rather how much IR is being reflected in the scene. So exposure will vary quite a lot. Also the difference in exposure from a traditional and the IR shot will also vary quite a lot.
So you can't really say 2 stops or 7 stops. At least with the scanning back the preview image is available as large as your laptop and immediately. So within a minute you can adjust several times until you are happy with the result.

Talk later
G

[Ben Rubinstein]

This really is a fascinating project!

[Asher Kelman]

This really is a fascinating project!

Ben,

But I'm the poor one. Just film for me, at the moment :) It's equivalent to using a 19mm lens approx, in 35 mm terms.

Asher

[Bart_van_der_Wolf]

Bart,

What about lower energy infra red coming from our bodies. That's been toted as an entertainment but isn't that also what allows folk to be scanned to see though clothes for hidden weapons or contraband?

Hi Asher,

Not really. It shows the transparency of certain clothing items to IR, and the reflectivity of skin. Blood (vessels, arteries, bruises) absorbs IR more than the skin reflects (and IR penetrates the skin more than visible light), so it can be used to show superficial arteries and such in better contrast than in the spectral band visible to the unaided eye. It's all about reflection/absorption at these temperatures.

Every object with a temperature above the absolute minimum of -273.16 Kelvin does emit ('heat') radiation, but the levels are often too low for the sensitivity of common detectors (IR sensitized film (I used to sell the stuff to the scientific community some 30 years ago) and Silicon based photovoltaic sensors). It requires super cooled sensors and amplification to detect 'normal' outdoor and human body temperatures. When things heat up, let's say to that of a hot iron for clothes, then it will probably start to register as exposure at normal (fractions of a second) exposure times.

http://hyperphysics.phy-astr.gsu.edu/hbase/bbrc.html#c4 (http://hyperphysics.phy-astr.gsu.edu/hbase/bbrc.html#c4) shows how little energy falls into the 350 - 1000nm wavelength band at human body temperatures, and the "Red hot (http://hyperphysics.phy-astr.gsu.edu/hbase/bbrc.html#c3)" link shows that it takes an additional 600 K to start encroaching into the visible spectrum. So it takes a few hundred K above human body temperature to start registering in the 700 - 1000nm IR sensitivity band part of silicon.

BTW, the Bayer CFA is transparent to IR, so one only needs to remove the IR absorption/reflection filter to get interesting (mostly) reflected Near IR effects (as Leica with their earlier digital range finder camera found out, the hard way).

Cheers,
Bart

[Doug Kerr]

Hi, Bart,

Every object with a temperature above the absolute minimum of -273.16 Kelvin. . .

Perhaps you mean 0 K (-273.15° C).

Best regards,

Doug

[Bart_van_der_Wolf]

Perhaps you mean 0 K (-273.15° C).

Hi Doug,

Bingo! I shouldn't be posting this late/early. Thanks for paying attention.

BTW, I'm slightly worried about the different sources mentioning -273.15 C or -273.16 C as being equivalent to 0 K. It can't be both ... ;-)

Cheers,
Bart

[Jerome Marot]

It requires super cooled sensors and amplification to detect 'normal' outdoor and human body temperatures. When things heat up, let's say to that of a hot iron for clothes, then it will probably start to register as exposure at normal (fractions of a second) exposure times.


Thermal imagery in the human temperature range can be made with hand-held device. Here a manufacturer (there are others): http://www.raz-ir.com/. Count a few thousands dollars for one of these cameras.

[Doug Kerr]

Hi, Bart,

Bingo! I shouldn't be posting this late/early. Thanks for paying attention.

BTW, I'm slightly worried about the different sources mentioning -273.15 C or -273.16 C as being equivalent to 0 K. It can't be both ... ;-)
As near as I can tell, the current official equivalence is 0 K = -273.15 ° C, but the story is complicated, and I don't think I understand all of it.

It seems to be related to the fact that the triple point of water is +273.16 K (+0.01 ° C) but the ice point is +273.15 K (0 ° C).

I think the premise of the definition was changed in 1968.

Best regards,

Doug

[Grant Kernan]

This addresses Ashers calling the Betterlight a stitching back...I don't want any confusion. Especially since there are 2 shot....and .... and 16 shot Sinar stitching backs.

If the Betterlight Super 6K HS USB2 is a stitching back, then it stitched 21,598 lines together in 93.35 seconds, or in a little over a minute and a half and on the fly... then all flatbed scanners stitch on the fly too.

Actually I can take two separate images of say a painting [with the Betteright scan back] by either moving the art or moving the camera; and then I can stitch those tiled images together.

What I am saying is that the pano scans are automatic and almost immediate-requires no photoshop intervention...

[Asher Kelman]

.......

What I am saying is that the pano scans are automatic and almost immediate-requires no photoshop intervention...

The sweet spot of the lens is used for each thing slice of the rotating and focused image plane that the sensor sequentially records, so there's essentially far less need for all the mathematics of blending within the Betterlight software. Pretty impressive, as long as things don't move when they shouldnt!

Asher

[Doug Kerr]

Hi, Asher,

The sweet spot of the lens is used for each thing [thin?] slice of the rotating and focused image plane that the sensor sequentially records
I'm not able to visualize what operation is being spoken of here. Perhaps it was discussed earlier in the thread and I was just to lazy to find it.

Could you elucidate or give a reference to where this is described?

Thanks.

Best regards,

Doug

[Doug Kerr]

Hi, Grant,

Especially since there are 2 shot....and .... and 16 shot Sinar stitching backs.

What do those do, and how?

Thanks.

Best regards,

Doug

[Grant Kernan]

Sinar originally (now historically) made a 6 megapixel digital back and a controlled mechanical stitching mechanism to shoot a number of overlapping images. These were tiled and made into a much larger file. So they imaged 2 shot / 4 shot / 9 shot - you get the picture?

They are ancient now...

[Asher Kelman]

Hi, Asher,

I'm not able to visualize what operation is being spoken of here. Perhaps it was discussed earlier in the thread and I was just to lazy to find it.

Could you elucidate or give a reference to where this is described?


Doug,

Look at the thin array of 6000 sensels x 3


http://www.betterlight.com/images_original/scanning_backs/400px_CCD_angle_903g.jpg http://www.betterlight.com/images_original/scanning_backs/235px_closeCCD_704g.jpg


Within the image sensor, three rows of light-sensitive photodiodes are each covered by a red, green,
or blue color filter, making the entire row sensitive to one primary color. The magnified view of the
Kodak trilinear sensor (right) shows the red, green and blue filtered sensors and part of the charge
transport assembly that carries the electrical signals from the photodiodes to the output amplifiers.


When the camera rotates on a pano head motor the linear array carrying the 3 lines of sensors doesn't progress to scan the film plane, (as happens normally), but is fixed in the center. Progression through the scene is achieved by the whole camera rotating instead! Assuming that the center of a lens is better corrected than the periphery, then we're using just the very best central strip of the image circle under these circumstances! Read more here (http://www.betterlight.com/how_they_work.html).

Asher

[Cem_Usakligil]

Doug,

Look at the thin array of 6000 sensels x 3


http://www.betterlight.com/images_original/scanning_backs/400px_CCD_angle_903g.jpg http://www.betterlight.com/images_original/scanning_backs/235px_closeCCD_704g.jpg


Within the image sensor, three rows of light-sensitive photodiodes are each covered by a red, green,
or blue color filter, making the entire row sensitive to one primary color. The magnified view of the
Kodak trilinear sensor (right) shows the red, green and blue filtered sensors and part of the charge
transport assembly that carries the electrical signals from the photodiodes to the output amplifiers.


When the camera rotates on a pano head motor and the scanning back does not scan but is fixed in the center. Assuming that the center of a lens is better corrected than the periphery, then using just a central part of the image circle and a smaller f stop, a fine thin central vertical strip is all that's ever used under these circumstances. Read more here (http://www.betterlight.com/how_they_work.html).

Asher
Asher if I understood correctly what you are describing, it would mean that there must be a motorized pano head capable of rotating in microsteps (tens of thousands panning steps for a given fov) without causing overshoots, trilling and misalignments due to the momentum of the camera mounted atop. Next, the rotation would have be around the non parallax point of the lens. Also, the pano motor electronics would have to signal the scanning back after every rotation that a line is ready to be captured. Can you please show us a link to an actual setup of this?

[Asher Kelman]

Cem,

You ask the important questions.

http://www.betterlight.com/images_original/panoWideView/Pano_Adapter_sm.jpg


The Pano/WideView™ Adapter when used with the Better
Light 4"x5"scanning back can create panoramic, rollout and
QTVR images. This system can capture seamless 360 degree
digital panoramic scans and wide-view images of adjustable
aspect ratio, with wide or long lenses, up to 8,000 x 65,000
pixels - the largest digital panoramic images currently possible.

Here's (http://www.betterlight.com/panoWideView.html) the answer! :)

[Grant Kernan]

Yes!!! The stepping motor is controlled by a chip in the Betterlight Scanning insert. The Betterlight is a high resolution (miniature flat bed scanner) built into a 4X5 (film or digital pixel holder) and built backwards. Instead of a lens and light source located inside the flatbed, it uses a camera lens to focus light at the film plane from outside of the hardware. The Betterlight Kodak Trilinear sensor either travels along that film plane or it is locked in the middle of the image circle awaiting instructions from the controller and Viewfinder software. Incidentally this is a completely tethered activity.
In Pano Mode a motor turns the camera lens and scanning back in a controllable software environment named Viewfinder. Focal length and rotation amount is entered into the software and it takes care of business. Inside Viewfinder ISO, Line time (similar to shutter speeds but in lines), tone curves, colour profiles, cropping and focus verification is all set and controlled.
The genius Mike Collette, invented designed and built the Betterlight scanning units. A -stream- of pure digital data seamlessly spills into the control box as the scan progresses to completion.

This is beyond me. I only make pictures and build my camera rigs.

BTW there are only 83-85 Betterlight pano adapters in the world, and 1500 Betterlight Scanning Inserts.

There are a few - a hand-full - so maybe 5 Super6K HS USB2 units left and perhaps 20 or less Super 8K units for sale. When they are gone they are gone, and then you will need to search EBay. All the panoadapters have been sold and 1 more batch will most likely be built in the new year. At least 10 commitments need to be made for the batch to proceed.
No promises though!

So get yours now! I know I love my Super 6K!

Grant

[CD Holden]

I have sent one body with no lens to SK Grimes to evaluate for any replacement or inserting a cone for a 90mm lens.


Asher,
Which 90mm lens do you have? If it's a Super Angulon, SKG may have another order.
Grant was kind enough to put me in touch with someone wanting to get rid of a camera body, so I may find myself with one after all. I have a 90/8 SA clone (Ilex Acugon) that could work well.
Optimally, I'd like to see a bayonet system with various cones to switch between a 90 and a 65, maybe even a 115 or 135. On second thought, switching lenses will probably involve unscrewing the rear lens to get it mounted. A viewfinder would be convenient, but I'll be focusing on the GG anyway, so it may be pointless anyway. How solid of a connection is that Bronica L mount? Is there any play in it or are you confident that it's a good solid connection? I don't even own one yet and I'm already thinking of additions to the body...

[Asher Kelman]

Asher,
Which 90mm lens do you have? If it's a Super Angulon, SKG may have another order.

CD,

I have no 90 mm lens at present! I just wanted Adam at S.K. Grimes to have a Globus body to work out possibilities. That's just my approach. That way he can give a reasoned comment to anyone else who seeks mods for that camera.

How solid of a connection is that Bronica L mount?

Grant has the Bronica Mod. That steel is not very thick, LOL. However he managed to open it a tad and insert an extension tube which accepts the Bronica lenses. The focused image does not cover the 4x5 plane, but that's fine for a scanning back. I'm sure it's solid enough for a careful photographer. However, it's not to be dropped on concrete from 10 feet up!

Asher

[Asher Kelman]

Just in case folk glean from this that somehow the Globuscope is needed to use the Betterlight scanning back (http://www.outbackphoto.com/reviews/equipment/betterlight/betterlight_pointlobos.html), let me assure you that that is not so! The Betterlight is used on any LF with a 4x5 Graflok/universal back. Just insert like a humble 4x5 film holder.

Jim Collum, for example, has been a long time creative user (http://www.outbackphoto.com/reviews/equipment/betterlight_diary/betterlight_diary.html) of the original Betterlight scanning back. In those early days the SCSSI box was heavy! His work took off even more when he acquired the majorly slimmed-down USB update! :) His pictures of incoming waves at the beach are especially interesting as when the direction of the 6000 x3 vertical RBG pixels moves left to right across the image plane to meet the oncoming waves, peaks form! Quite remarkable. In any case, visiting the Betterlight website will lead you to the work of many other talented Betterlight artists (http://www.betterlight.com/featuredPhotog_Index.html).

Grant's use of the Globuscope is just a fiendishly clever, lightweight, high resolution & contrast approach to taking advantage of an amazing imaging invention and some of the best, (and unheralded), range of bayonet MF lenses ever offered.

Asher

[Grant Kernan]

I have watched the details and information surrounding the Globus project camera bodies get skewed over and over again. So lets put some of it straight.

Quote:
How solid of a connection is that Bronica L mount? Is there any play in it or are you confident that it's a good solid connection? I don't even own one yet and I'm already thinking of additions to the body...

First; There is no Bronica L Mount...

Second; The reaming out of the throat is to accommodate a helical mount for a LF lens. Neither of the 645 mounts need this.

Third; The Stainless Steel has been stamped and folded around a form. This engineering process makes it light and strong similar to a cars' unibody. It would take some doing to twist the camera out of square. If it were dropped 10 feet to concrete you can bet your glass that dents to the Stainless would be the least of your worries.
The L bracket is almost 3/4 inch aluminum which I plan to lighten with holes like Swiss cheese. It will be solid as it is bolted to the Globuscope 4X5 via a 1/4 inch tripod mount and in practice it should be double side taped or siliconed to the long side of the body as well. This bracket adds to the rigidity.

Please Note: The smaller image circle of the 645 lenses are perfect for use with the Betterlight Pano adapter. And now I am adapting a 50mm f:4 Mamyia Shift lens...

The Bronica ETRS Mount and now the Mamyia 645 mount - are as solid as any lens to lens board connection as long as they are made with good materials and common sense.

For Mamyia;
I start by harvesting parts from a Mamyia Auto Extension tube #1. It is easily dismantled using good precision screw drivers and enough downward force as not to strip out the Phillips screw heads.
Then a GOOD Brass Heliopan stepping ring will make the connection as good as any screw mount lens. I choose a Heliopan step ring because it is machined from brass and it has more threads than cheaper aluminum stepping rings.
A 58 to 67mm step up ring order # 162 from B&H will slip into the 59.5 mm opening in the Globuscope.
A 62 to 58 mm step down ring will act as a locking nut on the inside of the camera and it will secure the Heliopan stepping ring . This can be made from cheaper aluminum as long as the main piece is brass. Dissimilar metals are not a bad idea.

The disassembled Mamyia bayonet mount slips easily into the 67mm opening of the 58 - 67 stepping ring. Three countersunk properly spaced and sized holes in the Heliopan stepping ring allow the two main parts to be connected...( You will need to do this), the screws and threads are already in the #1 tube. For extra security, the rig can be cemented together with epoxy or gorilla adhesive. Silicone or Sicioflex atre also good choices...once infinity focus has been established...

Stay tuned for detailed pictures and details.

Grant
Great picture-taking...

[Doug Kerr]

Hi, Asher,

Thanks for the good scoop.

Sorry I didn't acknowledge it sooner - I got distracted and didn't pick it up.

Best regards,

Doug
Doug,

Look at the thin array of 6000 sensels x 3


http://www.betterlight.com/images_original/scanning_backs/400px_CCD_angle_903g.jpg http://www.betterlight.com/images_original/scanning_backs/235px_closeCCD_704g.jpg


Within the image sensor, three rows of light-sensitive photodiodes are each covered by a red, green,
or blue color filter, making the entire row sensitive to one primary color. The magnified view of the
Kodak trilinear sensor (right) shows the red, green and blue filtered sensors and part of the charge
transport assembly that carries the electrical signals from the photodiodes to the output amplifiers.


When the camera rotates on a pano head motor the linear array carrying the 3 lines of sensors doesn't progress to scan the film plane, (as happens normally), but is fixed in the center. Progression through the scene is achieved by the whole camera rotating instead! Assuming that the center of a lens is better corrected than the periphery, then we're using just the very best central strip of the image circle under these circumstances! Read more here (http://www.betterlight.com/how_they_work.html).

Asher

[Doug Kerr]

Hi, Asher,

Assuming that the center of a lens is better corrected than the periphery, then we're using just the very best central strip of the image circle under these circumstances!

But the "strip" of the image circle that is used is not all at the center of the image circle; its extremities are out toward (perhaps even at) the periphery.

So, with respect to the overall panoramic image, the horizontal "stripe" lying midway between top to bottom (the "equator") is wholly a creature of the center of the image circle, but the horizontal stripe at the very top of the image is wholly a creature of a place on the image circle that is away from the center by half the length of the line sensor (presumably near the periphery of the image circle), and similarly for the horizontal stripe at the bottom of the image.

Now indeed that is presumably better than the usual situation, where only one place in the image (at its center) is a creature of the center of the image circle. But your description doesn't exactly fit the whole story.

***********

While I am here let me review the matter of the optimum pivot point for four kinds of panoramic photography.

• For multi-shot panoramic photography with a "conventional" camera, the optimum pivot point for the entire camera is the "no parallax point", which is at the entrance pupil of the lens.

Avoidance of parallax shift is the sole criterion here.

• For parallax photography with a swinging lens with a swinging slit attached to its rear, working on a fixed arc of film (e.g., a Widelux camera), the optimum pivot point for the lens assembly is at the second nodal point of the lens.

This is needed to avoid "smearing" from shift of the image from the slit as the slit traverses any region of the film. This is a more powerful criterion in most cases than the avoidance of parallax shift (which would require pivot about the entrance pupil). Lenses used in such cameras are often designed so that the entrance pupil and second nodal point are not too different in location, thus minimizing the amount of compromise.

The theory here is identical to that of the test used to determine the location of the second nodal point (such as is done elegantly with the Kingslake "T-slide" apparatus). I believe that awareness of that test, which is inaccurately thought equivalent to the maneuver in multi-shot panoramic photography, is in part responsible for the widely-held misconception that the no parallax point is at "the" nodal point of the lens.

• For panoramic photography with a swinging camera, a slit at the focal plane, and moving film (e.g., a Cirkut camera), the optimum pivot point for the entire camera is the "no parallax point", which is at the entrance pupil of the lens.

Avoidance of parallax shift is the sole criterion here.

• For panoramic photography with a swinging camera and a fixed line sensor at the focal plane (as discussed in this thread), the optimum pivot point for the entire camera is the "no parallax point", which is at the entrance pupil of the lens.

Avoidance of parallax shift is the sole criterion here.


Best regards,

Doug

[CD Holden]

<snip>
I modified the mounting block to take a Sinar Zoom Back
<snip>


Grant,
What was required to make this back work in the Globuscope body? I've shot 6x7 with my Calumet rollfilm holder in the Sinar. I've always wanted one of the Sinar backs to do 6x12. Even better if it's in a lighter camera...

Chris

[Grant Kernan]

A thin strip needs to be machined out of the mounting block on the Globuscope. The hinge gets in the way of inserting the Sinar Zoom Roll Back fully. PLEASE Email me and I will send you a pic...

[CD Holden]

If anyone has one of these 4x5 bodies they might be willing to get rid of, please contact me: cdholden at gmail dot com.
I'm looking for another to mount my 90mm lens on.

Thanks,

[Ben Rubinstein]

Cummon Asher, stop pretending to be jetlagged, we're dying to see what you did with the camera!

[Asher Kelman]

Ben,

I have to process the pictures! A few days more!

Asher

[Grant Kernan]

Asher,
Did you lose the film?

[Asher Kelman]

Asher,
Did you lose the film?

Grant,

I have pictures. I just need to scan them and see how the negatives came out. B&W here and color in Europe. I suspect I need a new ground "glass" as mine is concave. Am busy with shoots every day and this weekend will have a break to scan.

Asher

[Ben Rubinstein]

20 days later, cummon Asher! :-)

[Asher Kelman]

20 days later, cummon Asher! :-)

Ben,

Sadly, the plastic ground glass is curved and needs to be replaced. Meanwhile I'll try to find something in focus.

Asher

[Asher Kelman]

Is there any downside to changing the back to the universal graphic mount? I'm getting a Maxwell Screen so I could change the mount at the same time. Also, what difference would that make to the type of roll film holders one could slip in?

Asher

[Asher Kelman]

Grant,

Now that you have the Bronica and Mamiya systems worked out, which would be best for both the Betterlight and also using film inserts such as the Sinar Zoom Roll Back fully. Also there any advantage to having a standard Universal/ Graflex back fitted, since some machining is needed anyway for the Sinar holder?

Asher

[Grant Kernan]

The Mamiya and the Bronica lenses work with the Pano Adapter and Betterlight Scan Back because we only need to worry about coverage for the short side of the Betterlighyt format- (72 x 96 mm). This is because the (SLIT SHUTTER) is locked in the centre of lens coverage as the motor turns the whole camera.

Please: Note that the Mamiya lens choice should be an older manual type so that you can set f stops;
The Bronica ETRSI lenses all need to have their depth of field preview locked down to select a chosen f stop....use an elastic band...

A Sinar Zoom Back would need to be set at 645 format for film coverage. You would be better off using an ETRSI or Mamyia 645 camera body with film than trying to use either 645 lens with film and a roll back on - ANY- 4X5 system. These alternative lens options really only shine using the pano adapter and the Betterlight...

No advantage to standard Graphlock back!!!!

[Asher Kelman]

I decided to upgrade from the rather rough pus-pull focus of the supplied 65mm Glbuscope lens. I want to be able to frame using my Fotoman eye piece and then have a helical focus that's calibrated and shimmed for this camera. That way, I do not have to use the focusing screen and this would be great for use with either 6x12, 6x9, 6x7 or 6x6 rollfilm back that I have or 4x5 film holders.

Of course, I'll also have a Maxwell Screen to check the settings, but hope to have the choice of just shooting helical focus. So I ordered the focus for B&H and waited....... weeks then several months......

Finally my 65mm Schneider Helical mount arrived in a sealed box from B&H, but without any instructions. It's very well machined and the rotation of the focus is smooth like a classic Zeiss lens with just enough resistance. Rotation is through 270 degrees plus perhaps 5 degrees more at either end. Markings are in meters and ft with DOF indicated according to F stop. There's a removable lens mounting ring with 3 notches in the front and then, provided loose, a smaller 3-notched ring with a gasket. This adapter is for the lens that comes with my globuscope. The unusual lens is in a Copal 0 shutter and separated from a fixed rear leans locked in the camera body. A push pull sticky sliding mechanism is used for focus. I'll post pictures shortly of the helical adapter.!

So here are the pictures of the Schneider helical focus for its 65mm lens.

http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/_0043500_400.jpg

http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/_0043506_500.jpg

http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/_0043513_500.jpg

http://openphotographyforums.com/2007_OPF_AK/Asher_Kelman_2007/_0043516_500.jpg

I hope this will be helpful enough for others. I've included a cm ruler to give you a reference.

Asher

[scott bye]

Hi Asher,

Did you ever get the helical to work?
What type of viewfinder did you use for your Globuscope? I tried the Mamiya 7, 43 finder; but it was too stiff for the flash slot.
I ordered some of the flock material and it was the stuff w/o the sticky back, worked out good, so I decided to order the version with the sticky back to make it an easier install. Hope it works out.

Scott

[Asher Kelman]

Scott,

I'll update shortly. The camera is back and ready to go!

Asher

[Bart_van_der_Wolf]

I ordered some of the flock material and it was the stuff w/o the sticky back, worked out good, so I decided to order the version with the sticky back to make it an easier install. Hope it works out.

Hi Scott,

Just for the readers that didn't follow every post, which flocking material would that be? Do you have any 'before / after' comparisons to share? That information might help others looking into the situation a lot.

A sticky backing also introduces a (theoretical?) risk of out-gassing to the optical surfaces, although it also depends on the flocking carrier material (substrate). An inert substrate will prevent liberal exchange of gasses, although the exchange will probably be too low to present an issue, in a reasonable lifetime, anyway.

Cheers,
Bart

[scott bye]

I screwed up and ordered the flocking material w/o the sticky backing first and it was too stiff to mold in the camera.
I then ordered the sticky back and it worked out a lot better. This was a thinner product. The only problem was trying to line up the cutout that I made to fit properly in the camera. The sticky back, really is sticky so you should do a dry fit and figure out how you are going to place the backing the camera. I had to push the material with the end of a ball point pen to tuck it in the lens area, if you know what I mean. Make sure you also press the material in the corners, especially when you are making the template. The stiffer the material the harder it is to mold to the camera.
I am not going to worry about the gassing of the sticky flocking material. I think you might have a problem gassing from desert heat, but I probably won't be in that situation.
Hopefully this solves the long exposure problem. It may even produce a better contrast. Will test it out soon. It definitely doesn't reflect light as much as the metal.

I did make a template from trial and error, using the first flocking material I bought and then tried some hard matte printing paper.

Here is a pic of the inside of the camera.

https://lh5.googleusercontent.com/-ayt0EjcxAjA/UMj4vClcIHI/AAAAAAAAAdQ/ui5C2RPy_0g/s800/IMG_0138.JPG

Here is the other material.

https://lh4.googleusercontent.com/-JazJFaT8Nh4/UMj4vOIHW-I/AAAAAAAAAdM/4-jK2dRzcjg/s800/IMG_0139.JPG

The flock material was from ProtoStar and the Self Adhesive material number is FPS01 (28" x20")

[Asher Kelman]

Scott,

Thanks so much for sharing! Waiting for your test to order my own material. Did you remove the lens do inset the material all the way?

Asher

[scott bye]

No, I decided to keep the lens on. It probably would be easier if you did remove the lens.

[Grant Kernan]

Scott,

Is this the flocking material?

http://www.scopestuff.com/ss_flok.htm

It sounds like flocking will solve your problem. It should. I avoided that particular problem as I am using a slightly cropped image size so my 645 format lenses throws a smaller circle of light which does not bounce around as much inside the nosecone.

It all depends on what you photograph and how you use your camera.
I suspect that I will need the flocking material for use with the Mamiya 55mm Shift lens as it will most certainly bounce light around inside the chamber.

While I am at it I might as well outfit both bodies.



I have seen a number of gridded fresnel focusing lenses for sale on both Ebay and LF forum. I suspect that you have solved your focusing problem by now.

Since I now use Focus Verification in Betterlight's Viewfinder software, I rarely need to use a lupe.

[Asher Kelman]

It all depends on what you photograph and how you use your camera.
I suspect that I will need the flocking material for use with the Mamiya 55mm Shift lens as it will most certainly bounce light around inside the chamber.



Grant,

Until I've flocked my cameras, would you say that I just have to be careful of shooting into bright lights or the sun or is there more?

Asher

[Grant Kernan]

Hi Asher,
Yes always be careful of shooting into the sun. Most lenses will flare at least a little. And some more than others.

When I used the Globuscope 4x5 with the JML lens I used a home made lens hood. Now I would recommend one of those flexible gooseneck devices with a black flag so that you can get it right where you need it. I used a Nikon Gel holder that I machined out to stop vignetting. I mostly used the camera for wide angle interiors and I needed to balance strobes and daylight or tungsten. But since I switched to colour negative film I did not need a centre filter. I could burn and dodge the image in a wet darkroom.

I don't recall any real problems. I had blazing sharp images free from flare. I will find another picture to show it's performance. I made 18X24 images which were stunning. My client was a custom woodworker and I needed to show all the wood grain in staircases which sometimes went 3 stories.

The tungsten lights in some of the images were burned out a tad, however most of the shots were tripod and f:16 and anywhere from 1 sec to 60 sec exposures.

[Grant Kernan]

http://openphotographyforums.com/2007_OPF_AK/Grant_Kernan/Globus 65mm JML lens Colour neg.jpg

Grant Kernan: Untitled
Globus 65mm JML lens

[scott bye]

Scott,

Is this the flocking material?

http://www.scopestuff.com/ss_flok.htm

It sounds like flocking will solve your problem. It should. I avoided that particular problem as I am using a slightly cropped image size so my 645 format lenses throws a smaller circle of light which does not bounce around as much inside the nosecone.

It all depends on what you photograph and how you use your camera.
I suspect that I will need the flocking material for use with the Mamiya 55mm Shift lens as it will most certainly bounce light around inside the chamber.

While I am at it I might as well outfit both bodies.



I have seen a number of gridded fresnel focusing lenses for sale on both Ebay and LF forum. I suspect that you have solved your focusing problem by now.

Since I now use Focus Verification in Betterlight's Viewfinder software, I rarely need to use a lupe.


Hi,

Been a while since I visited the forum. I bought my flocking material from these guys. Here is the link

http://www.protostar.biz/hitack.htm

I ordered the FlockBoard light trap sheet first and that was too thick to mold to the walls of the camera so I then ordered the 20' x 28" sheet(FPS-01). The tack sheet was alot thinner and easier to work with.

[scott bye]

Scott



I have seen a number of gridded fresnel focusing lenses for sale on both Ebay and LF forum. I suspect that you have solved your focusing problem by now.

Since I now use Focus Verification in Betterlight's Viewfinder software, I rarely need to use a lupe.


I bought a yankee brightscreen off of ebay from china, it did help a little, but I plan a calling Maxwell brightscreens and forking out 300-400 because I still have a dim picture in low light. I like to take sunrise and sunset pictures, the surise can be difficult to take with the screen that I currently have.

[Asher Kelman]

http://openphotographyforums.com/2007_OPF_AK/Grant_Kernan/Globus 65mm JML lens Colour negmall1.jpg

Grant Kernan: Untitled
Globus 65mm JML lens


Grant,

This lens is exceptional with no obvious signs of problems although I do wonder about the cylindrical reflection in front of the stairs. Is that something reflecting in the stone floor or from the lens surfaces?

Asher

[Grant Kernan]

This small spot is much more central than the flare that Scott was experiencing. His is mostly on edges of the image.

I suspect that my spot is caused by something reflecting from the strobes that I used to bounce light into the set. Especially because of the highly reflective nature of both the stone and of the oiled wood stain. However, I also used a Minolta Color Meter and a sandwich of colour compensating gels; So it all gets a bit dicy.

The basis for this is the bluish colour tone.
I never used polarizers with this lens because of light loss issues. It is an F:8 and in actual use I always found it to be almost a stop slower. With reciprocity / filter factors and not using a centre filter I always over exposed slightly.

I also see a much larger softer glare in the wainscot on the left. But this I think is also external glare.

I do see a really good argument for using the flocking that Scott sourced. We should see a touch more contrast in the image especially in darker areas. And perhaps Scott will be able to solve his flare/glare.
I would be interested in Scotts observations with his after flocked images.

[Asher Kelman]

Grant,

Grant,

I'm impressed that you use a color meter too! What color temp is the light and what desired color temp are you correcting to? What filter mount to the lens? I have a respectable collection of color correcting filters, decamireds, but never thought of using them with this camera!

I'm going to order the flocking ASAP.

Asher

[Asher Kelman]

Hello Scott,

Do you still have the template for the cutting the sheet of flocking? That would be so helpful! Also, what would I need for two cameras?

Asher

[Grant Kernan]

Asher,

Asher,

That was 15 years ago. I can't remember all the details! But I do remember that cc filters were my friend.

On film I would make multiple exposures and use different filters for mixed lighting.

In print from colour negative, I would dodge and burn in the wet dark room using different colour filters for dodging and for burning and later using different settings on the colour head for both procedures...

BTW All I am trying to do do here is to help Scott...I do believe in the JML and the Globuscope.

In the past I made hundreds of thousands of wet prints. Fiber / Colour / RC ... I built an arial 4x5 infinity pre-focussed bellow-less-hard-shell Sinar Hybrid Camera that I could crawl out onto the wing of an airplane to make straight down images...but that was then and this is now.

Now I restrict myself to the Super 6KHS scan back, the Nikon D800 and Ink.

Oh I used a Nikon 72mm gel filter holder machined out to prevent or at least reduce corner vignetting.

67-72 step up to the gel filter holder.

[scott bye]

Hello Scott,

Do you still have the template for the cutting the sheet of flocking? That would be so helpful! Also, what would I need for two cameras?

Asher

Yes I have the template and could scan it for you. You would have to test it first to see if it would work for you and then make adjustments. I used heavy matte paper for a paper template and then transferred it to the flocking material. I have yet to test the camera. I am waiting for snow to see how it would work out in a high contrast situaion.

All you need is one sheet of the flocking material and you will have more than enough. Let me know how you would want me to send the scan to you.

Scott

[Asher Kelman]

Thanks, Scott! PM sent to you! :)

[Grant Kernan]

Scott,
A high Key snow shot (contrast) may not tell the whole story. A darkish shot with bright sunlight as in sun or brightly lit area near the edge of the shot will reveal more...

[scott bye]

Thanks for the info Grant. By the way, did you ever figure out if we could use a monocular or similar off of ebay to attach to the rear of the globuscope? I think this would be more helpful instead of using a dark cloth?

[Grant Kernan]

Scott,
I used a Sinar Bag Bellows with one off its frames removed. Then i clipped in a Binocular view and faceplate with magnifier. I could slip the open bag over the camera back and no dark cloth!
The beauty is that you can move around and look at the GG from different angles.

G

[Grant Kernan]

with the pano



http://www.openphotographyforums.com/2007_OPF_AK/Grant_Kernan/Cowbay Infared.jpeg

[Grant Kernan]

The above pano was made using an f:4 180mm Zenzanon-PE at f 11.5 with a line time of 1/400 and an iso of 200. I used a Betterlight Super 6K HS at 100 percent res. The scan took roughly 101 seconds. I removed the Betterlight IR cut off filter and replaced it with an almost black R 72. The result is a false colour infared image in RGB.

The difference here is that instead of grey balancing at capture time, I grey balanced in post, which created the false colour infared crossover colour. This creates the Sepia / Cyan false colour.

The images native res is 300 dpi and 30 inches X 215 inches
I have printed it 16 inches by 8 feet on canvas, but I must admit it is a pain to transport.

This image was made without adding the black flocking which I have yet to install in my Globuscope.

[Asher Kelman]

I'm posting this for Grant!

http://openphotographyforums.com/2007_OPF_AK/Grant_Kernan/More for Sale0491.jpeg

Here is another image of the camera with my customized Mark Vandersys bracket, a Mamiya mount and the 50mm shift.


Asher

[scott bye]

That set up looks cool. I was trying to figure out a way to turn my bracket that was made my Mark into a handle so it would be easier to carry.
Asher do you know what type of viewfinder would be good for the Globuscope and did you ever get the View Glass done by Bill Maxwell? I heard he takes a long time. What is our 35mm equivalent of the camera - 21mm?

I am comparing images taken with my Mamiya 7 and Globuscope, hard to tell the difference.
I am thinking about either selling this cam or my Mamiya 7. Have to sell one.

[Asher Kelman]

Scott,

I got my viewfinder from Fotoman in China, they're still available AFAIK. It comes with various masks. Yes, my new screen is in but not the flocking yet.

I'd say about 21 mm is about right.

This will give a bigger sheet of film than the Mamiya but one needs a long coat with lots of pockets for the 4x5 film holders!!

Asher

[Grant Kernan]

Scott,
Once you calibrate your focus with the Globusscope 4x5 it will deliver very sharp images on a piece of film twice the size as the Mamiya 7.
However;
It all depends upon what you shoot and how you shoot.
If you have 3-4 lenses for the Mamiya7, and if you shoot people in situ then I would lean towards it. If you only have one lens for the 7 and you want to do landscape then keep the Globuscope and refine your technique.
It will perform but it is very much up to you.
I drilled all the holes in the Mark Bracket to lighten my load. If I were using the camera in Landscape mode then I would probably eliminate it, however if you want a handhold then an additional grip could work.

And I think it looks like swiss cheese and I am a fan of Swiss Cheese!

[scott bye]

Hi Grant,

Just checking in, I am still waiting on my viewfinder from China. I ordered the Yankee fresnel off of ebay but it still isn't bright enough. I was thinking about getting the Maxwell HI Lux, but I am contemplating about paying 400.00 and I read on the internet that Bill Maxwell takes a real long time to get it done. Have you tried any other screens with your Globuscope. I want a brighter screen because I like to take sunrise pictures and use Grads. Sold my Mamiya 7 with the one lens for a loss. I don't want to get rid of the Globuscope. To me 4x5 prints still looks better than the mamiya prints above 16x24." To me it seems like the JML lens has low distortion and delivers a crisp image at f22.

Scott

[scott bye]

Hey


I forgot to ask you if you have a pic on how you have the viewfinder with a bag bellows attached to the rear of your camera. I was looking at one of those monoculars or similar on ebay, but I don't think they would work with the Globuscope. I hate dragging around a big dark cloth.

[Grant Kernan]

Scott,
What I remember is that I used a Sinar bag bellows with a binocular Lupe and face mask assembly.
I still have most of it for the Norma and I can show you a picture of that, but the bag bellows was modified for use with the Globuscope and I do not have that bellows.
What I did was to remove one of the mounting frames so that one end of the bellows could be
fitted around the back end of the Globuscope. The other end is left intact for the Binolupe and face mask.

[Terry Lee]

http://www.kickstarter.com/projects/wanderlust/travelwide-45-camera

Very similar to the Globus......DROOOL....

Time to break out my mad CAD skills and find a 3D Printer!