Karl C wrote in post #5650543
Now you're piqued my creative curiosity, what's it like to shoot LF? Sheet film?
First, you go into the darkroom and load film sheets into film holders. There is a rigor to doing this. First, you are in total darkness. You always place the box in the same place, and you have an ingrained procedure for how you open the lid on the box and open the envelope that contains the film. You have the film holders stacked in their correct spot. You pull out the dark slide, flip open the end cap, hold the film with the notches under your right forefinger, and slide them into the holder. Then, you brush them with a static-master brush (did I mention that the darkroom should be kept as dust-free as possible?). You turn the dark slide over so that the white side will be out (there are notches to feel for this, too), and slide it in place, making sure it locks into the end cap. Repeat that process twice for each film holder. Then, you place the film holder in the stack of filled holders.
There are alternatives to this process, but they aren't cheap.
In the field, you walk around until you find the point of view that you think captures your intent. You set up your tripod and mount the camera on it, with an appropriate lens. You open the shutter (there is a slide control that opens the shutter separately from the shutter release), and set the lens to maximum aperture. You then adjust the position of the lens board to achieve an approximate focus. If the basic composition confirms the lens choice, then you throw a dark cloth over the camera, and retreat under the cloth with a 10X loupe to inspect parts of the ground glass. What follows is an extensive amount of adjustment of aperture, lens and back tilts and swings to get the proper perspective and to get everything in focus, checking all parts of the ground glass repeatedly with the loupe.
Once you are satisfied that the camera is set up properly, you look again at the composition to ensure that you are still happy with it.
Then, you pull out your 1-degree spot meter and start surveying the light on the scene, placing the highlights on the brighter end of the scale and the shadows on the darker end, and choosing an exposure that keeps both within the capabilities of the film and development (and that takes lots of personal testing and experience). You have already selected the aperture to achieve acceptable sharpness, and the ISO is dictated by the film, so you only have shutter speed left to play with. It might be measured in seconds.
You close and cock the shutter, and then set the shutter speed on the dial (or count the seconds--I carried a small electronic metronome with me and put the speed on MM60--one beat per second) and attach your cable release. Then you check to make sure you closed the shutter.
Then, you slide the film holder into the camera. Then, you check the shutter yet again. Then pull the dark slide out and use it to shade the lens outside the field of view (or, if necessary, use a compendium shade, which must be adjusted to just avoid darkening the frame edges--most view cameras have open corners in the ground glass so you can be sure nothing is blocking the light reaching the corner of the frame).
Then, you look at the subject, and wait for the right time to make the exposure. This would be quite a while, if the shutter speed is long and there is a breeze.
Once you have made the exposure, you consider the scene again. Is there a better point of view? Some people make trial exposures using Polaroid film--the chimping of yesteryear. I know I did. But it doubles the cost, at least.
Then, you take the film holders back into the darkroom, and go through a similar process to loading them in order to unload them into a film box.
To process them, I used hangers and deep tanks. I slipped the film into the hanger, and filled ten hangers. Then, I held the hangers between my two hands while inserting and extracting them from the various tanks of chemicals.
Printing them is just like printing roll film, except that the enlarger is quite a bit bigger.
Yes, it does encourage an attitude of quiet patience.
Rick "for whom a good day was four usable images" Denney
All very good B&W emulsions. Have you tried long time with weaker dilutions on tech pan? I've never been fond of the stuff myself but I have heard some folks have gotten good results from other developers with modified dilutions maybe even split try a split developer. 
