Press camera tutorials

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Bobonli

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Can someone point me to a video or text tutorial explaining the basic movements of a press camera and how they are used to focus and control perspective and DOF? I've searched through the Youtube and keep coming across the same 3 videos that really don't show how the movements impact the image. Maybe I'm not using the correct search terms.

Here's why (if it can help you answer my inquiry): I'm thinking about getting a press camera to try my hand at 4x5 again. I dabbled with a 4x5 field camera about 15 years ago and could not for the life of me get control of all the various movements. I really liked the size of the negative but most of my images were compromised by my ignorance of the camera controls, namely the interplay of tilt, shift, rise etc. Fast forward to today and I've found my way back to film (just developed my first roll of 35mm) and think I'd like to have a crack at 4x5 again.

So I'm looking for a good primer on how something like a Crown or Speed works and your thoughts on the learning curve.
 
Also, bear in mind that unless you run across one that's been hacked up like my Crown, press cameras have very limited movements. They were designed to be hand held not twisted up into pretzel shapes. From the sound of it you may well be a good candidate for a press camera - just get it and enjoy it for what it is.

As mentioned above, read lots at http://www.graflex.org & then at http://www.largeformatphotography.info

Good luck!

William
 
As stated above, press cameras have limited movements. But what are you anticipating shooting? The press cameras may have as much as you need. Most photographs don't require maximum movements, like the "pretzels" mentioned above. If you anticipate product photography or architecture where movements are more likely to be needed, you probably need a monorail camera with maximum movements, and a tripod. If you only need minor movements, then a press camera may do what you need.
 
I'm not after a lot of crazy movements, that's what bogged me down years ago with a field camera. I'd like to shoot some portraits and journalistic-type content but give it a different look that digital or 35mm film, perhaps with some perspective control to create selective focus/ the "miniature effect."

One the other hand, I came across this, which might be an easier solution with less of a learning curve and would likely involve less outlay in terms of buying a camera etc

http://blog.planet5d.com/2010/10/canon-eos-5d-mark-ii-video-from-a-102-year-old-lens-a-blast-from-the-past/
 
Try http://www.rogerandfrances.com/subscription/camera movements.html. It deals with view camera movements, but press cameras are much the same only with fewer and less movements, as noted in the text: It is entirely possible to buy cameras where the movements are so few, and so limited, that you cannot really take much advantage of them. This is why we do not recommend press cameras such as the Graphics, even though they are often touted as a cheap route into large format.

Cheers,

R.
 
Bobonli said:
... perhaps with some perspective control to create selective focus/ the "miniature effect."
One the other hand, I came across this, which might be an easier solution with less of a learning curve and would likely involve less outlay in terms of buying a camera etc

http://blog.planet5d.com/2010/10/canon-eos-5d-mark-ii-video-from-a-102-year-old-lens-a-blast-from-the-past/
Click to expand...

miniature effect: The cliche du jour.

I own two press cameras. A 1953 Pacemaker Speed Graphic and a 1963/1964 Linhof Technika V.

The Speed Graphic is a true press cameras. It has a bit of rise, no fall and a bit of shift left and right. Front tilt is limited to tilting backwards. Not much use in the real world. There is a work around, but it's awkward. It has two features that make me keep it: A Graflock back that accepts several neat accessories like Grafmatic film holders and roll film holders. The other good feature is a focal plane shutter which permits use of old brass barrel lenses. A very cool feature. I own a 100+ year old Voigtlander lens that will knock the socks off that guy's lens on a 5D and do it on 4x5 film which a 5D only dreams of equalling. Bellows extension is rather short, something 13" inches.
The Technika V was used by the press, but it also posses movements which more closely match a folding field camera. Front rise is interesting-the hole in the lens board is offset toward the camera rails. So you start composing with front fall and go up from there. Thr rise is also geared so moving the lens is very precise. Front tilt goes both ways. Front shift is a healthy 1" (25mm). That is more than my Zone VI folding field camera. The back extends on 4 rods and you can contort it into a wide range of tilts in both planes. No back rise/fall or shift. Bellows extension is longer at 15"-16". I never really measured it. The camera handles my 250mm lens easily. It also has a Graflock back.
Both cameras will accept wide angle lenses, 90mm and shorter. However, it's not the easiest thing in the world to do. Both of my cameras handle lenses from 105mm to 200mm (Speed Graphic) or 250mm (Technika V) very well. My most used lenses are a 127mm Ektar and 125mm Fujinon.
I mentioned a Zone VI field camera. It has most of the movements anyone could want. It lacks back rise/fall/shift. It does not have a Graflock back. It has the longest bellows of my 3 cameras at about 18". It's also the nicest looking.
Since getting my beater (KEH wouldn't even give it an UGLY rating) Technika V, it has been my most used 4x5 camera. It's solid. Precise. Built like a tank. Heavy as lead. Folds quickly. Holds a lens exactly where I want it. Doesn't flinch when I mount the ginormous Fujinon-W 250mm/6.3 lens. I like it. If forced to pick one 4x5 camera, I would keep the Linhof.
The View Camera book will tell you more than any Youtube video. Old fashioned learning tools are not obsolete.
Good luck.

ps: My most recent 4x5 photo taken with the Linhof & 250mm lens on 9-11-2010. This is what 4x5 and larger is all about.

Kremers+Angle+2-4.jpg
 
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venchka said:
miniature effect: The cliche du jour.

Kremers+Angle+2-4.jpg
Click to expand...


Agreed. But I think there's some value to exploring cliches and making them your own, particularly when people ask, "Can you create that effect?"

Now I know I could just buy a TS lens for my DSLR but I also want to use this as a learning experience and explore the 4x5 format in general.

I made a huge mistake years ago spending a ton on a new field camera and all the accessories, only to make a handful of good images before selling it. I really needed a tutor for about a day to get hands-on coaching on the movements. I don't want to go down that path again, both financially (though I know enough now to buy used) and emotionally.
 
Tutors aren't hard to find. I'm sure there are several on Long Island. If Long Island is like Texas, you should be able to find a local group who can get you started in the right direction. Join the Large Format Photography Forum and ask around for help. Steve Simmons' View Camera Book and a camera will teach you everything you need to know to get started.

Adding to my earlier post, the Linhof has front swing also. You need cams and correct infinity stops to make the lens+rangefinder work. Many Speed Graphics were sold with the 127mm Ektar lens coupled to the rangefinder for hand held work. Any other lens will be ground glass focusing.
 
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... said:
... view camera movements, but press cameras are much the same only with fewer and less movements...
Click to expand...

As noted above, these are two very different cameras that were designed for very different applications. It is important for people NOT to get them confused with each other, as seems to often happen when enough homework isn't done on the differences or what kind of images are anticipated.

Movements (my opinion) are vastly over-rated becuase when extreme movements are used the image often looks pecular and exagerrated... like the ingfamous "looming foreground". But when movements are needed a true view camera is the only solution.

There are still applications for the use of NON-MOVEMENT LF photography so the off-handed dismissal of press cameras (particulary in some of the LF forums) seems odd to me.
 
Gumby said:
What movements did you use on that image, Wayne?
Click to expand...

Since I couldn't get the camera exactly where I wanted it due to the thick vegetation, I used a little rise and maybe some lateral shift. Then I cropped the heck out of negative in 5x7 aspect ratio. I'll check the cropping.

ps: I'm still not comfortable with tilt and I never touch the back. Maybe that's why I like the Linhof. The lens & film plane are locked parallel and leave well enough alone. When the weather cools down some more and I can stand to be under the dark cloth, I'll get daring with more movements.
 
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Wayne's been giving some good advice. Try looking at Largeformatforum.info as well. The forum has a place for user groups - perhaps you can find one near you?

I have two 4x5's - one is a near stock Anniversary Speed Graphic from 1943 and I use it handheld with it's 127/4.7 Ektar. That's what it does and it does it well.

My main camera started in life as a Crown Graphic press camera but was beated nearly to death before I got it and modified it into a front movement field camera. I currently have a 135/4.5 CZJ Tessar on it that has enough circle to let me begin using movements though usually it's much like Wayne's above - getting a clear view of something or avoiding converging lines. I've got a nice old time Wollensak 6.5" Velostigmat triple convertable coming too - the ability to do 6.5/10/12.5" with one lens should be nice to work with on my landscapes.

The big thing is that it should be a fun art for you. Otherwise these things are too damn much like work... :eek: ;)

William
 
Linhof Technika V in full street shooting mode.

nowysprzet-3.jpg


Another nice feature of the Linhof: Full rotating back. Extremely useful. Essential even.
 
Gumby said:
As noted above, these are two very different cameras that were designed for very different applications. It is important for people NOT to get them confused with each other, as seems to often happen when enough homework isn't done on the differences or what kind of images are anticipated.

Movements (my opinion) are vastly over-rated becuase when extreme movements are used the image often looks pecular and exagerrated... like the ingfamous "looming foreground". But when movements are needed a true view camera is the only solution.

There are still applications for the use of NON-MOVEMENT LF photography so the off-handed dismissal of press cameras (particulary in some of the LF forums) seems odd to me.
Click to expand...

True, but as the OP was specifically asking about movements, this is of limited relevance in the present thread. I've used 4x5 hand held without movements quite often, but I'd far rather have a camera that can be used either hand held without movements or on a tripod with a reasonably full range of movements, e.g MPP Micro-Technical rather than Micro-Press. The extra cost for a better made, more versatile camera is often negligible, so why buy a press-only camera unless you really want an FP shutter and it's the only way to get one?

Cheers,

R.
 
"you're dithppickable!" quoth st. daffy :)

That's a beauty. I wish I'd had the coin to buy the one that came up on LFF last night. OTOH, I've really made this Crown my own.
 
@venchka - I really like the image you shared, very nice.

Thanks Roger, that was good reading yesterday while waiting for UPS. Finished reading about 15 minutes before a 4x5 view camera arrived.

Roger Hicks said:
Try http://www.rogerandfrances.com/subscription/camera movements.html. It deals with view camera movements, but press cameras are much the same only with fewer and less movements, as noted in the text: It is entirely possible to buy cameras where the movements are so few, and so limited, that you cannot really take much advantage of them. This is why we do not recommend press cameras such as the Graphics, even though they are often touted as a cheap route into large format.

Cheers,

R.
Click to expand...
 
You couldn't do better by going to the library and reading some of the Ansel Adams books on this. Everything you need to know is clearly explained in his book on cameras, and has illustrations. A press camera doesn't have a lot of movements anyway, so just stop it down, give it a little downward tilt to get the foreground in focus, and shoot.

Never mind the hyper expensive Linhofs. Pretty, but ungodly heavy. In my opinion they're overweight, over engineered and overpriced. Get your self a nice Crown Graphic (or a Super Graphic if you really need a revolving back, which I doubt) and if you can't make great images w/ one f those a Linhof isn't going to help you.
 
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