Trius
Waiting on Maitani
Not to hijack, but when I use a 150 on 4x5 I have the sense that it is a bit wide, at least in comparison to a 50 on 35mm. Given the aspect ratio of 4x5, I should think it would be opposite. Or maybe I'm just not getting close enough. 
In any event, this is what has me thinking of getting something in the 210-240 range to complement the 150.
In any event, this is what has me thinking of getting something in the 210-240 range to complement the 150.
FPjohn
Well-known
Arca as a light weight rangefinder camera
Arca as a light weight rangefinder camera
http://www.luminous-landscape.com/reviews/cameras/arca-rm3d.shtml
Should cost not be important.
yours
FPJ
Arca as a light weight rangefinder camera
http://www.luminous-landscape.com/reviews/cameras/arca-rm3d.shtml
Should cost not be important.
yours
FPJ
Yammerman
Well-known
Got my self a Fotoman 45PS which I'm having setup with a 90mm SA. No movements but I'm more likely to go out and about with it.
JCT
Established
FWIW, I purchased my Super Graphic from the guy that Frank has linked to on Ebay.
Completely honest, he knows his stuff and is great to deal with. I'd buy from him again, no problem.
No connection, just a pleased customer.
JT
Completely honest, he knows his stuff and is great to deal with. I'd buy from him again, no problem.
No connection, just a pleased customer.
JT
agiyo
Newbie
Handheld 4x5 work
Handheld 4x5 work
Crown and Speed Graphics with beautiful 127 Ektar lenses were almost all we used, my first 7 years as a school photographer. We covered everything from product shots to portraits to sports with them, and it occurs that I should share some of our technique.
We almost always shot with Stroboflash IV units, which gave a good exposure at about 15'-20' at about f/16-f/22 for sports-type action.
For moving targets---US football or basketball or whatever---we set the camera at f/16, hoped the action came toward us, and pushed the shutter solenoid battery pack button when it was about 15' away. There was no rangefinder focusing on moving targets; we either used the wire frame finder (in the second notch from the top for parallax correction at that distance) or sometimes the optical viewfinder if that camera had a good one.
This obviously required skills such as correct anticipation of where the action would happen, to be in position and ready.
We carried about 10 holders for 20 shots, and would run them to the darkroom and change film at half time of a football game, then shoot however many during the second half.
For lighting large areas, such as the front of a building or football stadium at night, we often used big magnesium foil filled flashbulbs, many of which were WWII surplus from night aerial reconnaissance! Space 3 or 4 of us connected by wires, or just with the big bulbs on a flash gun, in front of a grandstand, and the trusty Graphic on a tripod, and when the main flash went off, the helpers would set theirs off. A 1-second exposure was plenty long enough for everybody to set off their flash and those babies put out enough lumens to shoot EI 400 film at f/11 or f/16, even at that distance.
When all you worked with was a Crown or Speed Graphic, the flow was efficient and images could be stunning.
The last models of Graphics had much-improved integral rangefinders; the ubiquitous Kalart ones usually mounted on the side of the cameas were so dim that we preferred using the ground glass whenever possible. The later ones had a flashlight bulb inside the rangefinder that occasionally worked; you could turn it on, the light beam would be projected out the rangefinder ports, and if the surroundings were dim enough, you could focus the two dots of lights together on your subject and know that would be sharp.
I gave a friend my last Crown Graphic, then sold my Super Graphic I had modified to give more-than-adequate field camera movements back in the early 90s. Soooo...of course I had to find another one for which I have a range of excellent lenses, and it's all the 4x5 camera I'll ever need.
It doesn't matter which camera you have, the thing that is most changeable and adaptable is your eye and perception, and that's what makes a real difference, not worrying about whether another piece of gear will make you the fad of the forum. Study great paintings, read fine literature, watch the way great movie directors light scenes, LOOK at light all the time. That will make really meaningful improvements in your photography.
Handheld 4x5 work
Crown and Speed Graphics with beautiful 127 Ektar lenses were almost all we used, my first 7 years as a school photographer. We covered everything from product shots to portraits to sports with them, and it occurs that I should share some of our technique.
We almost always shot with Stroboflash IV units, which gave a good exposure at about 15'-20' at about f/16-f/22 for sports-type action.
For moving targets---US football or basketball or whatever---we set the camera at f/16, hoped the action came toward us, and pushed the shutter solenoid battery pack button when it was about 15' away. There was no rangefinder focusing on moving targets; we either used the wire frame finder (in the second notch from the top for parallax correction at that distance) or sometimes the optical viewfinder if that camera had a good one.
This obviously required skills such as correct anticipation of where the action would happen, to be in position and ready.
We carried about 10 holders for 20 shots, and would run them to the darkroom and change film at half time of a football game, then shoot however many during the second half.
For lighting large areas, such as the front of a building or football stadium at night, we often used big magnesium foil filled flashbulbs, many of which were WWII surplus from night aerial reconnaissance! Space 3 or 4 of us connected by wires, or just with the big bulbs on a flash gun, in front of a grandstand, and the trusty Graphic on a tripod, and when the main flash went off, the helpers would set theirs off. A 1-second exposure was plenty long enough for everybody to set off their flash and those babies put out enough lumens to shoot EI 400 film at f/11 or f/16, even at that distance.
When all you worked with was a Crown or Speed Graphic, the flow was efficient and images could be stunning.
The last models of Graphics had much-improved integral rangefinders; the ubiquitous Kalart ones usually mounted on the side of the cameas were so dim that we preferred using the ground glass whenever possible. The later ones had a flashlight bulb inside the rangefinder that occasionally worked; you could turn it on, the light beam would be projected out the rangefinder ports, and if the surroundings were dim enough, you could focus the two dots of lights together on your subject and know that would be sharp.
I gave a friend my last Crown Graphic, then sold my Super Graphic I had modified to give more-than-adequate field camera movements back in the early 90s. Soooo...of course I had to find another one for which I have a range of excellent lenses, and it's all the 4x5 camera I'll ever need.
It doesn't matter which camera you have, the thing that is most changeable and adaptable is your eye and perception, and that's what makes a real difference, not worrying about whether another piece of gear will make you the fad of the forum. Study great paintings, read fine literature, watch the way great movie directors light scenes, LOOK at light all the time. That will make really meaningful improvements in your photography.
Last edited:
degruyl
Just this guy, you know?
Thanks for that. (because someone should say it).
I am impressed that you could change out ten holders and run back and forth to the darkroom in time for the second half. (of course, that depends on the length of half-time, but whatever).
With the advent of turning graflites into lightsabers, what is anyone else using for a flash these days? And, how are you mounting it?
(I just did a quick search for a picture of a photographer - I think Weegee - with a ridiculous array of flashes on his crown / speed. I could not find it. If you know the picture, put up the link. It is fitting in light of the previous posting).
katcons
Established
Thank you, everyone for the suggestions and tips especially on practical use. I have been milling about and I'm 70% decided on getting a 5x7 since the 4x5 may be too "small" for my needs, as I think it's only a little larger than 120s.
If you have more input, please keep em coming. Thanks again!
I have been milling about and I'm 70% decided on getting a 5x7 since the 4x5 may be too "small" for my needs, as I think it's only a little larger than 120s.If you have more input, please keep em coming. Thanks again!
kmack
do your job, then let go
I am surprised no one has mentioned the Gowland Pocket View camera. 5x7 and 8x10 are available.
oftheherd
Veteran
Thank you, everyone for the suggestions and tips especially on practical use.
If you have more input, please keep em coming. Thanks again!
The normal 120 size to use on 4x5 cameras is 6x7, or 2 1/4 x 3 1/4. 2.25 x 3.25= 7.31. 4x5=20. That makes the 4x5 negative about 3 times more real estate. Granted, 5x7=35, but consider the larger enlarger, enlarger lens, and trays. May not be worth the expense.
venchka
Veteran
True. But.
5x7 yields wonderful contact prints. And wonderful inkjet prints via an Epson 4990. GOOGLE Ken Lee. Ken works with 5x7 and an Epson 4990 scanner. It just doesn't get much better. On the other hand, 5x7 is bigger and heavier and generally more expensive.
5x7 yields wonderful contact prints. And wonderful inkjet prints via an Epson 4990. GOOGLE Ken Lee. Ken works with 5x7 and an Epson 4990 scanner. It just doesn't get much better. On the other hand, 5x7 is bigger and heavier and generally more expensive.
dannyt
Member
Razzledogs is what your looking for
Razzledogs is what your looking for
I sold all my LF gear and got me two Razzledogs, one 110B and one 900 which has front movement. They are a joy to use, a real Texas Leica.
Razzledogs is what your looking for
I sold all my LF gear and got me two Razzledogs, one 110B and one 900 which has front movement. They are a joy to use, a real Texas Leica.
vha
Isn't it coffee time ?
That is 161 grams less than a chamonix, wonder if its as flexible too?
Light stuff is always interesting, but not that bargain friendly
vha
vha
Isn't it coffee time ?
Still testing the camera, but so fare so good, took me some time to get the lens-board I needed, and that I got the chance to borrow a Speed Graphic peacemaker with a Aero Ektar delayed the testings quite a bit.
Have the 045n-1 in dark walnut, got it as a part of a trade for a rollei.
Compared to my sinar P/C (depending on how I mix it) its Portable, much lighter, I can actually carry the gear for a Sunday walk without a Sherpa, and it looks nice, not that important but its a great conversation starter
Even thou it´s light and small for being a 4x5 it feels right, sturdy enough, quite easy to mount, but you can´t beat a Graflex in ready for use tempo. Like the idea that the bellows works for most lenses, have tested both a 90mm and a 180mm with no problem. A friend of mine who is a classic photographer (fine art and portraits) uses it with a 240mm as main lens and is happy with it, and he is picky
So if you can afford it, would like that your 4x5 gear fits a messenger bag, not need all the millimeter accuracy a sinar gives but enough moments for normal use, and you like fine craftsmanship I would recommend the camera for you. Sinar is for studio, this one begs for a walk
vha
vha
Isn't it coffee time ?
Tested mine and my eyes could not see any problems, did both a close up test and some other boring photography and the focus was where it was supposed to be. Not sure when my camera is made or batch number since i bought mine 2nd hand. Think some problems is more a "web problem" than a field one
Could not agree more, the best camera is the one you have not bought yet, because it might appear tomorrow. No one speaks about all the nice photos you could have taken instead of waiting
But that might just be me . . .
Attachments
Roger Hicks
Veteran
Thank you, everyone for the suggestions and tips especially on practical use.
If you have more input, please keep em coming. Thanks again!
Wise choice!
Cheers,
R.
lhdowek
Newbie
Finding the right seller
Finding the right seller
I have been looking for a light LF camera to shoot portraits and landscapes and I am pretty convinced to go for the camera and lens you suggested. I am new to LF and was wondering what sort of portable flash gear would you use with it ? Also, Frank, I can't seem to find these cameras on Ebay for less than $ 450 - would you have the name of the ebay seller/ shop you recommended. I rather buy from someone who really knows these cameras.
Best
Finding the right seller
I have been looking for a light LF camera to shoot portraits and landscapes and I am pretty convinced to go for the camera and lens you suggested. I am new to LF and was wondering what sort of portable flash gear would you use with it ? Also, Frank, I can't seem to find these cameras on Ebay for less than $ 450 - would you have the name of the ebay seller/ shop you recommended. I rather buy from someone who really knows these cameras.
Best
degruyl
Just this guy, you know?
I bought mine (second one - last month) from KEH. In fantastic condition with a generous return policy and fast shipping.
Or course, I bought it without the lens. I got a Nikkor-W 135 for it that is pretty good and much better (at least much better condition) than the Rondenstocks that I have seen on crowns.
The first was in beautiful condition, except that the RF didn't work, it did not have ground glass (it had glass and fresnel), and the shutter was sticky. Thank you Ebay. Anyone want a fixer-upper? At least the first one was much less than $450.
Luddite Frank
Well-known
Before buying a large-format, I would suggest nailing-down "why" you want / need it...
Is it for the large negative, or for the ability to have camera movements to correct perspective / straight lines, etc. ?
Are you going to be shooting on the go, or is your travel going to be centered around your photography ?
Press cameras such as a Graphics are probably the most "portable" and generally the most rugged, but they are somewhat heavy. They offer great covenience in terms of quickly changed lens-boards, RF focus and hand-held shooting, but do not offer the full range of "movements" found in a good field camera or monorail ( Graphics lack any of the rear movements, as well as front pan and tilt ).
Monorail cameras MUST be used on a tripod ( unless you have more than two arms ?).
Wooden field cameras are usually light in weight, and offer movements at both the front and rear standard. Be careful of "antique" field cameras... I have some Rochester Optical 4x5, 5x7, and 8 x 10 field cameras from the 1890's... they are lovely to look at, they do take pictures, but are somewhat "delicate" in construction; I don't want to say"flimsy", but it takes little pressure on the bed/ rails, or front standard to make them deflect, which can affect focus on the film plane. ( I think the 8x10 flexes under its own weight...)
Graphics are probably one of the best "starter" cameras; they're sturdy, common, dependable, and hold their re-sale value.
I just acquired a circa 1950 Pacemaker Speed Graphic 4x5, with 135mm / 4.7 Optar in Graphex shutter, with five Riteway holders, in very good, ready-to-use condition for a shade under $300 US from a local camera dealer.
Check-out KEH; their prices are as reasonable as anybody's .
Also suggest finding "Using the View Camera" by Steve Simmons... it is an excellent introductory book on LF photography.
Good luck !
Is it for the large negative, or for the ability to have camera movements to correct perspective / straight lines, etc. ?
Are you going to be shooting on the go, or is your travel going to be centered around your photography ?
Press cameras such as a Graphics are probably the most "portable" and generally the most rugged, but they are somewhat heavy. They offer great covenience in terms of quickly changed lens-boards, RF focus and hand-held shooting, but do not offer the full range of "movements" found in a good field camera or monorail ( Graphics lack any of the rear movements, as well as front pan and tilt ).
Monorail cameras MUST be used on a tripod ( unless you have more than two arms ?).
Wooden field cameras are usually light in weight, and offer movements at both the front and rear standard. Be careful of "antique" field cameras... I have some Rochester Optical 4x5, 5x7, and 8 x 10 field cameras from the 1890's... they are lovely to look at, they do take pictures, but are somewhat "delicate" in construction; I don't want to say"flimsy", but it takes little pressure on the bed/ rails, or front standard to make them deflect, which can affect focus on the film plane. ( I think the 8x10 flexes under its own weight...)
Graphics are probably one of the best "starter" cameras; they're sturdy, common, dependable, and hold their re-sale value.
I just acquired a circa 1950 Pacemaker Speed Graphic 4x5, with 135mm / 4.7 Optar in Graphex shutter, with five Riteway holders, in very good, ready-to-use condition for a shade under $300 US from a local camera dealer.
Check-out KEH; their prices are as reasonable as anybody's .
Also suggest finding "Using the View Camera" by Steve Simmons... it is an excellent introductory book on LF photography.
Good luck !
degruyl
Just this guy, you know?
(I know this question was not really for me: just adding input)
For me it is about the negative size. Also, I really prefer rangefinder focusing as compared to anything else. Especially ground glass. And, I am not a fiddly view camera user.
So, for me a press camera was very appropriate.
For others (almost every other 4x5 and larger user that I know of) the movements make a difference. They do not understand why I am completely satisfied with a Crown.
If I had my dream camera, it would be a Linhoff Technika of one form or another, but the price of those is not really justifiable while I am still reaching for the 6x7 rangefinder as my "go-to" camera.
I just popped into the camera store and picked up a Metz handle / flash thing. Maybe tonight I will channel Weegee and go to a bar with the Crown + Flash.
JCT
Established
+1
My Crown (looks just like yours) is my "non-fiddly" 4x5 as well. I have an old Metz hammerhead that I like to use with it occasionally , but my favorite thing to do is to load up a Graphmatic with 6 sheets of TXP320 or HP5, wander with my mega point-and-shoot and then retire to my darkroom to see what I "got". The kids in the neighborhood always come running when they see it... I've contemplated going with a more modern lens, but my Xenar is pretty swell. The body-only deals on KEH are quite good and finding a lens to match is not that difficult, I'm surprised more people don't go that way...
Cool avatar, BTW.
JT
Once you see those 4x5's hanging across the sink it is hard to go back.