Funny, we gave our kids the same advice.............Unfortunately most don't, so often replace within the first year. I bought 3 wooden cameras before I settled on Deardorff & Sinar. Now own several of each! LOriginally Posted by IanG
Funny, we gave our kids the same advice.............Unfortunately most don't, so often replace within the first year. I bought 3 wooden cameras before I settled on Deardorff & Sinar. Now own several of each! L
No disrespect to B.S.Kumar, but if you intend on using the 5x4 for Landscape, I would try to avoid a monorail - fantastic in the studio, but can over complicate (not to mention the extra weight to lug about). Though where are you here - there's a few shops who do range large format cameras in store - perhaps out of the way a little but www.ffordes.co.uk often do have a decent selection.
I'd agree with Ian that the MPP is a good option as a field camera - though do look for a late model e.g MK VII to MK VIII
Kirk, the only reason I always suggest a monorail as a first camera is to learn about movements properly, which is half the fun of LF. Starting with a field camera means that many techniques are simply not learned. After some time, as one gets familiar with the camera, and notes the movements used most of the time, one can buy a different camera if necessary.
Kumar
Puh. I finally managed to read all of the posts. First and foremost thank you so much for all that information and advice. To start with LF is quite challenging. So I'll take this weekend, wrap my head around it and do some more research.
Too much research will only further confuse you.........L
I already am. A bit.
But I guess it's alright. It's not an easy matter.
This is true!
What's important: get stuff that works!
light tight bellows
movements that lock down
a ground glass that registers with the film plane
a lens that hasn't been taken apart and reassembled wrong
light tight film holders (at least 3)
a lens that at least covers your format, with some wiggle room (the more the better)
bellows long enough to accommodate your lens
a lens that fits your lens board that's not so heavy it taxes the front standard
a solid tripod that can take the weight
a focusing cloth that does the job of cutting light
a cable release that has a long enough throw to fire your shutter
a shutter that, at the very least functions
AND
start shooting film
"I would feel more optimistic about a bright future for man if he spent less time proving that he can outwit Nature and more time tasting her sweetness and respecting her seniority"---EB White
I highly recommend the Steve Simmons book Using the View Camera.
https://www.amazon.com/exec/obidos/A...kenrockwellcom
There are several good books out there but I found this one to be very straight forward and easy to understand. It's got great pictures to demonstrate what Mr. Simmons is telling you.
You are going to be confused at first until you actually get a camera in your hands and start using it. Trying to figure out everything now is impossible. It's best to buy an inexpensive camera and just jump right in. The best place to spend your money is on film.
Agree with Alan about the book....it will give you an excellent overview. Choosing "proper" equipment is a process!!! Lots of nuances to consider.
Here are some items to get you started:
Camera - something that folds and it's relatively light (good bellows are essential)
Lens/es - 2-3 lenses in shutter w/ lens boards (90, 180, 250)....mostly relative to your preference
Film holders - these are often for sale and they need to be light-proof
Light meter - incident or reflective type....some folks even use a digital camera to determine the lens settings
Cable release - size is not that important (12" or longer)....I prefer longer one
Dark cloth - to view the ground glass....minimizing reflections and emphasis on proper framing (upside down :>)
Lupe - most of us use 3-6X type, tho sometimes (in a pinch) stronger eye glasses will do the trick
Tripod - appropriate head (gear or ball) that's sturdy
Black bag - to load film into film holders
While you are peeking at photos here (on the forum), most photographers will annotate whether it was taken with Acros, Ilford, etc., and these accumulative examples will likely steer you to make your own film choice/es. For the sake of consistency, it would be better if you develope your own film, tho you can always choose to have that done, at least temporarily, by a nearby lab (if one exists).
Anyway, follow your bliss. If you purchase items relatively smart, they will either last you a long time or you could sell them for only a minor loss....especially if you decide to progress to larger film format/s.
Les
My first lens was a 210. My second a 120 SA. Never regretted starting with this combination. I'd start with one lens! A Caltar 210 is good and reasonable, and in a modern shutter. You should easily find one for under $200!
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