monorail for field work

[Michael Kadillak]

I sure am fond of my Linhof Bi Karden in 4x5 and 5x7. You can still find them for a song compared to what they cost and I cannot imagine a photographic requirement for a monorail camera that it could not meet easily. You do not find that degree of precision machining in today's market because it would be cost prohibitive.

Good Luck

[Gem Singer]

Chip,

To answer your question directly, "can the others do it close enough to save the money?" The answer is no, they can't. Close, but no cigar! Look for a previously owned Discovery in excellent condition. You won't be sorry.

[Brian Ellis]

90% of your work is in the field, only 10% at most (depending on what kind of portraits you do) is in a studio, and the field work you do isn't the kind that usually requires a monorail. I've been participating here for quite a while. I've seen many messages from people doing field work who started out with a monorail and who wanted to switch to a field camera. I don't recall ever seeing a message from someone doing non-architectural field work who wanted to switch from a field camera to a monorail. So my suggestion would be to look closely at resale values and pick whatever monorail seems to hold it's value best.

[ronald lamarsh]

Besides all the other fine advice here consider the cost and availability of accessories i.e. lens boards, bag bellows and all the other finery. As an aside I aquired a monrail to do field work close the my vehicle as opposed to my Linhof techinka because it was so much easier to use with a variety of lenses. A 90mm SA you just can't get the movement out of on a field camera like you can with a monorail with bag bellows. My monorail is a cambo, its heavy but not so heavy i can't carry it with tripod etc 200yds also lens boards et al are everywhere and cheap.

[Kerry L. Thalmann]

I don't recall ever seeing a message from someone doing non-architectural field work who wanted to switch from a field camera to a monorail.

I must be the exception to the rule. I don't now, nor have I ever shot architecture. For many years I used a variety of wooden field cameras. They were all decent, but there was something about each one that I either found lacking or annoying. About five years ago, I switched over to monorails for all of my field use. I use a Toho FC-45X for backpacking and an ARCA-SWISS for everything else. The Toho is one of the lightest 4x5 cameras ever made, and the best backpacking large format camera I've ever used. Before the ARCA, I used a Linhof Technikardan TK45-S for about 3 1/2 years. Both the Technikardan and the ARCA-SWISS are about a pound heavier than the Wisner Technical I used to own. They are also a little bulkier, but not much. In terms of easy of use - especially with wide angle lenses - there is no comparison. I liked the Technikardan TK45-S, but prefer the modular nature of the ARCA-SWISS.

My personal preference is the ARCA-SWISS, but it's not the least expensive choice. The cameras are a good value (especially the Discovery), but many of the accessories are expensive, and seldom seen on the used market. I've customized my F-Line to suit my needs and think it will probably be the last 4x5 I ever buy (until someone comes out with something of comparable quality and capability that weighs half as much).

Another option you might consider is a Canham DLC. It's not as rigid, nor as silky smooth as the ARCA-SWISS, but it's a very capable camera (long bellows draw, very generous movements) that is quite compact and light weight. New, it's a bit out of your price range (~$2300), but it can use a very wide range of lenses without additional accessories. I used mine with lenses from 75mm (on a recessed Toyo board) to 450mm non-telephoto with the stock bellows and no other additional accessories. Also, since you don't need to carry around a lot of extra stuff (bag bellows, extension rails, etc.) the total system weight and bulk are kept to a minmum. While my current two camera system (Toho + ARCA-SWISS) is more versatile, if I could only own one camera for all my needs (as a landscape photographer), it would be a Canham DLC. The few accessories you might need (lens boards, etc.) are very reasonably priced - so the over all system cost is less than some competing brands. Occasionally, a used Canham DLC shows up on the market. They usually sell in the $1500 - $1700 range. I sold mine on eBay a couple years ago for about $1500. Keith Canham also does a great job of personally supporting the products he sells. While there is no one-size-fits-all best camera for all users or uses, the DLC sounds like it might be a good match for your needs. It's certainly worth adding to your list.

Kerry

[Bernard Languillier]

Hi there,

It is not a monorail camera, but have you considered the Ebony 45SU?

The camera is able to handle from 58 to 400 Telelens (like the Fuji T400 f8) without special lensboards, is reasonnably light at 2.6 kg, very rigid thanks to its Ebony/Titanium build.

It is a woden field camera, but is non foldable. Thanks to this, the time to shoot is extremely short.

It also features all movements, including rear assymetric tilt for fast focussing.

I have bought one one month ago, have only shot less than 100 frames with it so far, but as a newcomer to LF, I have already been able to produce many techincally nice images with it in the field.

Best regards,
Bernard

[Ole Tjugen]

I use a Linhof Color for backpacking - my "Technical" is a Technika III 5x7" which never gets far from the car. If I want to go walking I'll put the Color in the backpack instead.

[Brian Ellis]

O.K. Kerry, now I've heard of one. So in the future I'll say "In all my years of participating here I've seen many people ask about switching from a monorail to a field camera for field use, I've heard of only one person switching from a field camera to a monorail for non-architectural field use. : - )

[Frank Petronio]

Brian, count me too. I started out twenty years ago with a wooden Wista, then a 5x7 Ritereck, then a Wista SP - all of which were excellent cameras. Except for a spell with a Technika, the main cameras I've had recently have been a Norma and an Arca - both monorails. I really think that I use more movements, more freely with the monorails, especially with wide angle lenses and bag bellows. The larger range of movements - and ease of making those larger movements - changes the way I approach a subject and encourages me think of different situations. With a folding box camera, I all-to-often framed a eyelevel shot with a slight front tilt and called it a day. While you can contort an Ebony or whatever, the ease of using a monorail's movements makes it easier and faster for you to try more "what the hell" shots pointing down, up, or sideways...

Frankly, the idea of phaving to probe the recesses of an Ebony or Technikawith my pudgy fingers puts me off. I like cameras that have their controls spread out and obvious!

[Kerry L. Thalmann]

Brian,

I just used myself as an example, but I know of many other landscape photographers who use monorails for "non-architectural field use". In fact, most people landscape photographers I know who use a Linhof Technikardan, ARCA-SWISS, or even a Toho started with a folding "field" camera before switching to a monorail.

Different photographers have different likes and dislikes. For me personally, I like a camera that I can operate from under the dark cloth with gloves on. Like Frank, I appreciate a camera with large controls that are easily accessible. The ARCA-SWISS definitely meets my needs in this area. The Toho is a bit of a compromise. To keep the weight down, some of the knobs are small in diameter, but still very easy to get at even with gloves on.

I don't consider the terms "monorail" and "field camera" mutually exclusive. After all, cameras like the Toho and Gowland are clearing designed to be used in the field. Sure, you can use a Toho in the studio, but it's clearly not the best or most affordable tool for that application. It is a monorail that also happens to be a field camera.

Kerry