Need Help Choosing a Chamonix 4x5

[r.e.]

What would be the benefits of a monorail camera, besides lower cost? Field cameras appeal to me because I would like to think I could pack it up and bring it in an airplane carry-on without dedicating a whole suitcase.

Check out Arca-Swiss's 4x5 monorail at its new U.S. website: https://arca-swiss-usa.com/pages/home.

At the very least, it will straighten you out on the idea that monorails are cheaper

On the upside, Arca-Swiss’s 4x5 is modular, light and packs small.

[xkaes]

That Arca-Swiss F-line 4x5" Field is something else!!! I haven't run across that one before. And only $4,500. Just my rotten luck -- I already did my Christmas shopping!

Oh well, there's always NEXT year.

[David Schaller]

What would be the benefits of a monorail camera, besides lower cost? Field cameras appeal to me because I would like to think I could pack it up and bring it in an airplane carry-on without dedicating a whole suitcase.

More movements, flexible systems. You can add bellows to your heart’s delight. No one camera does everything. You said you were doing portraits and wanted to do still life. Now you want a camera for travel?

[r.e.]

Field cameras appeal to me because I would like to think I could pack it up and bring it in an airplane carry-on without dedicating a whole suitcase.

You can pack a 4x5 Arca-Swiss monorail in a small bag or carry it by your side with one hand on the rail and the camera upside down. To do this, you have the camera on a rail about 15cm long and your hand holding the rail between the two standards.

[Bob Kerner]

I just had a look at your posting history. It looks like you are on a similar path that I was on many years ago. Crown Graphic > step up to a different camera. Your OP in this thread states that you "don't understand...rear movements" and how they'd benefit your work. I'd humbly suggest you sort that out before spending more money, and you can do that with a used camera before investing in a top tier field camera.

Why do I say that? Because I jumped from camera to camera spending lots of money without ever really getting good at the camera I had. And, yes, I even a tried monorail (and it came apart and packed down compactly, as a matter of fact). I finished with a very expensive wooden field camera that I also didn't know how to control very well. It made nice images purely by luck. And then I grew bored, and digital became more affordable and I sold all that stuff at a loss for the most part.

Fast forward many years and I'm having another crack at it and starting with an inexpensive camera, used lens and film holders. If I quit again, I don't intend to lose $1800 on the sale of a handmade wooden field camera.

If you're doing studio and macro work you're probably best served by a monorail. If your backpacking/doing nature photography, get a folder. If you just want to buy a Chamonix because you like it, that's okay too but that style camera might not be best aligned with what you wrote in your OP.

[westpost]

I just had a look at your posting history. It looks like you are on a similar path that I was on many years ago. Crown Graphic > step up to a different camera.

Yes, I got the Crown Graphic as a learning camera, to figure out what I wanted and to get the hang of 4x5 generally.

Your OP in this thread states that you "don't understand...rear movements" and how they'd benefit your work.

I was hoping that someone here had knowledge of how rear movements might apply to macro photography specifically, and might give their thoughts on this thread.

Why do I say that? Because I jumped from camera to camera spending lots of money without ever really getting good at the camera I had.

My plan has been to start with the Crown Graphic, then move to my forever camera, then sell the Crown for about what I bought it for. This seemed like a good/safe plan.

If you're doing studio and macro work you're probably best served by a monorail. If you're backpacking/doing nature photography, get a folder. If you just want to buy a Chamonix because you like it, that's okay too but that style camera might not be best aligned with what you wrote in your OP.

I have decided that although most of my work will be studio, I would like something that folds down smaller than a monorail system for when I need to travel with it. I won't be backpacking with it, but want it to fit in a backpack with room to spare. Chamonix is my favorite of the field cameras, because of the quality, service, and because it was recommended to me as the best brand for my needs by my mentor, who uses one. I would have gotten Chamonix originally if they had not been out of stock. Now the 45F-2 is in stock, and the purpose of my post is to figure out if that's the right model for me.

I hope that all makes sense. Thanks for all the responses.

[Bob Kerner]

Yes makes more sense now. If your mentor uses one, why not ask him/her for advice.? Same thing for the movements aspect of your question. Also plenty of content out there on large format macro photography; this for example. Same principles apply for 4x5 and 8x10, Mat happens to work in 8x10. Mat's channel also has episodes on basic camera movements. I've watched all of them as a refresher course in LF while I wait to get going.

[Tin Can]

Macro requires long bellows, study that

I shoot with 11X14 X-Ray

a 4" mushroom fills the film about 2.5/1

X-Ray Film Macro shot on 11X114 by TIN CAN COLLEGE, on Flickr

[xkaes]

Macro requires long bellows, ...

Or short focal length lenses. My 12.5mm doesn't need much bellows at all -- relatively speaking -- to fill 4x5".

Chamonix makes great cameras, but there are other "folders" -- new and used -- that are every bit as well-built. There is a great deal of variation in the features of these cameras -- type and amount of movement, weight, bellows minimum and maximum length, etc. That's what should determine your choice. There are countless posts on this FORUM about people buying what turned out not to be the best camera for them -- for various reasons. Do your research to avoid ending up in that situation. Here's an incomplete list of folders and features:

http://www.subclub.org/toko/4x5table.htm

[Greg]

When I was doing 4x5 studio work I chose to go the route of a Sinar: Both a 4x5 Sinar X and a 4x5 Sinar Norma. Both can be easily had for under $500 each. If no or little movements needed, choose the Norma. The classic Norma has always been my preferred 4x5 camera. For "extensive" movements chose the X. Then acquired a used 4x5 Chamonix for field work. All three cameras cost maybe only 20% more than a New Chamonix.