Speed Graphic for Urban Landscapes

[mrciggs]

I have been using a pentax 6x7 with a 75mm shift lens with a tripod for a number of years. I now want to move into large format photography.

Since I live in New York City and do not have a car, I generally bike around the city with my equipment (tripod strapped to my bike rack and camera in my back pack), lock the bike up when I get to my location, take out my camera and tripod and explore.

Since I'm shooting in a built-up area, the shift lens has been perfect for my needs as I can correct converging lines. A lot of my work is shot at night.

The Speed Graphic appeals to me due to its portability and its ease of set up. Also as I'm shooting a lot at night, I like that the Speed Graphic does not require a dark cloth. But my question is: Does the Speed Graphic have an equivalent rise to the pentax shift lens that I have been using. I have read that is has limited rise, but what is limited?

Or is there another 4x5 camera that is portable and would be easily closed and opened up with a good rise on the front? If I had a car I would probably buy a regular field camera, but I don't, I don't want to loose the mobility of my bike.

[Mark Sampson]

A Linhof Technika would do better- more movements including some on the back. But they are expensive. I'd start with a Crown Graphic (no focal-plane shutter, lighter) and
a Kodak 135mm Wide Field Ektar lens. The WF lens has room for movements, unlike most of the 127-135mm lenses provided with Graphics. I'd shoot with it for awhile, and see how I liked the whole concept; and change cameras, if needed, after six months or so of shooting.

[Bill_1856]

Check out the Busch Pressman D, which has lots of rise, shift and tilt.
Movements on the Speed and Crown Graphics will be inadequate for you (due to the fixed horizontal back, for vertical composition there is only about 1/4" rise/fall, no tilt).
The Super Graphic has a revolving back and tilt capability.
If you got back a nice tax refund, look into a used Linhof Technika IV (be sure to check for intact bellows).

[Gene McCluney]

I think the Speed Graphic with its focal plane shutter would not be the "best" choice, considering compactness and lightweight. My choice (and I have one) is the Super Graphic. It has a revolving back, and it has front rise, tilt and shift. It also has a drop bed, which is used with limited lens tilt to give you depth of field control. Your choices of lens will be the determining factor regarding the lightness of your kit. The older 90mm lenses, such as a 90mm Angulon (not Super-Angulon), or a 135mm symmar would be good choices and allow some movements. Each of these could be kept on the camera with it folded up for transport. I would avoid the Graflex 90mm Optar, or 90mm Wollensak Raptar if you want to do much shifting, as they have very limited coverage, but if not shifted they are sharp.

For a new camera, Toyo has a 4x5 field camera similar to the Super Graphic in function that is made of a plastic composite material that might be quite lightweight.

[Oren Grad]

If you do the arithmetic, it turns out that for a 135mm lens on a 4x5 camera, which corresponds pretty closely to 75mm on 6x7cm, you need a rise capability of about 35mm to correspond to the 20mm you can get with the Pentax 75 shift.

There are two constraints. First, some field cameras allow as much as 35mm direct front rise, but many don't. In some cases, depending on the design of the camera, you can get additional front rise indirectly with a combination of front and rear tilts. But that's a nuisance.

Second, if you want to match the field of view of your 75 exactly, is that not every 135mm lens projects an image circle large enough to allow 35mm rise on the horizontal format without vignetting or loss of image quality at the corners or worse. However, if you are willing to work with other focal lengths, there are plenty of longer or shorter lenses that provide ample coverage for movements beyond that. Or, you may be willing to compromise and settle for somewhat less front rise than is possible with the Pentax.

Mobility may be less of a constraint on camera choice than you think. Your P67 with the 75 shift is big and heavy. There are many good 4x5 field cameras and 135mm view camera lenses that together weigh less than that, sometimes quite a bit less. (My Nagaoka 4x5 together with 135mm Rodenstock Apo-Sironar-S weighs less than 4 pounds.) Film holders will add some weight, but one tends to shoot less with the larger format anyway, so the number of holders you need to carry on an outing won't necessarily be that large. And if you're willing to spend more, Kodak and Fuji offer packet-film options that can cut down the weight.

[j.e.simmons]

I use a standard 127mm lens on my Crown Graphic, and the lens will provide as much rise as is available on a Crown. Not much for tilt, though. I don't know the lens you're using, so I don't know how to compare, but the available shift is not a lot. I can keep a two story building straight at 50 feet or so, but not much more than that.

I do take my Crown out with my bike, though, so you're on the right track there. I use 400 speed film with it, so I can take a lot of shots hand-held.
juan

[Robert Hughes]

I like using my Busch Pressman D with the Raptar 135 lens. It sets up fast, the rise, shift and tilt are sufficient (no swing, though), the focus scale is accurate and (since it has an aluminum body) folds up into a near-unbreakable travel unit. I have used the Optar 101mm lens on it with some success (although the corners get fuzzy when the lens is opened up wide). best of all you can get one for about $200 on that auction website.

If you shoot at night you'll have to use fast film and a tripod, of course. I've had good luck with Trix 320 and Forte 400 with nighttime bulb exposures of several seconds.

[Walter Calahan]

I use a 90mm on a Crown Graphic with OK results, but its movements are limited. Look into a small wood 4x5 field camera since you're shooting from a tripod.

[mrciggs]

Thanks so much for all the responses, very helpful.
While weight is partially an issue, one of my main concerns is camera set-up speed, since I'm often shooting in desolate urban areas at night and want the ability to set up the camera (mount to tripod, focus, compose etc) shoot and go.

For this reason I think a press camera best fits my needs; the Busch Pressman D seems to have the most rise (which is the most important movement to me), 110-135 would be my ideal Lens range, one that would allow for good rise without vignetting and could stay on the camera when it is closed up.

[Michael Graves]

If you shoot a lot of verticals, the Speed/Crown Graphics, have about an inch of horizontal shift. When you mount the camera on it's side tripod screw for verticals, it's a bit better. But still not much for architectural work.

[Vick Vickery]

Look hard at the last generation of Graphic press cameras, the Super and Super Speed Graphics in 4x5. They have generous movements available, Graflock backs for easy back exchange, are pretty light weight compared to many earlier press cameras, are built of metal which makes them tough as a Sherman Tank, and have convenient rotating backs. Equip the camera with a wide-field 135mm lens such as the aforementioned Wide-field Ektar, and you're set to go.

[Bill_1856]

I just re-read your original post, where you indicated that one thing you like about the Graphics is that a dark cloth is not needed.
I hate to break the news to you, but that's not true. While you can focus with the rangefinder, and approximate the field of view with the optical or wire viewfinder, if you use any rise, tilt, or shift you'll have to use the ground glass to focus and compose, and that "Focusing Hood" is useless. Especially at night, when you indicate that you work -- you're still going to need to use a focusing cloth.

[David A. Goldfarb]

A darkcloth is better than the folding hood, but I've gotten accustomed to working with the folding hood and maybe a wide brimmed hat for a little extra shade, particularly in the city where you want to keep an eye on what's going on around you.

[Paul H]

You may want to look at an MPP Micro Technical camera (MK VII or VIII) - a sort of British Linhoff. Decent from movements, rotating back with back movements, coupled rangefinder and an international back.

While they are bulky, if you don't like using a dark cloth, a binocular viewer may be something to consider. I have heard some people make a version using the viewer portion and a bag type bellows, which would cut down the bulk. No reason in fact why you couldn't make something using an old diving mask and bag bellows...

[Richard Kelham]

Yes the MPP is a nice little camera – especially the mk8, but for your uses a press type camera will often be limited by the bellows being too scrunched up to allow much movement of the lens.

Have you considered something like an Arca Swiss monorail (the old type would be fine) fitted with bag bellows and a 121mm S/Angulon – close to your 75mm Pentax lens and oodles of coverage for movements (it's designed for 5x7). Such a rig would be almost as quick to set up and use, though I've never had the need to check the escape speed!

Many years ago, when I had to earn a living taking snaps, I used to use a Sinar in a similar configuration. I never had any bother, but I was working in London, not New York...



Richard

[Bernard Kaye]

I used to sell cameras, enlargers and other photo things: Before buying a Speed Graphic or Crown Graphic (I do not comment on a Super Graphic and other LF equipment, do not have adequate experience), I suggest you most carefully measure at an infinity setting the four distances from corner ends of front lensboard uprights to film plane both directly back from upright to film plane and diagonally from top and bottom across camera to opposite side and possibly a complete diagonal from for example upper right front to lower left back and upper left front to lower right back: the point is to determine if front standard is truly parallel with film plane. I measured several, did not find many that were parallel. Some adjustments may be made at focusing rack infinity settings, some may require bending front standard. If not truly parallel, focusing may be illusory or a problem, particularly for architcture photography if enlarging 4 x 5" beyond 2-3x. Bernie

[Jim Jones]

Yes, Speed Graphics often took a beating and got out of alignment. However, they were made to be used for decades, and could be repaired and realigned. Alignment is fairly easy on the Pacemaker series. Even my metal framed Burk and James is cockeyed, but that is a minor nuisance.

A quick way to check alignment is to lay a press camera on its back and remove the lens board. Place a sensitive bullseye level on the ground glass and level the camera. Replace the lens or insert a lensboard and see if it is level.

[paulr]

Another consideration is whether or not your lenses will fit on the camera. I bought a busch pressman years ago, but it turned out the porthole in the front standard was only big enough for wee lenses (like the press lenses the camera was designed for). There was no way anything like an apo symmar or super angulon was going to fit. too bad, because it was a really nice camera.

Nice work, by the way. We've visited many of the same haunts.

[Justin Cormack]

Anyone got any other tips for quick setup and takedown? My only bad experience so far has been with joyriders on a back street by Kings Cross (London) - tend to avoid Saturday nights now. I was thinking of getting a tripod with only 2 leg sections not three, and finding a quick release that I like.

[Gene McCluney]

Quick set-up and take-down. Put a quick release on the camera that fits your tripod. Leave the camera extended to taking position. Of course leaving the camera extended, supposes you are going around in a car, where you can sit the camera in the back carefully. Oh, choose a lens that you can get to work with the infinity stops on the camera baseplate, or adjust the infinity stops to work with the lens you have. Makes it quicker to set-up.

[Wayne Crider]

Two things that I found out about LF when shooting on a bike and when at night was the load on my back (backpack) put my center of gravity way too high for good stability in certain situations. Also, viewing the image on the GG at night was not easy. I would suspect that using the speed finder on a Graphic camera would be a better/faster framing choice, but then it does not correspond to the actual image on the film which is slightly larger. Also carry a small Mag light to set the lens aperture and shutter speed and carry a dof chart for you lens. You may also be interested in marking your bed with hyperfocal settings. I came to the realization that carrying the camera in a box thats attached to the luggage rack would be better. The tripod went across the handle bars; But each to their own.

[Bernard Kaye]

Compared to youse guys (Cockney that eons ago made its way to New York), I am a sissy in my car: on a bicycle in Kings Cross area with tripod and a large format camera!Bernie

[tim atherton]

http://www.youtube.com/watch?v=ZDYkgMk0Cws

[paulr]

Tim, I like that video as a cultural portrait of NYC. Notice that no one even glances at the guy--tourists and the security guard included.

[Joseph O'Neil]

From my own urban landscape experience, as limited as it is.... :)

1) 135mm WF Ektars - I used to own one. Wonderful lens, but often hard to find and very expensive. You also need a special adaptor for filters. A brand new or good used 135mm Rodenstock Sironar - S, IMO, is the way to go. Even the Sironar - N is excellent.

2) Repeat this mantra - Crown Graphic, Crown Graphic, Crown Graphic - you get the point. They are built like tanks, and if you run into any potential situation where you might have your camera damaged (I had some drunks physically threaten me once, even though I was pointing away form them at something totally different), the Crown Graphic will take a surprizing amount of abuse. Not that you want to find out firsthand (like I did :( ), they are not bad to repair either.

3) It's your call, but tripods attract lots of attention - sometimes too much attention. A monopod leaning against a wall or a light post can do a lot in an urban enviroment. Also, I have used the tops of park benches, retaining walls - well just about anything at the right height that's not moving can make a great platform to rest your camera on for shooting.

4) Back to the Crown Graphic, your main movement in an urban setting is usually front rise. Lots of front rise on a Crown Graphic, but look carefully, if possible, before you use some of the smaller 90mm lenses like Angulons or Wollensaks or Optars. Optically these can be great lenses, but some of them, more so on a Super Graphic than a Crown Graphic, you are focusing pretty tight to the body of the camera, so movement can be difficult just from a physical point of view. This is one reason I sold my old Super Graphic but kept my Crown Graphic - even though the Super graphic had more "real" movements, there was sometimes more room to move on the Crown Graphic.

5) Crown Graphic vs other cameras - here's something I found out first hand, and it kinda surprized me. My wood field camera - a Tachihara - always attracts attention. Always. My Crown Graphic, in similar settings, usually - but not always - attracts attraction. I want to stay semi-anon now, I use my Crown Graphic.

good luck
joe

[Gene McCluney]

Something that has not been mentioned here, in regards using a Crown/Super Graphic in relation to urban photography. If you digitally scan your negatives for prints or reproduction, you can apply perspective correction in Photoshop, thus allowing you to shoot without much front rise for architecture, if your wide-angle lens sets back too far to raise the front standard. I have to do this when I shoot with my 65mm Super Angulon on any of my Graphics, as the front standard remains on the rail that sits inside the camera body.