I am seeking advice on the pros and cons of using a field camera in the studio for subjects 5 to 15 feet away from the camera. I definitely want a field camera as it will be packed up and carried to numerous indoor sessions on a daily basis AND because I want to be able to travel with it. Any help on length of bellows, best lens length , and usefulness of a rangefinder on the camera would be appreciated. Thanks a lot.
Hi Michael,
Assuming that you are asking about a 4x5 field camera for studio work, I recommend that you get one that has as many movements as possible. The Ebony SV45U2, or SV45TE would be good choices in wooden field cameras. The Canham DLC, or the Linhof Technikardan would be good choices, if you prefer a metal field camera. Stay away from the lightweight, short bellows field cameras. The longer the bellows, the better.
You don't need a rangefinder for indoor work, unless you are planning on using the camera hand held, without a tripod, like weddings, etc. If thats the type of indoor work you are asking about, take a look at a metal Wista with a rangefinder or a Linhof Tech.
Start with a lens in the 180- 240 focal length and add more focal lengths when you find that you need them.
Here is some readingthat will be helpful
Getting Started in Large Format. It is a free article on our website
www.viewcamera.com
Deardorf's were used in studios for generations so the idea of a field camera is not out of the question.
I would suggest the following
a camera with at least 14" of bellows
a good 210-240mm lens
rie and fall on the front, swing front and rear, and shift on the front as the minimal movements
Nowthat I have said this what will you be photographing? If you are doing closeup work then you might want to consider a camera with a little longer bellows and one of the lenses designed for this type of work.
steve simmons
I used a metal field camera in my studio, and for corporate location work (lights, interiors), for years. I found that I could use 6x9 roll film backs for static subjects that most photographers used Hasselblads for. And for portraits, the additional "presence" of the 4x5 was often and advantage. I used a Rittereck 5x7 and a Wista SP with a 210mm lenses quite often for this sort of work (both were excellent cameras).
Once I started using a monorail I found that I became "liberated" to use more generous movements. But the field camera itself never prevented me from using generous movements, at least with moderately long lenses - it was more a mindset, and the less convenient operation of the field camera's controls. In hindsight, the main advantage of the field camera was in packing - it become a tight, little box that was easier to fit into an airline case.
You might consider a lightweight monorail for field and studio work - the Arca-Swiss (old or new series, depending on your budget), Linhof Technikardan, or the Sinar Norma. They are slightly bulkier to carry in the field, but just as lightweight, and more versatile in ever other way.
I wouldn't preclude the use of a monorail. Some are fairly light and not difficult to pack up and transport from location to location.
For example, see Large Format Nature Photography by Jack Dykinga. He carries an Arca Swiss F series camera on his back in the wilderness.
Frank Petronio.........................................being a wookworker I've seen some of your work in various woodworking publications, excellent work, I have a respect for you craftsmanship.
Thanks - but that is another "Frank Petronio". I only attempt to do woodworking, my business is marketing and advertising. The furniture maker Frank has a studio in Brooklyn and puts out high-end stuff. No direct relation, but we've talked and he is a nice guy.
There are two possible problems when using a field camera in the studio. One is that most field cameras lack one or more movements that you would have on a monorail; that may or may not be an issue depending on your subject matter and your individual style.
The other issue is limited bellows. Many, perhaps most, field cameras run out of bellows somewhere around 12" to 14", meaning you can use a 12" lens at infinity but not much closer. My own kit includes a Tachihara 4x5, and my longest lens is 10". With that lens, I can focus to about 5 or 6 feet before I run out of bellows.
There are a number of field cameras that have lots of bellows, and a few of those also have more movements than typical field cameras. One I'd look at is the Canham DLC.
OTOH, a monorail with a hard case will travel well, set up fast, and you won't have any of the limitations of a field camera.
The Technikardan easily does studio as well as field work.
Scott,
I am seeking advice on the pros and cons of using a field camera in the studio for subjects 5 to 15 feet away from the camera.
What type of subjects? Are you talking about portraits, floral arrangements, or product photography? If so, what kind of products - jewelry, automobiles, or something in between?
I definitely want a field camera as it will be packed up and carried to numerous indoor sessions on a daily basis AND because I want to be able to travel with it.
Define "travel". Are you just looking for a camera that is easy to transport from location to location, or one you will be carrying it your back forseveral miles up a steep mountainous trail?
Any help on length of bellows, best lens length , and usefulness of a rangefinder on the camera would be appreciated.
It all depends on your intended subjects. Once we know more about what you plan to photograph and how you intend to use the camera, more detailed answers can be provided. Your original question was too vague to give specific answers. The more details you can provide, the better the responses will be.
Finally, what is your budget for this camera? There is a huge range of new and used large format cameras available. No sense in recommending a $3000 camera when your budget is $500. Again, for us to help you, we need more information.
Kerry
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