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Thread: Speed Graphic for Urban Landscapes

  1. #11

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    Sep 2004
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    Gulfport, MS, USA
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    Re: Speed Graphic for Urban Landscapes

    Look hard at the last generation of Graphic press cameras, the Super and Super Speed Graphics in 4x5. They have generous movements available, Graflock backs for easy back exchange, are pretty light weight compared to many earlier press cameras, are built of metal which makes them tough as a Sherman Tank, and have convenient rotating backs. Equip the camera with a wide-field 135mm lens such as the aforementioned Wide-field Ektar, and you're set to go.

  2. #12

    Join Date
    Jan 2001
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    4,589

    Re: Speed Graphic for Urban Landscapes

    I just re-read your original post, where you indicated that one thing you like about the Graphics is that a dark cloth is not needed.
    I hate to break the news to you, but that's not true. While you can focus with the rangefinder, and approximate the field of view with the optical or wire viewfinder, if you use any rise, tilt, or shift you'll have to use the ground glass to focus and compose, and that "Focusing Hood" is useless. Especially at night, when you indicate that you work -- you're still going to need to use a focusing cloth.
    Wilhelm (Sarasota)

  3. #13
    Whatever David A. Goldfarb's Avatar
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    Mar 2000
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    Honolulu, Hawai'i
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    4,658

    Re: Speed Graphic for Urban Landscapes

    A darkcloth is better than the folding hood, but I've gotten accustomed to working with the folding hood and maybe a wide brimmed hat for a little extra shade, particularly in the city where you want to keep an eye on what's going on around you.

  4. #14

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    Dec 2004
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    New Zealand
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    141

    Re: Speed Graphic for Urban Landscapes

    You may want to look at an MPP Micro Technical camera (MK VII or VIII) - a sort of British Linhoff. Decent from movements, rotating back with back movements, coupled rangefinder and an international back.

    While they are bulky, if you don't like using a dark cloth, a binocular viewer may be something to consider. I have heard some people make a version using the viewer portion and a bag type bellows, which would cut down the bulk. No reason in fact why you couldn't make something using an old diving mask and bag bellows...

  5. #15

    Join Date
    Dec 2005
    Location
    Norfolk, UK
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    163

    Re: Speed Graphic for Urban Landscapes

    Yes the MPP is a nice little camera – especially the mk8, but for your uses a press type camera will often be limited by the bellows being too scrunched up to allow much movement of the lens.

    Have you considered something like an Arca Swiss monorail (the old type would be fine) fitted with bag bellows and a 121mm S/Angulon – close to your 75mm Pentax lens and oodles of coverage for movements (it's designed for 5x7). Such a rig would be almost as quick to set up and use, though I've never had the need to check the escape speed!

    Many years ago, when I had to earn a living taking snaps, I used to use a Sinar in a similar configuration. I never had any bother, but I was working in London, not New York...



    Richard

  6. #16

    Join Date
    Sep 2006
    Location
    Frisco, Texas
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    143

    Re: Speed Graphic for Urban Landscapes

    I used to sell cameras, enlargers and other photo things: Before buying a Speed Graphic or Crown Graphic (I do not comment on a Super Graphic and other LF equipment, do not have adequate experience), I suggest you most carefully measure at an infinity setting the four distances from corner ends of front lensboard uprights to film plane both directly back from upright to film plane and diagonally from top and bottom across camera to opposite side and possibly a complete diagonal from for example upper right front to lower left back and upper left front to lower right back: the point is to determine if front standard is truly parallel with film plane. I measured several, did not find many that were parallel. Some adjustments may be made at focusing rack infinity settings, some may require bending front standard. If not truly parallel, focusing may be illusory or a problem, particularly for architcture photography if enlarging 4 x 5" beyond 2-3x. Bernie

  7. #17
    Jim Jones's Avatar
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    Aug 2006
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    Chillicothe Missouri USA
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    Re: Speed Graphic for Urban Landscapes

    Yes, Speed Graphics often took a beating and got out of alignment. However, they were made to be used for decades, and could be repaired and realigned. Alignment is fairly easy on the Pacemaker series. Even my metal framed Burk and James is cockeyed, but that is a minor nuisance.

    A quick way to check alignment is to lay a press camera on its back and remove the lens board. Place a sensitive bullseye level on the ground glass and level the camera. Replace the lens or insert a lensboard and see if it is level.

  8. #18
    Abuser of God's Sunlight
    Join Date
    Aug 2004
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    brooklyn, nyc
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    Re: Speed Graphic for Urban Landscapes

    Another consideration is whether or not your lenses will fit on the camera. I bought a busch pressman years ago, but it turned out the porthole in the front standard was only big enough for wee lenses (like the press lenses the camera was designed for). There was no way anything like an apo symmar or super angulon was going to fit. too bad, because it was a really nice camera.

    Nice work, by the way. We've visited many of the same haunts.

  9. #19

    Re: Speed Graphic for Urban Landscapes

    Anyone got any other tips for quick setup and takedown? My only bad experience so far has been with joyriders on a back street by Kings Cross (London) - tend to avoid Saturday nights now. I was thinking of getting a tripod with only 2 leg sections not three, and finding a quick release that I like.

  10. #20

    Join Date
    Feb 2007
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    Van Buren, Arkansas
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    1,941

    Re: Speed Graphic for Urban Landscapes

    Quick set-up and take-down. Put a quick release on the camera that fits your tripod. Leave the camera extended to taking position. Of course leaving the camera extended, supposes you are going around in a car, where you can sit the camera in the back carefully. Oh, choose a lens that you can get to work with the infinity stops on the camera baseplate, or adjust the infinity stops to work with the lens you have. Makes it quicker to set-up.

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