[pure-silver] Re: OT Large Format Question
- From: "Stein" <rstein@xxxxxxxxxxxxxx>
- To: <pure-silver@xxxxxxxxxxxxx>
- Date: Tue, 22 Mar 2005 00:02:52 +0800
Dear Justin,
Your large format enquiry is very much on topic - you will find a
wonderful new world of traditional imaging once you start to use a 4 x 5.
And a whole new old set of things to do. You asked for advice - well cum
grano salis, here goes....
Horseman is a good brand - so is Linhof, Sinar, Toyo, and a number of
others. The Horseman you see in that advertisement is possibly meant for
general studio use and not really intended to go out much into the field. If
your interests lie in the studio, as do mine, well and good. The L-shaped
supports of the camera make inseertion of the film holders easy when you
have large back displacements. But...
You rarely do. Portraiture - not often, and advertising pictures -
well, too often these days. Architecture may need the big swings but then it
will need a very flexible bellows. The Horseman you see in that advert seems
to have the ground glass back but no lens panel. The lens advertised seems
to be for a smaller Horseman - the 6 x 9 size. Careful that you get the size
you need. The rotary back is used with a roll-film holder wher you need a
quick change from view to take. You may not need this.
All told, think in terms of:
1. An entry level monorail if you are going to be mostly in the studio -
and entry-level wooden field camera if you will be mostly outside. Look for
adverts for the Linhof Kardan E or RE or a less expensive Cambo or Toyo. If
it is the field look at Shen Hao or Tachihara.
2. Lensboard to suit the front of the camera.
3. Groundglass back for the back of it. The Linhof comes complete with
this, as does the Cambo and Toyo. They are all graflok types which you will
appreciate later.
4. Lens. I heartily reccomend a 135 to 150mm lens as a starter. I use
Nikon, Rodenstock , and Schneider and they are all suitable.
5. Lenshood. Rubber or metal for now and you can buy a fancy schmancy
compendium later.
6. Cable release.
7. Med Yellow, Red, Green, and Pola filters for the lens.
8. Focussing cloth. Make your own from black broadcloth a yard square.
9. Tripod with either ball head or pan-tilt. Get one that you can carry
but get it as sturdy as you can. Big is good, wood is good, Linhof is good,
Gitzo is good.
10. Film holders. Lisco, Riteway, Linhof, Toyo, etc. I would buy 6 new
ones now and you can scour shops and swap meets for good used ones later on.
You do not need to use busted ones at all.
11. Sheet film. Ilford FP4 Plus is a good start, as is Kodak T-Max
100.
12. A dark room.
I'd investigate the student offers that the big manufacturers have for
entry-level monorails and get a new one. The lens can be S/H if you know how
to check it out, as can the filters, lenshood, carry case, tripod, etc. New
holders.
And finally - the attitude. When other people wave their little silver
digitals above their heads in the vague hope that there is a picture
somewhere up in the air, you set out deliberately to MAKE a fine image. Take
your time, buy a couple of L/F books, spend an hour getting set up for just
the right light. Make all the mistakes once, and many of them repeatedly.
Talk to yourself to remember the routine.
One day, you will look at the perfect negative in your darkroom. And the
perfect print for the wall. From a 4 x 5 negative, it can be a big wall.
Uncle Dick
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