Here's a little something I wrote a while back for another site. It basically goes over why I love my 4x5 camera. Ever sine I got my hands on my Toyo 4x5 I haven't looked back. I've gone on to other cameras since then but it's a great place to start.
While the digital revolution in photography is nearly complete - film point and shoots and even 35mm SLRs have all but faded into obscurity - there is still a healthy place for film left in the realm of large format cameras. The camera that commands the vast majority of this sub category of photography is the endearing 4x5 view camera.
When you look closely at the 4x5 camera you can see some very good reasons why this piece of photographic equipment is still a favorite of a lot of photographers, pros and amateurs alike. One of the most obvious is the quality of images produced. Hands down, there is absolutely no digital camera - less than the price of a new car (and even then it's questionable) - that is capable of producing images of the quality that can be attained from a 4x5 negative and a sharp lens. While newer CCD chips of higher megapixels rival and often surpass 35mm film cameras, they still have a way to go to match the information present in the surface area of a 4 inch by 5 inch negative.
Having complete control over the the way a photograph ultimately turns out is very important to serious photographers and the 4x5 view camera provides this ability. This is achieved by the built in ability of the part of the camera containg the lens and the part containing the film to be moved indepently of each other. This is called "movements" and different cameras can do this to greater or lesser degrees. These movements can be used to created a variety of desired effects from perspective correction in architectual photography to the intentional distortion of scenes and even to increase the depth of field in landscape photography.
One of my biggest reasons for enjoying 4x5 view cameras is the fact that, due to their size and design, they require a significant time investment for each photograph. Admittedly, this can be a disadvantage in a lot of situations. You would never use a 4x5 camera for action sports photography for instance. However, the extra time and concentration demanded from the user leads to a better understanding of the photographic process and what goes into a good picture. Photographers tend to be shown their deficiencies when using a 4x5. You may find yourself studying the ground glass a bit longer than you would normally find yourself looking at the same scene though your SLR viewfinder - with the knowledge that taking a second shot involves more than pushing down the button in another fraction of a second. Even after going back to point and shoot cameras I find that my time spent with my 4x5 view camera has rubbed off and I make better, more thoughtful photographs.
Monday, February 1, 2010
The Sinar P2
If you've already decided that a studio camera is what will best suit your needs then it's worth looking int Sinar's P2. It isn't the best if you're on a budget but you'll definitely be getting what you pay for. Sinar is known for making some of the best cameras and lenses out there and the P2 is no exception. Check it out on their site.
When p stands for perfection you could only be talking about the Sinar p2, a camera truly in a class by itself. The Sinar p2 assembles a group of features found nowhere else, and after almost 30 years the p series is still the standard of comparison for monorail view cameras.
The first choice in the range of purely mechanical cameras is the Sinar p2. Thanks to its refined design, settings and focusing with the Sinar p2 can be accomplished faster than with any other view camera. Not only does this save precious time, it also provides significant gains in precision. This model, too, can be adapted for use in digital photgraphy.
The Sinar p2´s precision and stability are important for digital photography applications, and its yaw-free design makes it even easier for you to set camera movements exactly.
Features
Sinar p2
* All Sinar p2 movements are gear driven and feature zero position click stops.
* Metering backs allows you to use film plane metering probes.
* The yaw-free design of the Sinar p2 lets you combine swings and tilts with no time-consuming readjustments.
* The Sinar p2´s precision micrometer drives are smooth and self-arresting. Once a movement is set, it stays. You get easy one-hand operation, and no more wrestling with locking knobs.* Depth of field calculator tells you exactly how much depth of filed you need for your image, forever eliminating excessive stopping down.
* Features the Rail Clamp 2 for added stability.
* For photography on 4x5" sheet film, 120 and 220 roll film, and digital photography. Can also be upgraded for 5x7" and 8x10" photograpy.
* The Sinar p2 is based on the unique asymmetric tilts and swings, not the traditional center or base tilts. This means rapid and precise settings, without ever loosing sharpness on the axis.
* Format change capability lets you switch between 4x5", 5x7", 8x10" plane film backs and digital adapters.
* Fully compatible with the proven Sinar System of accessories.
* You can calculate exact swings and tilts in seconds using the asymmetric movements and measuring scales. You won´t have to guess at your movements anymore, and it´s fast - very fast. How?
* Professional photographers have long appreciated the quality and value of the Sinar line of view cameras. When you purchase a Sinar view camera you are not only purchasing many of the exclusive Sinar features, but also 50 years of experience in professional large format, as well as complete system interchangeability.
_________
Pretty awesome, no? It's definitely a professional level tool.
When p stands for perfection you could only be talking about the Sinar p2, a camera truly in a class by itself. The Sinar p2 assembles a group of features found nowhere else, and after almost 30 years the p series is still the standard of comparison for monorail view cameras.
The first choice in the range of purely mechanical cameras is the Sinar p2. Thanks to its refined design, settings and focusing with the Sinar p2 can be accomplished faster than with any other view camera. Not only does this save precious time, it also provides significant gains in precision. This model, too, can be adapted for use in digital photgraphy.
The Sinar p2´s precision and stability are important for digital photography applications, and its yaw-free design makes it even easier for you to set camera movements exactly.
Features
Sinar p2
* All Sinar p2 movements are gear driven and feature zero position click stops.
* Metering backs allows you to use film plane metering probes.
* The yaw-free design of the Sinar p2 lets you combine swings and tilts with no time-consuming readjustments.
* The Sinar p2´s precision micrometer drives are smooth and self-arresting. Once a movement is set, it stays. You get easy one-hand operation, and no more wrestling with locking knobs.* Depth of field calculator tells you exactly how much depth of filed you need for your image, forever eliminating excessive stopping down.
* Features the Rail Clamp 2 for added stability.
* For photography on 4x5" sheet film, 120 and 220 roll film, and digital photography. Can also be upgraded for 5x7" and 8x10" photograpy.
* The Sinar p2 is based on the unique asymmetric tilts and swings, not the traditional center or base tilts. This means rapid and precise settings, without ever loosing sharpness on the axis.
* Format change capability lets you switch between 4x5", 5x7", 8x10" plane film backs and digital adapters.
* Fully compatible with the proven Sinar System of accessories.
* You can calculate exact swings and tilts in seconds using the asymmetric movements and measuring scales. You won´t have to guess at your movements anymore, and it´s fast - very fast. How?
* Professional photographers have long appreciated the quality and value of the Sinar line of view cameras. When you purchase a Sinar view camera you are not only purchasing many of the exclusive Sinar features, but also 50 years of experience in professional large format, as well as complete system interchangeability.
_________
Pretty awesome, no? It's definitely a professional level tool.
Here's some great pointers I found over at toyo's website. There's definitely some good tips in here, particularly for people new to the 4x5 camera. It's a totally different machine from a 35mm or digital. It takes more time to set up and to produce a single photography but it also FORCES YOU to take more time. Many people have found that this makes them a better photographer in all areas.
Framing the Subject
Practice framing the subject before you set-up the camera. Buy a 4x5 cut-out black presentation mat to use as a "viewing frame," and a small ruler. Hold the frame about 6 inches from your eye and you will see the approximate area that a 150mm lens "sees." Bring it about 3-1/2 inches from your eye and you now have simulated the area viewed by a 90mm lens. In seconds, you can use this simple device to visualize any scene and select the best angle before you take the camera out of its case.
Visualization
Before setting your camera on the tripod, stop to think about the image you are going to create. This part of the process is called visualization. It sounds simple, but many photographers are automatically tuned into the speed of picking up a 35mm camera and just shooting away, only to find a few good images later. Because you are carefully considering the composition in your mind, you will also find that two lenses - a normal and wide angle - will serve most of your needs.
Study the Scene
Once you set-up the camera, you will see that viewing, focusing and composing on a 4x5 ground glass reveals exactly what you record on film. The image is projected directly through the lens onto the focusing screen. It appears upside down, and reversed from right to left. While at first, this may seem awkward, this abstraction is actually an aid to better composition. With experience, your eye will train itself to notice light, shade, form, shape and tonality more carefully. You will be less distracted by the world outside of your composition. You will learn to concentrate your mind's-eye on the large 4x5 area and to observe the direct result of changing focus, depth-of-field, and control of all the camera movements. All of this leads you to greater attention to detail, and a more refined sense of composition.
Exploring Large Format Camera Technique
4x5 view camera technique fosters creation of exceptionally expressive and well thought out individual images. In part, this is due to the photographer's desire to be more involved with the entire photographic process. Experimenting with a 4x5 field camera is easy, fun and inspiring. In fact, many photographers find that working in the 4x5 format improves their creative concentration and technical understanding of photography in general. The principles involved are timeless, straightforward and can be universally applied.
Hopefully you enjoyed this artice and found it helpful. If you haven't been to this site then by all means go and check it out.
Framing the Subject
Practice framing the subject before you set-up the camera. Buy a 4x5 cut-out black presentation mat to use as a "viewing frame," and a small ruler. Hold the frame about 6 inches from your eye and you will see the approximate area that a 150mm lens "sees." Bring it about 3-1/2 inches from your eye and you now have simulated the area viewed by a 90mm lens. In seconds, you can use this simple device to visualize any scene and select the best angle before you take the camera out of its case.
Visualization
Before setting your camera on the tripod, stop to think about the image you are going to create. This part of the process is called visualization. It sounds simple, but many photographers are automatically tuned into the speed of picking up a 35mm camera and just shooting away, only to find a few good images later. Because you are carefully considering the composition in your mind, you will also find that two lenses - a normal and wide angle - will serve most of your needs.
Study the Scene
Once you set-up the camera, you will see that viewing, focusing and composing on a 4x5 ground glass reveals exactly what you record on film. The image is projected directly through the lens onto the focusing screen. It appears upside down, and reversed from right to left. While at first, this may seem awkward, this abstraction is actually an aid to better composition. With experience, your eye will train itself to notice light, shade, form, shape and tonality more carefully. You will be less distracted by the world outside of your composition. You will learn to concentrate your mind's-eye on the large 4x5 area and to observe the direct result of changing focus, depth-of-field, and control of all the camera movements. All of this leads you to greater attention to detail, and a more refined sense of composition.
Exploring Large Format Camera Technique
4x5 view camera technique fosters creation of exceptionally expressive and well thought out individual images. In part, this is due to the photographer's desire to be more involved with the entire photographic process. Experimenting with a 4x5 field camera is easy, fun and inspiring. In fact, many photographers find that working in the 4x5 format improves their creative concentration and technical understanding of photography in general. The principles involved are timeless, straightforward and can be universally applied.
Hopefully you enjoyed this artice and found it helpful. If you haven't been to this site then by all means go and check it out.
Here's a great article I found over at largeformatphotography.info. If you haven't been to that site, check it out. This goes into how you should go about getting into large format photography. What format should you be looking at? 4x5? 8x10? Also has good information on selecting either a field or studio camera, wood or metal, etc. And it give some tips on some of the better cameras if you're on a budget. I hope this is useful.
Think first about your intended application. 35mm cameras are universal, MF cameras and LF cameras are really more specialized. What kind of work are you going to do, and in which conditions ?
Which format to use ?
* 8x10 and larger These formats gives you beautiful contact prints. Contact printing is required for some alternative process (like Platinium). The marginal quality over 4x5 or 5x7 obtained in enlargements is probably noticeable only for the extreme enlargements. The drawback is the size and weight of the equipment, as well as its cost. Older 8x10 cameras can be have for (relatively) cheap, and a Philips camera is not much heavier than some 4x5 cameras. However larger formats (sometimes called Ultra LF) require a considerable amount of work.
* 5x7 The equipment is not really heavier than for 4x5: the lenses are most of the time the same, there are 6lbs cameras. It is mostly the holders which are bigger: they produce an image which is almost two times as large, but is more rectangular, in a format homothetic to 35mm and 6x9. It is large enough to produce decent contacts. but still small enough that it is relatively easy to enlarge. The only significant drawback comes from the scarcity of the film (as of summer 96, the only slide film available in the USA are Kodak EPP and EPR. Euro or Japaneese photographers have Fuji emulsions). One thing that I am really missing is the possibility to use Polaroid film, and quickloads. Processing and printing is more difficult to obtain with labs, and if you want a new color enlarger, you might have to buy a 8x10 enlarger. However, all these problems do not affect b&w photographers.
* 4x5 This is in practice the smaller format where you can use sheet film (2x3 sheet film exists but is marginal). It is by far the most popular format, with lots of cameras, lenses (from 45mm to as long as the bellows will accomodate), film, different type of holders (including roll-film, polaroid, preloaded). For most people that's the format of choice.
* roll-film Shooting roll-film with a view camera is an interesting combination. There are cameras and backs which let you shoot 6x7, 6x9, 6x12, 6x17. Compared to 4x5, you don't have to deal with sheet film, the cost is very low (lower than for 35mm actually, if the surface is considered), and there is a very wide choice of film. If you chose a 2x3 view camera, it can be actually cheaper than a lot of MF systems, and might not be heavier, especially if you buy lenses with small coverage. However, compared to convenentional MF systems, you gain "only" camera movements (their effect is not always very easy to judge on the small image area) and you loose a lot of ease of use (this might be a plus for folks willing to "slow down"). Another option that I find more interesting is to use a roll-film back with a 4x5 camera. There are 4x5 lightweight cameras wich are not much more heavy than 2x3 cameras. Then you can have the option of doing 4x5 if the opportunity looks very good. Speaking from my own experience and that of other folks, when you come home the 2x3 images will look a bit small if you have shot 4x5, and you will probably think that given the burden of carrying and operating a view camera, you'd rather have the big image. If you use a panoramic format like 6x12, this comparison might not apply.
What features to look for in a camera ?
Here are a few things to consider. There are more discussions about the various trade-offs (wood vs metal, monorail vs flatbed, etc...) elsewhere on the LF page. Remember that YOU have to find out what your priorities are first, and that not every camera, no matter how highly praised, is for everyone.
o Long focals. A camera with bellows which are too short will not allow you to use long lenses, or to do close-ups. The cure for this problem are very limited. You can use on some cameras a combinations of front tilts, or get an extension board (opposite of a recessed board), but this will give you only a few additional centimeters. Here, again monorails are more flexible, since you can usually purchase a longer rail and extension bellows.
* Enough movements for your type of photography. The monorails have all the movements, whereas some type of flat bed cameras have almost none. Studio photography usually requires a great deal of image control, architecture requires shifts to maintain correct perspective. Landscape require the less movements, although to obtain adequate depth of field due to the fact that longer focals are needed for a given field of view, some tilts are often necessary.
* Rigidity and precision of alignment This is all about sharpness. To shoot in windy conditions you need a camera which is rigid enough so that the standards won't move (resulting in unsharp pictures). The locks have to be strong enough so that the standards don't move when you insert the holder. Misalignements between standards or within the back standard to the film plane might cause misfocus in some areas of the image (although this is critical for reproduction work, I doubt that for real shooting it matters). Generally speaking, the metal cameras are more rigid and precisely aligned than the wooden cameras. The lighweight cameras are more likely to have problems here.
* Ease of operation. Geared controls, positive and well placed locks, spirit levels, various scales, zero detents, smooth operation, rear focussing (very important for macro work), etc.., all help. If complicated adjustments are used, a yaw-free design might help. This feature is not relevant otherwise.
* Portable enough. Whereas all the folding cameras are portable and have a reasonnable weight (3lbs - 7 lbs), some monorails are too heavy and bulky to be used in the field. There is a tradeoff here between portability and and versatility (possibility to use many focals and movements), and also rigidity. Usually, for the same features, a wooden camera will be lighter, but often less compact than an equivalent metal field camera.
* Allow you to use your focals of choice All the cameras do what they are designed for with a normal lens. However, with shorter and longer lenses difficulties might arise:
o Short focals. Some flatbed cameras have very limited wide-angle abilities, due to:
+ large minimum extension,
+ fixed bellows (the bellows compression will make movements impossible unless you have a wide-angle bellows which is shorter and more flexible)
+ beds showing in the field of view
A recessed lensboard can make up for some problems by allowing a larger lens to film distance than the focal length of your lens. However, they are expensive ($150) and the controls of the lens become hard to reach. A monorail is usually more flexible, since all of them have a small minimum extension, wide-angle bellows. Depending on the nature of the tripod mount attachment, the rail showing in the field of view might or might not be a problem, but there are sometimes optional short rails.
Which is best, wood, or metal ?
The main advantage of wood (besides being cheaper to work) is that it is lighter. A consequence is that for the same weight you can make a bigger camera, which in turn will provide you more movements and more extension. A typical example are the Wisner and Canhams which are quite bulky (for 4x5 cameras) but offer more movements and bellows than any other field cameras. A metal camera using the same design would weight more than 11 lbs. Wood is also much better at dampening high-frequency vibration than any metal or metal alloy.
* Cheapest. A Speed or Crown Graphic press camera (at the expense of movements, not a good choice if you are interested in perspective control or depth of field control. A basic monorail like Calumet CC-400, Omega, Graphic View II (at the expense of portability, at about 8 lbs., they are a little heavy and bulky for hiking), Bender (if you like woodworking). A Burke and James (good movements, more portable than a monorail, might be a bit ratty). $250.
* Cheap. A new Calumet Cadet (a monorail camera). $400. Toyo 45cx. $450. A used lightweight wood-field (such as the Tachihara). $400-$500. A Technika III (metal, flatbed, adequate movements). $600.
* Still reasonable. A new lightweight wood-field (around $700), a used Wista, a used Zone VI. The new Arca-Swiss discovery (maybe too recent to find used) and the Sinar A1 (monorail cameras).
Which cameras to consider to get started on a budget?
It is best to buy used equipment. Shutterbug (dealers advertisements, classified, swap announces) and the net are good sources. Some recommended used stores with knowledgeable and honest people are Midwest Photo Exchange and Lens and Repro. There is not much which can go wrong on a large format camera which has not been seriously abused, since there are no delicate small high precision parts or electronics. Older cameras are well usable, but usually lack the convenience of more modern designs. Some of them are so beat-up that they lost their original rigidity. Another thing to watch for is pinholes in the bellows. A new bellows can always be installed, but the price might be a significant fraction of that of the cheaper cameras. Here are some suggestions (refer to the reviews for more details):
Metal has technically many advantages. It is more rigid, which result in less flexing and low frequency vibrations. This is good for long extensions. It is more solid, resulting in a more durable camera. If your tripod is knocked over by the wind, a metal camera is quite likely to remain functional with a few scratches, whereas a wooden camera could be totally destroyed. My reversible wooden back broke at the edge, which would have been unlikely to happy with metal. The stability with respect to environmental conditions like humidity and temperature is also better (one day my Canham would focus quite smoothly, one day it would be quite sticky). Last, it is easier to implement small features on metal. Therefore metal cameras tend generally to be more compact, and to offer greater accessory systems like reflex hoods, etc...
Think first about your intended application. 35mm cameras are universal, MF cameras and LF cameras are really more specialized. What kind of work are you going to do, and in which conditions ?
Which format to use ?
* 8x10 and larger These formats gives you beautiful contact prints. Contact printing is required for some alternative process (like Platinium). The marginal quality over 4x5 or 5x7 obtained in enlargements is probably noticeable only for the extreme enlargements. The drawback is the size and weight of the equipment, as well as its cost. Older 8x10 cameras can be have for (relatively) cheap, and a Philips camera is not much heavier than some 4x5 cameras. However larger formats (sometimes called Ultra LF) require a considerable amount of work.
* 5x7 The equipment is not really heavier than for 4x5: the lenses are most of the time the same, there are 6lbs cameras. It is mostly the holders which are bigger: they produce an image which is almost two times as large, but is more rectangular, in a format homothetic to 35mm and 6x9. It is large enough to produce decent contacts. but still small enough that it is relatively easy to enlarge. The only significant drawback comes from the scarcity of the film (as of summer 96, the only slide film available in the USA are Kodak EPP and EPR. Euro or Japaneese photographers have Fuji emulsions). One thing that I am really missing is the possibility to use Polaroid film, and quickloads. Processing and printing is more difficult to obtain with labs, and if you want a new color enlarger, you might have to buy a 8x10 enlarger. However, all these problems do not affect b&w photographers.
* 4x5 This is in practice the smaller format where you can use sheet film (2x3 sheet film exists but is marginal). It is by far the most popular format, with lots of cameras, lenses (from 45mm to as long as the bellows will accomodate), film, different type of holders (including roll-film, polaroid, preloaded). For most people that's the format of choice.
* roll-film Shooting roll-film with a view camera is an interesting combination. There are cameras and backs which let you shoot 6x7, 6x9, 6x12, 6x17. Compared to 4x5, you don't have to deal with sheet film, the cost is very low (lower than for 35mm actually, if the surface is considered), and there is a very wide choice of film. If you chose a 2x3 view camera, it can be actually cheaper than a lot of MF systems, and might not be heavier, especially if you buy lenses with small coverage. However, compared to convenentional MF systems, you gain "only" camera movements (their effect is not always very easy to judge on the small image area) and you loose a lot of ease of use (this might be a plus for folks willing to "slow down"). Another option that I find more interesting is to use a roll-film back with a 4x5 camera. There are 4x5 lightweight cameras wich are not much more heavy than 2x3 cameras. Then you can have the option of doing 4x5 if the opportunity looks very good. Speaking from my own experience and that of other folks, when you come home the 2x3 images will look a bit small if you have shot 4x5, and you will probably think that given the burden of carrying and operating a view camera, you'd rather have the big image. If you use a panoramic format like 6x12, this comparison might not apply.
What features to look for in a camera ?
Here are a few things to consider. There are more discussions about the various trade-offs (wood vs metal, monorail vs flatbed, etc...) elsewhere on the LF page. Remember that YOU have to find out what your priorities are first, and that not every camera, no matter how highly praised, is for everyone.
o Long focals. A camera with bellows which are too short will not allow you to use long lenses, or to do close-ups. The cure for this problem are very limited. You can use on some cameras a combinations of front tilts, or get an extension board (opposite of a recessed board), but this will give you only a few additional centimeters. Here, again monorails are more flexible, since you can usually purchase a longer rail and extension bellows.
* Enough movements for your type of photography. The monorails have all the movements, whereas some type of flat bed cameras have almost none. Studio photography usually requires a great deal of image control, architecture requires shifts to maintain correct perspective. Landscape require the less movements, although to obtain adequate depth of field due to the fact that longer focals are needed for a given field of view, some tilts are often necessary.
* Rigidity and precision of alignment This is all about sharpness. To shoot in windy conditions you need a camera which is rigid enough so that the standards won't move (resulting in unsharp pictures). The locks have to be strong enough so that the standards don't move when you insert the holder. Misalignements between standards or within the back standard to the film plane might cause misfocus in some areas of the image (although this is critical for reproduction work, I doubt that for real shooting it matters). Generally speaking, the metal cameras are more rigid and precisely aligned than the wooden cameras. The lighweight cameras are more likely to have problems here.
* Ease of operation. Geared controls, positive and well placed locks, spirit levels, various scales, zero detents, smooth operation, rear focussing (very important for macro work), etc.., all help. If complicated adjustments are used, a yaw-free design might help. This feature is not relevant otherwise.
* Portable enough. Whereas all the folding cameras are portable and have a reasonnable weight (3lbs - 7 lbs), some monorails are too heavy and bulky to be used in the field. There is a tradeoff here between portability and and versatility (possibility to use many focals and movements), and also rigidity. Usually, for the same features, a wooden camera will be lighter, but often less compact than an equivalent metal field camera.
* Allow you to use your focals of choice All the cameras do what they are designed for with a normal lens. However, with shorter and longer lenses difficulties might arise:
o Short focals. Some flatbed cameras have very limited wide-angle abilities, due to:
+ large minimum extension,
+ fixed bellows (the bellows compression will make movements impossible unless you have a wide-angle bellows which is shorter and more flexible)
+ beds showing in the field of view
A recessed lensboard can make up for some problems by allowing a larger lens to film distance than the focal length of your lens. However, they are expensive ($150) and the controls of the lens become hard to reach. A monorail is usually more flexible, since all of them have a small minimum extension, wide-angle bellows. Depending on the nature of the tripod mount attachment, the rail showing in the field of view might or might not be a problem, but there are sometimes optional short rails.
Which is best, wood, or metal ?
The main advantage of wood (besides being cheaper to work) is that it is lighter. A consequence is that for the same weight you can make a bigger camera, which in turn will provide you more movements and more extension. A typical example are the Wisner and Canhams which are quite bulky (for 4x5 cameras) but offer more movements and bellows than any other field cameras. A metal camera using the same design would weight more than 11 lbs. Wood is also much better at dampening high-frequency vibration than any metal or metal alloy.
* Cheapest. A Speed or Crown Graphic press camera (at the expense of movements, not a good choice if you are interested in perspective control or depth of field control. A basic monorail like Calumet CC-400, Omega, Graphic View II (at the expense of portability, at about 8 lbs., they are a little heavy and bulky for hiking), Bender (if you like woodworking). A Burke and James (good movements, more portable than a monorail, might be a bit ratty). $250.
* Cheap. A new Calumet Cadet (a monorail camera). $400. Toyo 45cx. $450. A used lightweight wood-field (such as the Tachihara). $400-$500. A Technika III (metal, flatbed, adequate movements). $600.
* Still reasonable. A new lightweight wood-field (around $700), a used Wista, a used Zone VI. The new Arca-Swiss discovery (maybe too recent to find used) and the Sinar A1 (monorail cameras).
Which cameras to consider to get started on a budget?
It is best to buy used equipment. Shutterbug (dealers advertisements, classified, swap announces) and the net are good sources. Some recommended used stores with knowledgeable and honest people are Midwest Photo Exchange and Lens and Repro. There is not much which can go wrong on a large format camera which has not been seriously abused, since there are no delicate small high precision parts or electronics. Older cameras are well usable, but usually lack the convenience of more modern designs. Some of them are so beat-up that they lost their original rigidity. Another thing to watch for is pinholes in the bellows. A new bellows can always be installed, but the price might be a significant fraction of that of the cheaper cameras. Here are some suggestions (refer to the reviews for more details):
Metal has technically many advantages. It is more rigid, which result in less flexing and low frequency vibrations. This is good for long extensions. It is more solid, resulting in a more durable camera. If your tripod is knocked over by the wind, a metal camera is quite likely to remain functional with a few scratches, whereas a wooden camera could be totally destroyed. My reversible wooden back broke at the edge, which would have been unlikely to happy with metal. The stability with respect to environmental conditions like humidity and temperature is also better (one day my Canham would focus quite smoothly, one day it would be quite sticky). Last, it is easier to implement small features on metal. Therefore metal cameras tend generally to be more compact, and to offer greater accessory systems like reflex hoods, etc...
Types of View Cameras
I found this great section over at Wikipedia on the different types of view cameras. To give a very basic summary, there are monorail cameras and there are field camera. Monorails are bigger and heavier but provide a greater functionality, particularly for studio and architectural photographers. Field cameras have less movements but are much lighter and easier to carrie in the field. These are better for landscape photographers.
There are several types of view camera for different purposes and allowing different degrees of movement and portability. They include:
* Field camera - These have the front and rear standard mounted on sliding rails fixed to a hinged flat bed that is fixed to a camera support (tripod, etc.). These cameras are usually made of wood, or sometimes lightweight and strong composites such as carbon fiber. When the bellows is fully retracted the flat bed can be folded up, reducing the camera to a relatively small, light, and portable box. The price for this portability is that the standards are not as mobile or as adjustable as those of a monorail design; the rear standard, in particular, may be fixed and offer no movement. These large format but transportable cameras are popular with landscape photographers. Tachihara and Wisner are examples of modern field cameras at opposite ends of the price scale.
o Extremely large field cameras using 11×14 film and larger, or panoramic film sizes such as 4×10 or 8×20, are sometimes referred to as banquet cameras, and were used to photograph large, posed groups of people to mark an occasion, such as a banquet or a wedding.
o Studio and salon cameras are similar to field cameras, but do not fold up for portability.
* Monorail camera - This is the most common type of studio view camera, with the front and rear standards being mounted to a single rail that is fixed to a camera support. This design allows the greatest range of movements and flexibility, with both front and rear standards able to tilt, shift, rise, fall and swing in similar proportion. These are generally made of metal with leather or synthetic bellows, and are difficult to pack for travel. Sinar and Toyo are popular manufacturers of monorail view camera systems. ARCA-Swiss produces monorail cameras for field use in addition to models for the more conventional studio applications. Many manufacturers also offer monorail extensions, which permit the front or rear standards to move further away from each other, allowing for focus on very close objects (macrophotography).
* A more modern development in the highly portable Sinar arTec view camera which fails to fit within any of the above criteria and was designed primarily to be used by achitectural photographers. It has the novel ability to take panoramic stitched images by means of built in step and repeat mechanism.
* Press and technical cameras are true view cameras, as almost all of them have a ground glass integral to the film-holder mechanism that allows critical focus and full use of the sometimes limited movements. More expensive examples had a wide array of movements, as well as focusing and compositing aids like rangefinders and viewfinders. They are most often made of metal, designed to fold up quickly for portability, used by press photographers before and during the second world war.
View cameras use large format sheet film, using one sheet per photograph. Standard sizes in inches are: 4×5, 5×7, 4×10, 5×12, 8×10, 11×14, 7×17, 8×20, 12×20, and 20×24. (It is usual to list the short side first in the Americas, and the long side in many other countries, thus 4×5 is the same as 5×4). A similar, but not identical, range of metric sizes is used in many countries; thus 9×12 cm is similar to, but not interchangeable with, 4×5 inches. The most widely used format is 4×5, followed by 8×10.
A few rollfilm cameras have movements that make them as versatile as a sheet film view camera. Rollfilm and instant film backs are available to use in place of a sheetfilm holder on a single-film camera.
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Hopefully this article was helpful to you. Just visit the link at the top if you want to see the entire View Camera article from Wikipedia. They really do provide some great information over there.
There are several types of view camera for different purposes and allowing different degrees of movement and portability. They include:
* Field camera - These have the front and rear standard mounted on sliding rails fixed to a hinged flat bed that is fixed to a camera support (tripod, etc.). These cameras are usually made of wood, or sometimes lightweight and strong composites such as carbon fiber. When the bellows is fully retracted the flat bed can be folded up, reducing the camera to a relatively small, light, and portable box. The price for this portability is that the standards are not as mobile or as adjustable as those of a monorail design; the rear standard, in particular, may be fixed and offer no movement. These large format but transportable cameras are popular with landscape photographers. Tachihara and Wisner are examples of modern field cameras at opposite ends of the price scale.
o Extremely large field cameras using 11×14 film and larger, or panoramic film sizes such as 4×10 or 8×20, are sometimes referred to as banquet cameras, and were used to photograph large, posed groups of people to mark an occasion, such as a banquet or a wedding.
o Studio and salon cameras are similar to field cameras, but do not fold up for portability.
* Monorail camera - This is the most common type of studio view camera, with the front and rear standards being mounted to a single rail that is fixed to a camera support. This design allows the greatest range of movements and flexibility, with both front and rear standards able to tilt, shift, rise, fall and swing in similar proportion. These are generally made of metal with leather or synthetic bellows, and are difficult to pack for travel. Sinar and Toyo are popular manufacturers of monorail view camera systems. ARCA-Swiss produces monorail cameras for field use in addition to models for the more conventional studio applications. Many manufacturers also offer monorail extensions, which permit the front or rear standards to move further away from each other, allowing for focus on very close objects (macrophotography).
* A more modern development in the highly portable Sinar arTec view camera which fails to fit within any of the above criteria and was designed primarily to be used by achitectural photographers. It has the novel ability to take panoramic stitched images by means of built in step and repeat mechanism.
* Press and technical cameras are true view cameras, as almost all of them have a ground glass integral to the film-holder mechanism that allows critical focus and full use of the sometimes limited movements. More expensive examples had a wide array of movements, as well as focusing and compositing aids like rangefinders and viewfinders. They are most often made of metal, designed to fold up quickly for portability, used by press photographers before and during the second world war.
View cameras use large format sheet film, using one sheet per photograph. Standard sizes in inches are: 4×5, 5×7, 4×10, 5×12, 8×10, 11×14, 7×17, 8×20, 12×20, and 20×24. (It is usual to list the short side first in the Americas, and the long side in many other countries, thus 4×5 is the same as 5×4). A similar, but not identical, range of metric sizes is used in many countries; thus 9×12 cm is similar to, but not interchangeable with, 4×5 inches. The most widely used format is 4×5, followed by 8×10.
A few rollfilm cameras have movements that make them as versatile as a sheet film view camera. Rollfilm and instant film backs are available to use in place of a sheetfilm holder on a single-film camera.
______________
Hopefully this article was helpful to you. Just visit the link at the top if you want to see the entire View Camera article from Wikipedia. They really do provide some great information over there.
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