raid
Dad Photographer
I have a Linhof 4x5 monorail camera with Schneider lens that could benfit from some use.
cmedin
Well-known
Hi Dave, what part of Atlanta are you in? I'm getting a Crown Graphic in the mail this week and assuming it's in decent shape (as it was described) and working well you're more than welcome to come take a look at it if you want to see one 'in person'. 
(I'm out by the Stone Mountain area.)
(I'm out by the Stone Mountain area.)
dave lackey
Veteran
raid said:
Now THAT would be cool...soon as I get the splint off next week...seriously.
Thanks,
Dave
dave lackey
Veteran
cmedin said:Hi Dave, what part of Atlanta are you in? I'm getting a Crown Graphic in the mail this week and assuming it's in decent shape (as it was described) and working well you're more than welcome to come take a look at it if you want to see one 'in person'.
Hey! That is doable once the doc lets me drive again...we are in the Peachtree City area, so it would be easy to come by for a visit!
Thanks,
Dave
Luddite Frank
Well-known
Dave,
I'm not much further down the LF trail than you are...
First, before spending $$$ on a camera ( unless you stumble onto a Crown Graphic or the like for $100 or less), get a copy of "Using the View Camera", by Steve Simmons, and do some reading. I got my copy at Borders about 2 years ago. Some reading may influence your choice of camera, based on what kind of photography you're after.
One of the areas where view-cameras w/ full movements are unbeatable is architecture photography, so the you can correct aberations like "tall buildings leaning away from you"...
I've ALWAYS wanted a press camera, but they always seem to be beyond my budget... AND, there are many retired "true" press cameras that have led a hard life. So, a beat-up Graphic may need add'l $$ for CLA, repair, etc.
I got my first 4x5 about two years ago... I read Simmons's book , then started scouting eBay... I wound-up with 1960's Calumet 4x5 monorail (revolving back) in the gray fibre-board case for about $100, no lens-board, no film holders.
I sourced the lensboard and shutter from Midwest Photo Exch.; the shutter is an old press unit: Graphic Supermatic (X): T, B, 1 to 1/200, with a kodak Ektar 152mm f 4.5 lens. i belive I paid about $150 for the lens/shutter, and maybe $10 for the lens board (had to carefully file the opening a little larger to accomodate the shutter).
A friend gave me three film holders, and I bough about six more from our last local photo lab.
So far, I have about $300 invested in my LF outfit; I do not have any processing gear yet.
Based on my budget / cash-flow, building my own mono-rail outfit seemed to be the best place for me to start.
The collector/ luddite-user part of me dearly wants a brass-bound field camera, but those are kind of $$$$.
So, I'm considering my cobbled Calumet an entry level outfit, and if it looks like I am going to continue to work in 4x5, then I can plan on more / different equipment.
My mono-rail has every movement one could wish for in a camera, so that flexibilty was attractive to me. It IS heavy and bulky, and I would never want to try to hike with it (that's what pack mules are for)...
Also, regarding neg size, enlarging vs. contact... 100 years ago, there were no enlargers; everything was contact printed... that's why G-grandma's 116 paste-board box Brownie took acceptably sharp photos with a very simple, uncoated lens. If you start looking at those negs with a loupe, you'll find flaws...
It was the cinema camera and Oskar Barnack who made 35mm photography possible... and E Leitz producing cameras and lenses that made a good-enough negative that could be blown-up 10 times or more w/o "issues"...
(can you tell I'e been studying Leica history ? )
That said, there is certainly enough historical evidence of folks taking technically and artistically excellent photos using very simple LF cameras, for nearly 75 years before Oskar B. invented his 35mm "exposure tester" for 35mm cinema film ( the original fine-grain film designed for tremendous magnification - the movie theatre !)
I like old stuff and "old living" ( thus my nickname ); I don't think I want to get into wet-plate photography, but shooting with gear that is older than I am is a lot of fun, and can produce some fine results...
That's my thoughts on the subject, as a "lurker on the LF fringe"...
I've had my 4x5 for two years now, and will be going on only my second 4x5 shoot next weekend, thanks to a Santa Claus steam excursion, courtesy of Steamtown Nat'l historic site...
Good luck !
Luddite Frank
I'm not much further down the LF trail than you are...
First, before spending $$$ on a camera ( unless you stumble onto a Crown Graphic or the like for $100 or less), get a copy of "Using the View Camera", by Steve Simmons, and do some reading. I got my copy at Borders about 2 years ago. Some reading may influence your choice of camera, based on what kind of photography you're after.
One of the areas where view-cameras w/ full movements are unbeatable is architecture photography, so the you can correct aberations like "tall buildings leaning away from you"...
I've ALWAYS wanted a press camera, but they always seem to be beyond my budget... AND, there are many retired "true" press cameras that have led a hard life. So, a beat-up Graphic may need add'l $$ for CLA, repair, etc.
I got my first 4x5 about two years ago... I read Simmons's book , then started scouting eBay... I wound-up with 1960's Calumet 4x5 monorail (revolving back) in the gray fibre-board case for about $100, no lens-board, no film holders.
I sourced the lensboard and shutter from Midwest Photo Exch.; the shutter is an old press unit: Graphic Supermatic (X): T, B, 1 to 1/200, with a kodak Ektar 152mm f 4.5 lens. i belive I paid about $150 for the lens/shutter, and maybe $10 for the lens board (had to carefully file the opening a little larger to accomodate the shutter).
A friend gave me three film holders, and I bough about six more from our last local photo lab.
So far, I have about $300 invested in my LF outfit; I do not have any processing gear yet.
Based on my budget / cash-flow, building my own mono-rail outfit seemed to be the best place for me to start.
The collector/ luddite-user part of me dearly wants a brass-bound field camera, but those are kind of $$$$.
So, I'm considering my cobbled Calumet an entry level outfit, and if it looks like I am going to continue to work in 4x5, then I can plan on more / different equipment.
My mono-rail has every movement one could wish for in a camera, so that flexibilty was attractive to me. It IS heavy and bulky, and I would never want to try to hike with it (that's what pack mules are for)...
Also, regarding neg size, enlarging vs. contact... 100 years ago, there were no enlargers; everything was contact printed... that's why G-grandma's 116 paste-board box Brownie took acceptably sharp photos with a very simple, uncoated lens. If you start looking at those negs with a loupe, you'll find flaws...
It was the cinema camera and Oskar Barnack who made 35mm photography possible... and E Leitz producing cameras and lenses that made a good-enough negative that could be blown-up 10 times or more w/o "issues"...
(can you tell I'e been studying Leica history ?
)That said, there is certainly enough historical evidence of folks taking technically and artistically excellent photos using very simple LF cameras, for nearly 75 years before Oskar B. invented his 35mm "exposure tester" for 35mm cinema film ( the original fine-grain film designed for tremendous magnification - the movie theatre !)
I like old stuff and "old living" ( thus my nickname ); I don't think I want to get into wet-plate photography, but shooting with gear that is older than I am is a lot of fun, and can produce some fine results...
That's my thoughts on the subject, as a "lurker on the LF fringe"...
I've had my 4x5 for two years now, and will be going on only my second 4x5 shoot next weekend, thanks to a Santa Claus steam excursion, courtesy of Steamtown Nat'l historic site...
Good luck !
Luddite Frank
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aizan
Veteran
read a book, then rent a 4x5 outfit for the weekend. my feeling is that you'll know immediately whether you like it or not.
and unless you want to make prints 16x20 or larger, or decide you want to shoot architecture, i'd go with a pentax 67 or mamiya rz67 instead!
and unless you want to make prints 16x20 or larger, or decide you want to shoot architecture, i'd go with a pentax 67 or mamiya rz67 instead!