Graflex Resources

Graflex Garage (Jerry Gordon) in Spokane, Washington
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Jerry Gordon
Graflex Garage
4317 N Addison St.
Spokane, WA 99207
509-638-8921

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Graflex Series RB Series D 4×5 SLR

Graflex Brief History

The Graflex story begins with the founding of the Folmer and Schwing Manufacturing Company in New York City in 1887 by William F. Folmer and William E. Schwing. Initially, the company manufactured gas light fixtures, chandeliers, and bicycles, eventually expanding into cameras.

In 1909, George Eastman acquired the company, relocating it to Rochester, New York, where it operated as the Folmer & Schwing Division of the Eastman Kodak Company. Due to anti-trust regulations, Kodak divested the division in 1926, forming the Folmer Graflex Corporation, which later became Graflex Inc. in 1946. The company changed hands several times, becoming part of the General Precision Equipment in 1956 and later the Singer Corporation in 1968.

Graflex became renowned for the Speed Graphic camera, a staple for photojournalists in the first half of the 20th century. William F. Folmer, co-founder and inventor, guided the company as it shifted focus from gas lamps to photography, releasing the first Graflex camera in 1899. By 1905, the company had fully transitioned to photographic equipment under Eastman Kodak’s ownership. Following a series of ownership changes and anti-trust divestitures, Graflex operated independently until its acquisition by the General Precision Equipment and later the Singer Corporation, continuing operations until 1973.

From 1912 to 1973, Graflex produced a range of large and medium format press cameras, including the Speed Graphic and Crown Graphic models. These cameras varied in film formats from 2¼ by 3¼ inches to 4 by 5 inches, and also included rangefinder, SLR, and TLR cameras in sizes from 35mm to 5 by 7 inches. The Rochester plant also manufactured the Century Studio Camera, marketed under both Kodak and Graflex brands.

The first Graflex-branded camera, released in 1898, was the Graflex Reflex, an early single lens reflex (SLR) camera. It featured a swinging-mirror, through-the-lens viewing mechanism, making it popular for sports and press photography due to its focal plane shutter that enabled fast shutter speeds. The Graflex Reflex was also favored by fine art photographers, leading to the development of specialized soft-focus lenses.

The Speed Graphic, produced from 1912 to 1973, was a folding camera with a focal plane shutter, popular among press photographers for its lightweight, rugged design and versatile lens compatibility. The Speed Graphic’s distinctive focal plane shutter movement, which caused wheels in photographs to appear oval-shaped, became a graphical symbol of speed. Crown Graphic models, similar to the Speed Graphic, lacked the focal plane shutter, allowing for the use of wider angle lenses due to their more compact design.

Graflex cameras, particularly the Speed Graphic and Crown Graphic, remain popular among fine art photographers for their unique image creation capabilities and straightforward mechanical design. These cameras continue to be used for their ability to accommodate specialized lenses and create distinctive photographic effects.

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In the section below, I have included a breakdown of how I am currently using my Series D 4×5 and Press 5×7 cameras and lenses for my projects.

SERIES RB Series D 4×5 

Scenario A.) I use my Graflex Series D with sharp anastigmat lenses and Ilford HP5 or T-Max 400 to make my wild horse KII (palladium-toned Kallitype) contact prints (4×5 on 8×10 paper).  I double-mat these prints to allow the brush marks to be seen and my handmade print seal in the lower right.  I mount the print with Gudy 831 tissue to 8×10 4-ply boards and custom-cut a window mat hinged to the 8×10 mounting board. I cut the larger second window mat and hinge mount to the smaller window mat. 

MOST USED LENSES: 

• Dallmeyer 12 inch f/5.6 Dallon Tele-Anastigmat (full body wild horse landscapes)
• Dallmeyer 17 inch f/5.6 Tele-Anastigmat (distant wild horse landscapes)
• Graflex Tele-Optar 25cm (10 inch) f/5.6 (wild horse closeup portraits)

Scenario B.) I use my Graflex Series D with soft-focus lenses to make Pictorial Whispers KII palladium-toned Kallitype contact prints from my handmade collodion dry plate negatives. For my personal soft focus work, I use sheet film negatives to make IWTSM Nelson Gold-toned contact prints. I primarily use collodion dry plates for my Pictorial Whispers memorial project and for my personal work, I use sheet film because the workflow is faster, and I am doing this for fun and enjoyment.

MOST USED LENSES: 

• Wollaston Meniscus 135mm (5.3-inch) F2.3 (slightly wide)
• Spencer Port-Land 6-inch (150mm) F4.5 (standard) 
• Verito 8 3/4-inch (220mm) F4 (mid-tele)
• Spencer Port-Land 9-inch (230mm) F4.5 (mid-tele)
• Hermagis Eidoscope 275mm (10 3/4″) F4.5  (long) 

My Series D serial number is 333363. Based on the serial number, the camera was made in 1943.

According to Thomas Evans “333363 places your camera in a lot of 300 4×5 Series D Graflex cameras ordered to be made sometime late in 1943.”

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Graflex Series D Information

The Graflex 4×5 cameras were produced by the Graflex company from the early 1900s through the mid-20th century. Here is a summary of the various models and their production years:

Production Years

• Early Production: Early 1900s to around the 1950s

Various Models

Graflex RB Series B

• Production Years: 1923 – 1941
• Description: The RB (Revolving Back) Series B was a popular model that allowed for easier composition in both portrait and landscape orientations without having to rotate the camera.
• RB (Revolving Back) Online Manual

Graflex RB Series D

• Production Years: 1928 – 1947
• Description: The Series D offered improvements in shutter design and lens compatibility, providing photographers with more versatility and better performance.
• Graflex.org Series D info.
• RB (Revolving Back) Online Manual

Graflex RB Super D

• Production Years: 1941 – 1954
• Description: The Super D introduced further enhancements, including a faster shutter speed and improved focusing mechanisms, making it a favorite among press photographers.
• Graflex.org Super D info.
• RB (Revolving Back) Online Manual

Graflex RB Tele

• Production Years: 1928 – 1946
• Description: Designed for telephoto work, the RB Tele model featured a longer bellows extension and was ideal for capturing distant subjects with great detail.

Notable Features Across Models

• Revolving Back (RB) on Some Models: Allowed photographers to switch between portrait and landscape orientation without rotating the entire camera.
• Focal Plane Shutter: Provided a wide range of shutter speeds, essential for capturing fast-moving subjects.
• Interchangeable Lenses: Offered flexibility in choosing the right lens for different types of photography.
• Robust Construction: Camera bodies are constructed using mahogany wood and covered with Moroccan leather to ensure durability and reliability for professional use.

My Graflex Series D RB 4×5 SLR with Graflok Back

I bought this camera from Andy Anderson. It was a rare find for me because it had been modified by Fred Lustig before he passed away, and it had the Graflok back installed. This modification allows for standard non-slotted 4×5 film holders to be used and the Grafmatic film pack which allows six sheets of film. My camera is the RB (revolving back) model. The Series D is a less expensive version of the Super D and the features on the Super D that make it a Super D don’t matter to me, so the Series D is a good choice for me. The two most important features for my style of photography is the ability to mount different lenses, and the revolving back.

As you can see from the Graflex Catalogue Supplement below, the Series D was a special large format SLR camera. It was made of solid Mahogany wood, covered with genuine Morocco Seal leather, and had solid brass metal parts.

The Series D has the following features:

• Focal plane shutter with speeds up to 1/1000
• Automatic lens shield
• Removable lens board (~95mm x ~95mm) or (3.75 in x 3.75 in)
• Supplemental focusing scale
• Minimum Focus 7 inches
• Maximum bellows capacity 12 inches
• Weight: 6 lbs. 12 oz.
• Closed dimensions: 8 3/8 in x 6 3/8 in x 7 7/8 in.

Cut film, roll film, plates, as well as film packs can be used on the Series D.

The original cost of the camera was $100 and for an additional $50 to $75, the following lenses could be included:

• Kodak Anastigmat f/4.5 (Kodak No. 32 6 3/8″ or Kodak No. 33 7 1/2″). I have the No. 32 on my Series B camera.
• Carl Zeiss Tessa f/4.5
• Schneider Xenar f/3.5
• Schneider Tele-Xenar f/5.5

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Graflex RB Series D 4×5 Operating Instructions

USE CASE: Film (Instantaneous Exposure) – Viewing Hood

Shutter Chart (certified for my camera)

	Curtain Setting	Curtain Setting	Curtain Setting	Curtain Setting
Spring Tension	1 1/2	3/4	3/8	1/8
1	1/30	1/70	1/180	1/700
6	1/40	1/90	1/220	1/850

** Based on how close the shutter speeds are, I only use spring tension 1.

Step 1: Cock Mirror and then set the Time/Instantaneous lever to I (Instantaneous)

Step 2: Meter the scene and record the exposure info (aperture/shutter)

Step 3: For 1/30s Example: Set Curtain Knob (CK) to 1 1/2 and Tension to # 1 (per the Shutter Chart)

Step 4: Verify Focus on the Ground Glass (with the lens wide open for max brightness) and then stop the lens down to the desired aperture (if applicable).

Step 5: Load the Holder & Pull the Dark Slide

Step 6: Release the Main Shutter (on the left side of the camera)

Step 7: Replace the Dark Slide

Start over with a new exposure. 

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USE CASE: FILM (Instantaneous Exposure)

REAR GROUND GLASS FOCUS (1/30s Example)

Shutter Chart (certified for my camera)

	Curtain Setting	Curtain Setting	Curtain Setting	Curtain Setting
Spring Tension	1 1/2	3/4	3/8	1/8
1	1/30	1/70	1/180	1/700
6	1/40	1/90	1/220	1/850

** Based on how close the shutter speeds are, I only use spring tension 1.

Step 1: FOCUS ON REAR GROUND GLASS

A: Cock mirror and then set the Time/Instantaneous lever to I (Instantaneous)

B: Set Curtain Knob (CK) to “T”

C: Release the Main Shutter (on the left side of the camera)

D: Focus and prepare to meter the scene

Step 2: METER & SET APERTURE

A: Meter the scene and record the exposure info (aperture, shutter speed)

B: Set aperture to desired value

Step 3: TAKE EXPOSURE

A: Cock the Main Shutter lever

B: Refer to shutter chart, set Curtain Knob to desired value (1 ½ for 1/30s and Tension # 1)

C: Load negative holder and pull the dark slide

D: Release the main shutter (on the left side of the camera)

Start over with a new exposure. 

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USE CASE: Timed Long Exposure (Viewing Hood)

Shutter Chart (certified for my camera)

	Curtain Setting	Curtain Setting	Curtain Setting	Curtain Setting
Spring Tension	1 1/2	3/4	3/8	1/8
1	1/30	1/70	1/180	1/700
6	1/40	1/90	1/220	1/850

** Based on how close the shutter speeds are, I only use spring tension 1.

Step 1: Cock Mirror and then set the Time/Instantaneous lever to T

Step 2: Verify Focus on the Ground Glass (with the lens wide open for maximum brightness). 

Step 3: Meter the Scene and refer to the shutter chart for Curtain Knob and Tension settings.

Step 4: Release the main shutter (on the left side of the camera)

Step 5: Set the Curtain Knob (CK) to T

Step 6: Pull the Dark Slide

Step 7: Pull the Curtain Trip Lever (long skinny lever) to start the exposure time. 

Step 8: Pull the same Curtain Trip Lever again to stop the exposure. 

Step 9: Replace the Dark Slide & Start Over for New Exposure

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USE CASE: Timed (Long Exposure) – Rear Ground Glass 

METHOD # 1

Shutter Chart (certified for my camera)

	Curtain Setting	Curtain Setting	Curtain Setting	Curtain Setting
Spring Tension	1 1/2	3/4	3/8	1/8
1	1/30	1/70	1/180	1/700
6	1/40	1/90	1/220	1/850

** Based on how close the shutter speeds are, I only use spring tension 1.

Step 1: FOCUS ON REAR GROUND GLASS

A: Set Curtain Knob (CK) to “T”

B: Cock Mirror and set I/T to “T”

C: Release the Main Shutter (on the left side of the camera) – Mirror Up

D: Release the Curtain Knob and it will open “O”

E: Focus on the ground glass and prepare to meter the scene

Step 2: METER & SET APERTURE

A: Meter the scene and record the exposure info (aperture, exposure time)

B: Set the desired aperture on the lens

C: Cock Mirror lever again (mirror goes down)

D: Set Curtain Knob to “T”

E: Load Holder

Step 3: TAKE EXPOSURE

A: Pull the Dark Slide

B: Pull the Curtain Release Lever (long and skinny) – curtain opens

C: Release Main Shutter (on left side of the camera) and the exposure begins

D: Pull the Curtain Release Lever again to stop the exposure 

E: Replace the Dark Slide

Start over with a new exposure. 

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USE CASE: Timed (Long Exposure) – Rear Ground Glass 

METHOD # 2

Shutter Chart (certified for my camera)

	Curtain Setting	Curtain Setting	Curtain Setting	Curtain Setting
Spring Tension	1 1/2	3/4	3/8	1/8
1	1/30	1/70	1/180	1/700
6	1/40	1/90	1/220	1/850

** Based on how close the shutter speeds are, I only use spring tension 1.

Step 1: FOCUS ON REAR GROUND GLASS

A: Cock Mirror and set I/T to “T”

B: Set Curtain Knob (CK) to “O” for open

C: Release the Main Shutter (on the left side of the camera) – Mirror Up

D: Focus on the rear ground glass and prepare to meter the scene

Step 2: METER & SET APERTURE

A: Meter the scene and record the exposure info (aperture, exposure time)

B: Set the desired aperture on the lens

C: Cock Mirror lever again (mirror goes down)

D: Load Holder

Step 3: TAKE EXPOSURE

A: Pull the Dark Slide

B: Release Main Shutter (on left side of the camera) and the exposure begins

D: Pull the Curtain Release Lever again to stop the exposure 

E: Replace the Dark Slide

Start over with a new exposure. 

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SHARP ANASTIGMAT LENSES

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The anastigmat lens design was developed in the late 19th century. It was a significant advancement in optical engineering, correcting astigmatism and providing sharp, clear images across the entire field of view.

The anastigmat lens design, introduced in the late 19th century, revolutionized photographic optics by providing sharp, distortion-free images across the entire field of view. Key developments by Paul Rudolph at Zeiss and Emil von Höegh at Goerz, among others, laid the foundation for the modern high-performance lenses used in photography today.

Key Developments and Timeline:

1889: Paul Rudolph and Zeiss Protar

• Paul Rudolph: A German optical designer working for Carl Zeiss, Paul Rudolph, developed the Protar lens in 1889. The Protar was one of the first anastigmat lenses, and it featured multiple elements to correct astigmatism, spherical aberration, and coma, providing sharp images across the entire field of view.

1890: Goerz Dagor

• Emil von Höegh: Another significant contribution came from Emil von Höegh, who designed the Goerz Dagor lens in 1890. The Dagor lens, produced by C.P. Goerz, was a symmetrical anastigmat design that became very popular for its excellent sharpness and wide coverage.

1893: Development of Additional Anastigmat Lenses

• Further Innovations: Following the success of the Protar and Dagor lenses, other manufacturers began developing their own anastigmat lenses. These lenses utilized multiple elements to correct various optical aberrations and were marketed under different names, such as the Cooke Triplet, developed by Dennis Taylor for Taylor, Taylor & Hobson.

Creating the anastigmat lens design marked a major milestone in optical engineering. By correcting astigmatism and other aberrations, anastigmat lenses allowed photographers to achieve much sharper and clearer images than was possible with earlier lens designs. This innovation significantly improved the quality of photographic optics and impacted the development of photographic technology.

Here are the key characteristics of an anastigmat lens design:

Astigmatism Correction:

• Primary Feature: The anastigmat design corrects for astigmatism, an optical aberration where light rays entering the lens at different angles fail to converge at the same point, resulting in a blurred image. Anastigmat lenses ensure that both horizontal and vertical planes come into focus at the same point.

Multi-Element Construction:

• Lens Elements: Typically consists of multiple lens elements arranged in groups. These elements are precisely shaped and positioned to counteract various optical aberrations, including astigmatism, spherical aberration, and coma.

Improved Sharpness and Clarity:

• Image Quality: Provides sharp and clear images from the center to the edges of the frame, making them suitable for a wide range of photographic applications, from portraiture to landscape photography.

Versatility:

• Applications: Anastigmat lenses are versatile and can be used in various types of cameras, including large format, medium format, and even some early 35mm cameras. They are particularly favored in situations requiring high image quality across the entire field of view.

Historical Development:

• Timeline: The anastigmat lens design emerged in the late 19th century, with significant contributions from optical companies like Zeiss and Goerz. These lenses represented a major leap forward in optical performance compared to earlier designs.

Conclusion:

Anastigmat lenses are celebrated for their ability to produce sharp, distortion-free images across the entire field of view. Their multi-element design effectively corrects for astigmatism and other aberrations, making them a crucial development in the history of photography and optical engineering.

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MY ANASTIGMAT LENS GALLERY

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The Series D lens board is 95mm x 95mm and 6.5 mm thick. Its back has a 7mm wide 3.5 mm deep routed edge. The Press 5×7 lens board is flat, 100mm x 100mm square, and 7mm thick. Its back does not have a routed edge.

I currently have the following lenses to use on my Graflex Series D and Press 5×7 cameras:

• Ross Xpres 4-inch F4 Wide Angle (Series D only) (Historic Mills/Bridges Project)
• Dallmeyer Stigmatic Series II No. 2 Triple Convertible (6/9/12″) (Historic Mills/Bridges Project)
• No. 32 Kodak Anastigmat 6-3/8″ f/4.5 (Series D)
• Derogy Grand Angulaire 7-inch (180mm) F11 (Historic Mills/Bridges Project)
• No. 33 Kodak Anastigmat 7 1/2 inch f/4.5
• No. 34 Kodak Anastigmat 8 1/2 inch f/4.5
• Graflex Tele-Optar 25cm (10 inch) f/5.6
• Ross 11 3/4-inch Rapid Symmetrical F8 (Historic Mills/Bridges Project)
• Dallmeyer 12 inch f/5.6 Dallon Tele-Anastigmat (rx w/flange) weight: 390g
• Wollensak 15 Inch f/5.6 Raptar Barrel Lens (rx w/flange) weight: 878g
• Dallmeyer 17 inch f/5.6 Tele-Anastigmat (rx w/flange) weight: 915b, hood = 110g
• Ross London 17 inch f/6.3 Teleros Lens

No. 32 Kodak Anastigmat 6-3/8″ f/4.5

The No. 32 Kodak Anastigmat 6 3/8 inch f/4.5 lens came with my Series B, as shown in the photo below, but I am going to try mounting it on my Series D as my widest lens. When I remove it from the Series B camera, I will photograph the lens close up. I own a Ross Xpres 100mm (4 inch) f/4 lens that I would love to mount on my Series D. Based on what I know right now, I would have to build some type of Frankenstein solution to make this happen.

Ross London 17 inch f/6.3 Teleros Lens (1920s)

According to the old literature, this should work on my Series D. I hope that is true so I can use it for my wild horses project. The 17-inch focal length would be a game-changer for me. I am positive I can mount it, but until I get the lens in my hand, I have no idea how heavy it is or if I can achieve infinity focus with this lens. I am optimistic and have my fingers crossed.

No. 33 Kodak Anastigmat 7 1/2 inch f/4.5

According to the original Graflex literature, this No. 33 Kodak 7 1/2-inch lens should be the normal lens for the Series D 4×5. I have two of these lenses arriving from two different sellers, so hopefully, one will work. Both come with the mounting flange, so that is good. If they both end up working, I can use this on a future camera possibly.

Graflex Tele-Optar 25cm (10 inch) f/5.6 Lens

This lens came on my Series D when I purchased it. This lens is really nice, but I can’t achieve infinity focus because the nodal point is half the focal length making it around 5 inches. The design of the Graflex won’t allow lenses shorter than 6 inches. The guy who had this camera before me was a portrait photographer, so the 10 inch telephoto design makes sense because he was only photographing people at close distances. I love the bokeh with this lens at portrait distances, so I plan on trying to use it in the field with the wild horses to create portraits of them.

Dallmeyer 17 inch f/5.6 Tele-Anastigmat

I picked this lens up for a song, so I could not resist; even though I have the Ross London 17-inch lens coming, I thought this lens would be worth a try, and it is a little faster with an f/5.6 aperture. If I really like this lens, I will search for a better aesthetic copy.

Dallmeyer 12 inch f/5.6 Dallon Tele-Anastigmat 

I am really excited about this lens. I hope it mounts well and I can achieve infinity focus with it. I plan to use this lens for wild horses and landscapes. Any Dallmeyer lens I have ever owned has never disappointed me. I have a strong feeling the trend will continue with this beautiful lens.

No. 34 Kodak Anastigmat 8 1/2 inch f/4.5

This is another great lens for the Series D 4×5 camera. The copy that I purchased is missing the mounting flange, but the lens was in such good condition that I thought it was worth picking it up and getting a flange made or trying to find one. There was also a 12-inch version of this lens, and I plan to continue to search for a good copy that has the mounting flange.

Wollensak 15 Inch f/5.6 Raptar Barrel Lens

I hope to use this lens for my wild horses project. I will have to compare it to the Dallmeyer and Ross lenses to see which is best suited for fast-action fieldwork.

Ross 11 3/4-inch Rapid Symmetrical F8

The Ross Rapid Symmetrical is a sharp lens that can be mounted on a Series D or Press 5×7 lens board. Click on the link to learn more about this amazing lens. I plan to use this on my historic mill and covered bridges project. It is too slow at f/8 to use for my wild horses project.

Derogy Grand Angulaire 7-inch (180mm) F11

The Derogy Grand Angulaire is a sharp lens that can be mounted on a Series D or Press 5×7 lens board. Click on the link to learn more about this amazing lens. I plan to use this on my historic mill and covered bridges project. It is too slow at f/8 to use for my wild horses project.

Dallmeyer Stigmatic Series II No. 2 Triple Convertible

The Dallmeyer Stigmatic Series II No. 2 is a very special lens for a few reasons. It is the original lens that is on my 1890s Eastman 5×7 dry plate camera. It is a triple convertible allowing me to have 6, 9, and 19 inch focal lengths. The apertures are not suitable for handheld shots, however, mounting my camera on a tripod for my historic mills and covered bridges project is a good opportunity to use this very special lens. It is also very small and lightweight. I plan to use this on my historic mill and covered bridges project. It is too slow at f/8 to use for my wild horses project.

Ross Xpres 100mm (4-inch) F4

The Ross Xpres 100mm F4 is a sharp and wide-angle lens will probably not work on the Series D because it can’t get close enough to the film plane because it will either hit the mirror or the location of the front standard is too far away from the film plane and can’t be adjusted back any further. The Graflex Series D standard lens is 7 1/4″; however, I use a 6 3/8″ lens without issue. A 4-inch lens was never in the design plans for the Graflex large format SLR, but I am trying to find a way to make it work.

My attempt to use this lens is to use a modified recessed Linhof board or an adjustable top-hat Linhof board in reverse. Both will likely fail, but I will try to see if I can come up with a solution.

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SOFT FOCUS LENSES

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I am excited to create Pictorialist images using my Graflex SLR large format cameras and soft focus lenses. Inspired by the early 20th-century movement that sought to elevate photography to an art form.

I aim to capture the ethereal, painterly quality characteristic of Pictorialism. By utilizing the unique capabilities of these vintage lenses, I strive to produce photographs that evoke emotion and transcend mere documentation, blending timeless artistry with the rich visual language of the past. All of my work is driven by a thoughtful narrative and has purpose and meaning.

The key challenge I have regarding finding soft-focus lenses that will work with my Graflex Series D 4×5 and Press 5×7 cameras is that the lens boards are much smaller than traditional 4×5 and 5×7 large format view cameras.

The Series D lens board is 95mm x 95mm (3.75 in x 3.75 in), and the Press 5×7 lens board is 100mm x 100mm (4 in x 4 in). Finding soft focus lenses for 4×5 and 5×7 formats that will fit on these smaller boards is challenging. Many soft focus lenses were made for 8×10, primarily with some for the whole plate (6.5 x 8.5) and 5×7 formats, but very few for 4×5. This makes lens selection and focal length options very limited.

The original soft focus lenses were developed in the early 20th century. These lenses were designed to create a soft, dreamy effect in photographs, which was especially popular in portrait photography and pictorialism. I am not a portrait photographer, so the soft focus effect that I desire is over the entire plane of focus and not limited to close working distances associated with portrait lenses.

I know that the Wollensak Verito 7 1/4 inch lens can be mounted on the Series D lens board, which is at least one viable option. The 8 3/4″ and 9″ focal lengths can be mounted on the 5×7 Auto and Press models.

The Spencer Port-Land 6-inch and 9-inch lenses work on my Series D or Press 5×7, and I own this rare and difficult-to-find lens.

I am working on a few other soft-focus lenses to see if I can mount them on these two cameras, including my TTH RVP 12.37-inch F8 soft-focus and Hermagis Eidoscope 275mm lenses. I have confirmed that the Hermagis 275 lens will work on the Press 5×7, but it is slightly too big for the Series D, which is a terrible pity.

Based on the barrel diameter, I know the RVP can be mounted on the Series D and Press 5×7 boards. I plan to have SK Grimes custom make two mounting flanges so I can use them on each lens board because they slightly differ in size 95mm x 95mm vs. 100mm x 100mm.

I also have a few Wollastan meniscus lenses made by Reinhold Schable that may come very close to working, so I am in the process of investigating these lenses for both cameras.

I believe my TT Signature Pictorial Lens can be mounted on the Press 5×7 lens board, but I will have to verify because it will be very close.

I have several options but must work through the physical limitations to verify when lenses will or will not work with each camera. Knowing the Verito 7 1/4 will work on the Series D and the 8 3/4 or 9 inch will work on the Press 5×7 at least gives me peace in knowing that I can pursue my soft focus work on the Graflex 4×5 and 5×7 cameras. I hope I have some other options, but I need to verify.

I have several other incredible soft focus lenses like my Cook Series II, Dallmeyer 3B, and others are too large for use on the Graflex cameras.

Soft Focus Lens Summary For My RB Series D 4×5 and Press 5×7 Cameras

I should note that any lens mounted on the Series D 4×5 will also work on the Press 5×7. The only difference between the perspective because of the difference in the film sizes.

Series D

• Spencer Port-Land 6″ F4.5 (more subtle than Verito) (I own this lens)
• Spencer Port-Land 9″ F4.5 (more subtle than Verito) (I own this lens)
• Verito 6 1/8″ (more aggressive soft focus effect than Port-Land) (searching for this lens). It can be mounted on the Series D or Press 5×7 lens board.
• Verito 7 1/4″ (easier to find than the 6 1/8″ version) (I own this lens) It can be mounted on the Series D or Press 5×7 lens board.
• Verito 8 3/4 inch. It can be mounted on the Series D or Press 5×7 lens board. It is a very exact fit without 1 mm to spare regarding the width of the mounting flange.
• Hermagis Eidoscope 275mm F4.5 can be mounted on the Series D or Press 5×7 lens board. The mounting flange is a very tight fit with no room to spare. (I own this lens)
• RVP 12.37 inch F8 (this lens will fit on both cameras) (I own this lens) It can be mounted on the Series D or Press 5×7 lens board.
• 210mm (8.25″) Nicola Perscheid (crazy expensive, if you can even find one) (searching for this lens)
• Wollaston 135mm f/2.3. I own this lens. It will work on the Series D with a slight adjustment to the flange. All the other Wollaston meniscus lenses are physically too big for either camera.

Press 5×7

• Verito 9″ (More aggressive soft focus effect than Hermagis) (I own the 8 3/4 inch version of this lens, which can be mounted on the Series D or Press 5×7 lens board). The 9-inch lens must be mounted on the Press 5×7 board.
• TT Signature Lens (with 9″, 10.5″, 12″ elements) (I own this lens). It can be mounted on the Press 5×7 lens board only.
• Spencer Port-Land 9-inch F4.5 (I own this lens)
• 10″ Wollensak Vesta (I verified it will work, but I need to find one) This lens has a more subtle, soft-focus effect.
• Wollaston Meniscus 135mm f/2.3 (I own this lens)
• Wollansak Portrait Series A 12 inch F5. It can be mounted on the Press 5×7 board only.
• Rodenstock Monar F3.5 can be mounted on the Press 5×7 only. (I own this lens).

Confirmed Lenses on Graflex 4×5 and 5×7 Cameras

In the lists below, I share various lenses that friends and peers have used on Graflex 4×5 and 5×7 SLR cameras.

Series/Super D 4×5

• 7.25″ Verito on a Graflex Super D 4×5
• 6″ Port-Land on a Graflex Super D 4×5
• 6-1/8″ Verito on a Graflex Super D 4×5
• 6-1/8″ Verito with Kalimar wide-angle adapter on Super D 4×5
• 210mm Nicola Perscheid on a Graflex Super D
• 8.75″ Verito on a Graflex Auto RB 4×5
• 8.75″ Verito on a Graflex Series D 4×5

Press 5×7

• 9″ Verito on a Press Graflex 5×7
• 275mm Hermagis Eidoscope on a Press Graflex 5×7
• 10″ Wollensak Vesta on a Press Graflex 5×7 – https://www.flickr.com/photos/190050474@N06/52231684135/in/photostream/

Interesting Configurations

• 9″ Verito (rear element) with tele-extender on a Graflex Auto 4×5
• 9″ Verito (rear element only) with XIT Pro Series 2.2x tele extender on an Auto Graflex 4×5
• 6-1/8″ Verito with MacroWider adapter on a Graflex Super D
• 7.25″ Verito with Macro Wider HP5 on a Graflex Super D 4×5
• 7.25″ Verito with red filter and polarizing filter HP5 on a Graflex Super D 4×5
• 8.75″ Verito (rear element only), HP5 on a Graflex Auto RB 4×5 – https://www.flickr.com/photos/190050474@N06/52162803429/in/photostream/
• 9″ Verito, HP5 on an RB Auto Graflex 4×5
• 7.25″ Verito augmented with an Itorex Macro Wider on a Graflex Super D 4×5
• 7.25″ Verito with minus-3 tele extender on a Graflex Auto RB 4×5

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MY SOFT FOCUS LENS GALLERY

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The Series D lens board is 95mm x 95mm and 6.5 mm thick. Its back has a 7mm wide 3.5 mm deep routed edge. The Press 5×7 lens board is flat, 100mm x 100mm square, and 7mm thick. Its back does not have a routed edge.

I am currently using the following Soft-Focus lenses on my Series D and Press 5×7 cameras:

• Wollaston Meniscus 135mm F2.3 (Series D)
• Spencer Port-Land 6-inch F4.5 (Series D)
• Verito 8 3/4″ F4 (Series D or Press 5×7)
• Spencer Port-Land 9-inch F4.5 (Series D or Press 5×7)
• TT Signature Pictorialist Lens (9″, 10.5″) (Press 5×7)
• Hermagis Eidoscope 275mm (10 3/4″) (Series D or Press 5×7)
• TTH RVP 12.37-inch F8 (Series D or Press 5×7)
• Wollansak Portrait 12-inch Lens Series A F5 (Press 5×7)

Spencer Port-Land 6-inch F4.5 (Series D)

Spencer Port-Land 9-inch F4.5 (Series D or Press 5×7)

Hermagis Eidoscope 275mm (Series D or Press 5×7)

TT Signature Pictorialist Lens (Press 5×7)

TTH RVP 12.37-inch F8 (Series D or Press 5×7)

Verito 8 3/4″ F4 (Series D or Press 5×7)

Verito 7 1/4″ F4 (Series D or Press 5×7)

Wollansak Portrait 12-inch Lens Series A F5 (Press 5×7)

Soft Focus Lens Key Developments and Timeline

1910s: Introduction of Soft Focus Lenses

• Petzval Soft Focus Lenses: Some of the earliest soft focus effects were achieved with modified Petzval portrait lenses by slightly altering their design or by using diffusion techniques.
• Dallmeyer-Bergheim Lens (c. 1911): Introduced around 1911, this lens was specifically designed for soft focus photography and became one of the early examples of dedicated soft focus lenses.

1912: Wollensak Verito Lens

• Wollensak Verito: The Verito lens, introduced by Wollensak in 1912, became one of the most famous soft focus lenses. It featured a variable soft focus control, allowing photographers to adjust the degree of softness in their images.

1920s: Increased Popularity and Development

• Pinkham & Smith Semi-Achromatic Lens: Another well-known soft focus lens was the Pinkham & Smith Semi-Achromatic lens, which gained popularity in the 1920s for its distinctive soft focus effect.
• Kodak Portrait Lens: Kodak also introduced a series of portrait lenses in the 1920s, designed to produce a soft focus effect, catering to the growing demand for this aesthetic.

Characteristics of Soft Focus Lenses:

• Optical Design: Soft focus lenses typically have uncorrected spherical aberrations or use a deliberate under-correction to create a glowing effect around highlights while maintaining some sharpness in the image.
• Adjustable Softness: Some soft focus lenses, like the Wollensak Verito, feature adjustable mechanisms that allow photographers to control the degree of softness, making them versatile tools for various artistic effects.
• Use in Pictorialism: Soft focus lenses were particularly favored by photographers involved in the pictorialist movement, which emphasized the artistic and interpretative aspects of photography over mere documentation.

Soft focus lenses were created in the early 20th century, with notable examples emerging around the 1910s and 1920s. These lenses became popular for their ability to produce a distinctive, dreamy, and artistic effect, particularly in portrait photography. The introduction and development of soft focus lenses by companies like Wollensak, Dallmeyer, and Pinkham & Smith significantly influenced the aesthetic direction of early 20th-century photography.

Exploring the Timelines of Pictorialism, Anastigmat Lenses, and Soft Focus Lenses

Introduction

The history of photography is marked by significant advancements and movements that have shaped the way we capture and interpret images. Among these developments are the Pictorialism movement, the creation of anastigmat lenses, and the introduction of soft focus lenses. Each of these elements played a crucial role in the evolution of photographic techniques and aesthetics. This article explores the timelines of these key milestones, highlighting their intersections and impact on the art of photography.

Pictorialism (1885 – 1920s)

Origins and Characteristics

Pictorialism emerged in the late 19th century as a reaction against the purely documentary nature of photography. Pictorialists sought to elevate photography to the status of fine art by emphasizing beauty, tonality, and composition over mere factual representation. This movement was characterized by its use of soft focus, selective lighting, and manipulative techniques to create images that resembled paintings or etchings.

Timeline and Key Events

• 1885: The Pictorialist movement began to take shape, with photographers like Henry Peach Robinson and Peter Henry Emerson advocating for the artistic potential of photography.
• 1892: The Linked Ring, a British photographic society, was founded by Henry Peach Robinson and others to promote Pictorialism and elevate the art of photography.
• 1902: Alfred Stieglitz founded the Photo-Secession group in the United States, further promoting the Pictorialist aesthetic. The group published the influential magazine Camera Work, which showcased Pictorialist photography.
• 1920s: The influence of Pictorialism began to wane with the rise of Modernism and straight photography, which emphasized sharp focus and unmanipulated images.

Anastigmat Lenses (Late 19th Century)

Development and Impact

The anastigmat lens design was a significant advancement in optical engineering, correcting for astigmatism and providing sharp, clear images across the entire field of view. This development revolutionized photographic optics and allowed for greater precision and quality in image capture.

Timeline and Key Developments

• 1889: Paul Rudolph, working for Carl Zeiss, developed the Protar lens, one of the first anastigmat lenses. This lens featured multiple elements to correct various optical aberrations, including astigmatism.
• 1890: Emil von Höegh designed the Goerz Dagor lens, another significant anastigmat lens known for its sharpness and wide coverage.
• 1893: Dennis Taylor developed the Cooke Triplet lens for Taylor, Taylor & Hobson, a widely used anastigmat lens design that further popularized the concept.

Significance

Anastigmat lenses allowed photographers to achieve much sharper and clearer images than was possible with earlier lens designs. This improvement in optical performance played a crucial role in the acceptance and growth of photography as both a scientific tool and an artistic medium.

Soft Focus Lenses (Early 20th Century)

Introduction and Usage

Soft focus lenses were developed to create a dreamy, ethereal effect in photographs. These lenses were particularly popular in portrait photography and among Pictorialists who sought to achieve a painterly quality in their images.

Timeline and Key Developments

• 1910s: Early soft focus effects were achieved with modified Petzval portrait lenses and diffusion techniques. The Dallmeyer-Bergheim lens, introduced around 1911, was one of the first dedicated soft focus lenses.
• 1912: Wollensak introduced the Verito lens, which featured a variable soft focus control, allowing photographers to adjust the degree of softness in their images.
• 1920s: The popularity of soft focus lenses grew, with notable examples like the Pinkham & Smith Semi-Achromatic lens and the Kodak Portrait lens being widely used by photographers seeking a soft, pictorial effect.

Significance

Soft focus lenses provided photographers with the tools to create images with a distinct aesthetic, characterized by a gentle, diffused appearance. This effect was particularly valued in portraiture and pictorial photography, where it helped to convey mood and emotion.

Intersections and Influence

Pictorialism and Soft Focus Lenses

The timelines of Pictorialism and the development of soft-focus lenses are closely related, but they do not align perfectly with their starting points. Pictorialism as a movement began before the widespread use of dedicated soft-focus lenses.

The Pictorialist movement and the development of soft focus lenses were closely intertwined. Pictorialists embraced soft focus lenses for their ability to produce images with a painterly quality, aligning with the movement’s goal of elevating photography to an art form. The introduction of lenses like the Wollensak Verito and Pinkham & Smith Semi-Achromatic provided Pictorialists with the means to achieve their desired aesthetic.

Anastigmat Lenses and Technical Advancements

While the Pictorialist movement favored a soft, artistic approach, the development of anastigmat lenses represented a technical leap forward in optical precision. These lenses provided sharpness and clarity that were essential for scientific and technical photography, as well as for photographers who sought to capture detailed and accurate images. The improved optical performance of anastigmat lenses also benefited Pictorialists when they needed sharp detail in specific areas of their compositions.

Legacy and Evolution

The legacy of Pictorialism, anastigmat lenses, and soft focus lenses can be seen in the continued exploration of photographic techniques and aesthetics. Modern photographers and lens designers build upon these foundations, creating tools and styles that blend artistic vision with technical excellence.

Conclusion

The timelines of Pictorialism, anastigmat lenses, and soft focus lenses highlight the dynamic interplay between artistic movements and technological advancements in the history of photography. Each of these elements contributed to the evolution of the medium, shaping the way we capture and interpret images. Understanding their development and impact provides valuable insight into the rich and diverse history of photography.

Negative Technical Information

I prefer to use Ilford HP5 with my Graflex cameras when handholding for exposures. I have tested this film and rated it at EI 250.

I develop HP5 in HC-110 (B) 1:31 for 5.5 minutes to achieve the density desired for my platinum/palladium contact prints.

For my historic mills and covered bridges project, I often use Ilford FP4 rated at EI 100 developed in HC-110 (B) 1:31 for 6.5 minutes.

HC110-B 1:31 270ml = 9ml HC110 dev + 261ml DH20

FP4/HP5 Reciprocity
2 ->3 | 4 ->7 | 8 ->19 |12->33 | 16->50 | 24->93 | 32->145 | 45->250 | 60->378 | 90->853 | 120->1670

For silver gelatin paper negatives, I prefer to use Ilford Warmtone Semi-matt, and I rate it at EI 6 in good lighting and EI 3 in early morning and late evening lighting. I develop it in Ilford Multi-Grade paper developed dilution at 1:30. Development is done by inspection under red safelight.

Graflex Resources

Graflex Garage (Jerry Gordon) in Spokane, Washington
Facebook Group – https://www.facebook.com/groups/2688289148074171/
Facebook (Personal) – https://www.facebook.com/GraflexGarage/
YouTube – https://www.youtube.com/channel/UCw0LFPdv1VjCo7V5z61bdwg

Jerry Gordon
Graflex Garage
4317 N Addison St.
Spokane, WA 99207
509-638-8921