[pure-silver] Re: OT Large Format Question
- From: "Richard Knoppow" <dickburk@xxxxxxxxxxxxx>
- To: "Pure-Silver Free" <pure-silver@xxxxxxxxxxxxx>
- Date: Mon, 21 Mar 2005 16:32:16 -0800
----- Original Message -----
From: "DarkroomMagic" <info@xxxxxxxxxxxxxxxx>
To: "PureSilverNew" <pure-silver@xxxxxxxxxxxxx>
Sent: Monday, March 21, 2005 9:50 AM
Subject: [pure-silver] Re: OT Large Format Question
> Justin
> As others, I advise against a monorail 4x5 for landscape
> photography. They
> are too heavy to carry around. Ideal for the studio, but
> not for landscapes.
> I suggest either a metal-field (I like my Toyo-Field) or a
> hybrid (I like my
> Linhof Technikardan). For lenses, I prefer the following
> set for 4x5, 90,
> 150, 210mm. This gives me flexibility to shoot
> architecture, landscape and
> full-body portraits. For head-shots you would need 300 or
> better 360mm in
> addition to the above. I use 6 film holders, load them in
> the morning, and
> they last me all day.
>
>
>
>
>
> Regards
>
>
>
> Ralph W. Lambrecht
>
In general I agree about monorail cameras but there are a
couple of good ones that sell very cheap. One is the Calumet
CC-400, which started life as the Kodak 4x5 Masterview
camera. It was also built by Orbit and others under their
names. This is a totally non-glamorous camera but it has
adequate bellows draw and a very wide range of movements. I
have no idea what current prices are but I bought mine at a
local show at least ten years ago for $150 with its original
Aluminum case, a compendium lens shade and some accessories.
The Graflex Graphic View II (avoid the I) is also a good
choice although it has limited bellows draw. It is a little
smaller and lighter than the Calumet.
There are also some good wood view cameras but they need
care in purchasing since they are usually old enough to have
bad bellows or other damage. I can help with Ansco or Agfa
cameras, and to some extent with Kodak view cameras but not
much with others. Both Ansco/Agfa and Kodak view cameras
have limited movements compared to modern cameras, including
the Calumet and Graphic View.
Another point is that a 5x7 camera with a 4x5 reducing
back often has advantages for some work. My Agfa/Ansco 4x5
is actually a 5x7 model, I have both backs. The additional
bellows draw is advantageous for portrature but makes it
difficult to use wide angle lenses.
If what you want is an adjustable camera to correct
"perspective" or get greater depth of field you need a real
view camera, not a press camera like the Speed or Crown
Graphic. These cameras, and their competitors made by B&J,
Busch, and others, have very limited movments and generally
limited bellows draw (12 inches on Graphics). They are
useful for work where these limitations are not important
but weight and size are. Keep in mind that Speed and Crown
Graphics were designed to be hand held. If you want to know
more about these cameras (and the Graphic View) seen the
Graflex Org site at http://www.graflex.org I can answer
some additional questions about these guys. Overall, my
recommendation is to find a Calumet camera in really good
condition.
Lenses are separate items for view cameras. One can find
all sorts of lenses available on the used market. Mounting
for most view cameras is pretty simple. Lens buying is a
thing in itself, much like old fashioned horse trading. It
takes very careful examination of a lens to avoid those that
have been abused or damaged, and even then a lens in
pristine condition may turn out to be a dog. A right of
return is always in order. Some old lenses are excellent,
some are awful. I can help a little here. For older lenses
the variation between samples is often greater than the
difference between good examples of different designs. Some
classic lenses, like the Goerz Dagor, got famous for good
reasons, but there are obscure lenses, like the old Kodak
Anastigmats, which are actully very good to excellent but no
one knows about them.
Used film holders are a drug on the market. Very good 4x5
holders should be no more than $5 US each. The best are the
"Riteway" holders made by Graflex. Avoid older wooden
holders because they are often warped. Some early 1950s
holders, with respectible names, are actually pretty awful.
I have perhaps 30 Fidelity Deluxe holders all of which have
misplaced septums. I have perhaps 50 or more Riteway holders
all of which measure on the nose. For other than 4x5 you may
have to use wood holders. Again, the best are those made by
Graflex (Kodak holders) or by Folmer & Schwing, the old name
of Graflex. Actually, those saying Made by Graflex on them
will be post 1945 so are a better choice.
BTW, the long established convention for dark slides is
to have them with the silver side out for unexposed film,
turning it to the black side when the film is exposed.
Unloaded holders should be stored with the slides slightly
out to show that there is no film in it.
In England the term "darkslide" means the entire film
holder, I have no idea what they call the dark slides that
cover the film.
In general, working with sheet film requires more care
than roll film, especially when one is used to a Rollei or a
modern 35mm camera that does it all for you.
---
Richard Knoppow
Los Angeles, CA, USA
dickburk@xxxxxxxxxxxxx
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