Yes, the Betterlight has an image area of 72 x 96mm, but I do use extensive rise/shift movements. I think that would get close to 4x5 film territory. I've not shot much film on the Wistas, so you are probably right. And if that does happen, it may be possible to minimize it using rear tilt/swing in combination with front movements. A little convoluted, and not as easy as with a monorail, but it can be done.
Kumar
I had an earlier model with the micro rear swing like the SP. The micro rear swing seemed gimmicky to me. I would prefer the VX for the slightly lighter weight and cheaper price over the SP.
I'm starting to wonder if perhaps the smartest thing to do is to find a more portable monorail. I really enjoy using all the different movements.
Despite the fact that I am intrigued by the idea of being able to shoot shots in hand, without a tripod, it would probably not be a common occurrence. I'm also concerned about this vignetting. Do other technicals or field cameras have this vignetting issue on longer focal lengths? My current collection of lenses is 90mm, 150mm and 210mm. I was looking at a 240mm, too. I also tend to compose in the camera rather than in the darkroom or on the computer.It would be obnoxious, having to frequently crop my images.
As it stands, what appeals to me about technical field cameras is the metal construction (less likely to rot or warp, potentially cheaper, definitely sturdier), shorter setup-time, and portability, including a very low profile when folded. The only thing I couldn't get from a more travel-friendly monorail or a normal field camera is the handheld photography potential. I can always use the Hasselblad for that, I guess.
Perhaps I should look at field cameras, then? Almost every single one I've seen is both over 1000 CAD and wooden. I would really prefer to avoid wood construction if possible. The possibility for a revolving back is essential, too. I tend to use that feature quite a bit.
Despite the ads that Linhof used to put out showing photographers using Technikas hand-held, technical cameras aren't really meant to be used like that. The movements can't be used reliably to their full potential, and if you're going to do P&S, the TravelWide, DaYi and Fotoman do it well enough.
A revolving back vs. a reversible back is not so much of an issue for me. My Sinar has a reversible back, the Toyo D45M and Wista D have revolving backs.
For really portable, tough and inexpensive monorail cameras, my vote goes to the Toyo D45M. It is not much bigger than the Wista, has geared rise/fall and shift, and accessories are available at very reasonable prices. If you don't need the Graflok back, and can use a spring back, the older beige, green and gray versions are even better deals. You can simply bung it into a backpack with a groundglass protector on a short rail. The Sinar F is a close competitor, but not as tough. Others like the Technikardan are very good, but become expensive.
Kumar
The only time I've noticed vignetting with my SP has been when I used significant movements. Probably 60% or more of my shooting is with a 135mm, and I rarely shoot at infinity, so maybe it wouldn't show up in those circumstances.
I'm curious why focal length has anything to do with this "problem" if its root cause is the rotating back.
It's just the corners and the shading happens in the camera back itself, very close to the film plane. It's the circular track that allows the back to rotate. So even with shifts you won't see it on your Betterlight. With normal 4x5 film, you can get rid of some of it by using shifts, but the problem is you'd be making it worse on the opposite corners! I don't want to overstate this issue though. It's a great camera and that's not why I sold mine. It's a minor annoyance, although it might be slightly more serious if you like to print full-frame with the film edges showing. But I loved that camera and do recommend it.Originally Posted by B.S.Kumar
You might consider a Linhof Technikardan. I hate to sound like a broken record because I recommend that camera often. But it's just so good for getting full movements with a very compact camera. It's a monorail design, but the standards fold up parallel to each other in line with the rail, so it's not all that much bigger than a metal field camera.
I occasionally ran out of movements on my Wista VX, mostly I was trying to use substantial rise with wider lenses. Also I really like the option of direct lens fall, since I often shoot from elevated positions. That's the real reason I sold it, and I bought a Technikardan 45S. The TK45S is one of the few cameras that can really do (almost) everything well. The price may be higher than you're looking to spend, but the prices seem low right now. And you might find that it could also replace your current monorail.
I actually made the mistake of selling my TK a few years ago, figuring that my other camera, a Master Technika 2000, could do everything I needed. But I missed it and needed it for some specific reasons. I bought a new one a few months ago for around $1200 and it looks like new, it's much nicer than the one I sold. I think you could find a good user for around $1000 or maybe even less.
It's heavier than a wood field for sure, but it's really nice to work with, fast to set up and very precise. The newer "S" version is best, it has center detents on the swings and tilts which make it faster to set up and probably more precise.
My advice would be to forget about handholding 4x5. You'd probably be better off with your 'Blad.
The problem for me is that 1200$ USD in CDN comes out to about 1500$. I work minimum wage in Quebec, which is approximately 8$ an hour USD. Now I've heard the refrains again, and again, "Photography is expensive." or "Film photography is expensive, you should know that." Despite its cost, a few hiccups granted, I've managed to keep the monetary strain of this hobby at levels commensurate with my wage. I can skimp on food, and heating in the winter to save 100$ here and there, which might get me a VX after 5 months worth of saving. I'm currently trying to sell two lenses I don't use much in order to pay for either a new camera (the tentative one being discussed here) or a panoramic back. Even with that extra cash, 1500$ is out of orbit for me. I wouldn't even feel comfortable taking that camera outside. The Toyo 45D can be had for very little comparitively, and I can live with it getting banged up.
Believe me, I'd love a Technikardan. Saw one at a camera show and it was a fine lookin' machine. Certainly something to aspire to. I appreciate the advice, but I'm not sure I can apply it.
This actually makes me think of another criteria, a sub-criteria related to portability that is important for me: ideally my camera is something I can travel with on my back, or on my bike. I don't have a driver's license, and it's my only way of getting around outside of public transit or friend-provided lifts. That was why the very compact package of a technical field camera caught my eye in the first place.
Another question: Someone said "reversible back". What is that? How does it compare to a rotating one?
Last edited by senderoaburrido; 8-Apr-2016 at 23:01.
Well, I don't even remember which one they said vignettes, but I would buy the other one. I cannot even imagine anyone selling a camera with a built in mechanical vignette. As for the micro swings, I've never used them, but every other camera on earth gets by without them.
A reversable back can be put either in landscape or in portrait direction, a rotating back can also be put in all the positions in between, rotating 360 degrees. I can't commend on the Wista's but my experience with the Toyo is that the revolving back indeed vignettes, except when it is either (almost) in landscape or portrait direction. As I level the camera with my tripod head I had not much use for a revolving back and had preferred a much lighter reversable back on the camera.
Why do you limit your choice between a Wista and a Toyo? There are quite a few other field camera's out there that have loads more movements, for instance the Chamonix and Shenhao camera's. And those are pretty rugged and well build camera's too - having lugged one around for three years now without much of a problem.
I make large fullframe analogue prints shot with a Wista VX and have never seen any evidence of vignetting in any of my shots (I use 90, 125, 180 and 210mm lenses).
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