Busch Pressman

[Ivan J. Eberle]

Another thing that strikes me with what you're already doing already with 35mm and those ultrawide focal lengths is that you're going to be using MUCH smaller apertures to obtain the same near-far depth of field effect, which will almost certainly require a substantial tripod. So the difference in weight between a monorail and a press-type camera is only incremental, perhaps not as great as you may be thinking. It's also going to make you a lot less surreptitious in abandoned buildings to be slinging a tripod over the shoulder with a camera mounted.

Though it's also true that so long as the important subject matter exists in only one plane, camera movements can greatly help with the near-far thing and at wider apertures--even with a lens nearly wide open, and consequently with faster and perhaps even handholdable shutter speeds, unfortunately this probably won't work so well with small and light older design lenses that require stopping down to f/16 or f/22 for sufficient sharpness, of the type you might be restricted to with the Busch Mod D front standard having only a 58mm opening. Ground glass focusing and swapping out film holders is also nigh impossible w/o using a tripod as well.

So, for all those reasons, a press camera isn't ideal for architecture.

Heck, the way things stand right now, these days a whole Sinar F outfit incl a bag bellows and a couple of pro lenses might not sell at auction for even as much as your budget. If a monorail proves too bulky, technical field cameras are also good for a lot of architecture.

The key here and the reason why I picked a Meridian was for the back movements as well as front swings and the revolving back. Wista metal field cameras, Technicas, MPPs, Meridians (less than your budget, somewhat rare and collectible--took a year of looking to find mine) and perhaps a few wooden field cameras that may be beyond your budget have these moves, that can pull the converging lines and perspective back after a tilt or swing. Too, back moves alone allow swing and tilt movements of a fashion with lenses that have a smaller image circle (limited coverage as mentioned by aduncanson above) without vignetting.

[Gene McCluney]

Some press cameras, such as a Crown Graphic or Super Graphic have quite large holes for the rear of the lens to go thru. Didn't know about the Bush. I work with f8 super-angulons all the time (65mm and 90mm) and with a dark cloth no problem to compose, focus and shoot. For an teensie 90mm, there is the Graflex Optar 90mm f8. An itty bitty lens that is sharp if you don't shift too much.

[paulr]

I had a Busch briefly; I thought it was a super cool, beautiful camera ... and then discovered that all the lenses I wanted to use where just too big to fit on the thing!

[Sean Galbraith]

Are you sure that you want to go Large Format? For a lot less you can get Perspective Control lenses for your 35mm camera.

Definitely. 35mm just doesn't have the resolution I'm looking for anymore.

[Sean Galbraith]

Thanks, all. I've pretty much decided against the Pressman.

KEH seems to have some pretty affordable monorail cameras. Just need to figure out which one. There's a good price on an Omega View 45E in Ex condition that looks promising.

[paul08]

You can get a good used monorail very cheap on ebay or probably on the sales forum here (a Cambo / Calumet or Toyo, for example). I use my cambo in the field with no problem, but a press camera in a backpack or messenger bag is a lot easy to carry up multiple flights of stairs, or to carry a long distance from your car. I think the Pressman got a bit slammed here. It's actually a very capable little camera, smaller than a Linhof or Toyo (I've owned all three), and with focusing capabilities not easy to find on newer cameras (GG, user-adjustable rangefinder (I have the Vue-Focus), sportsfinder that works pretty well for fast shooting). I've used mine handheld a lot, too. As for the lens limitations, you simply have to know what will fit. The Pressman will take a 90mm f/8 SA, most of the 135-150mm lenses, the 240mm Fuji A, and if the bellows are in good shape will focus the 300mm Nikkor-M to about 30' (I've done this -- not making some theoretical statement based on bellows draw). New aftermarket lensboards are readily available from Midwest Photo (they have them in stock drilled for Copal #0 and #1 most of the time). There is no front swing, but enough rise, fall and shift to aid in basic image corrections (the back has no movements). For the price, the Pressman D is one of the best press/field cameras out there, and the construction is quite good. Although I use my monorail more, I still find the little Busch a useful image-making tool.

[aduncanson]

...The Pressman will take a 90mm f/8 SA, most of the 135-150mm lenses, the 240mm Fuji A, and if the bellows are in good shape will focus the 300mm Nikkor-M to about 30' (I've done this -- not making some theoretical statement based on bellows draw).

This is great information. I have not had a chance to try the 90/8 SA in particular (I like the idea) and so was simply advising further investigation before purchasing. There is one last consideration that keeps me from using my Pressman on some occasions. It lacks a Graflok back (so does the Calumet CC-402) which allows use of a wide variety of inexpensive roll film holders in formats up to 6x12. Your only real choices are the Calumet roll film holders which are rare, costly (and some say suspect) in sizes other than 6x7.

Good Luck

[rfesk]

I can verify Paul08's experience.

I use a Nikon 90/8, a 135/5.6 Sironar-N and a Fuji A 240/9 on my Bush Pressman. Don't even have to drop the bed to use the 90. Lensboards are available from Midwest but the one I purchased was too thick and had to modified some to mount on the camera plus needs some work to mount a 180/5.6 Sironar-N.

With the flat board the Fuji 240 can focus to only about 13 - 15 ft or so. So some sort of extension would be handy.

Swing can be accomplished by turning the camera on the side.

The Meridian B has the same built-in focusing mechanism for wide angle lenses as the Linhof 2000 series and is excellent in that regard.

I have just competed adding a Graflok back to my Pressman. A lot of work! I lost the rotating back feature but added a tripod hole on the side for the rare occasions when a vertical photo is called for.

Grafmatics worked on the original camera but now the back can be removed competely - using the Graflok slides to hold the Grafmatics.

I found that the Calumet roll film holders would not fit on my Pressman - too thick.

[paul08]

Nice to hear from another satisfied BPD owner, Bob. It may not be the ideal "only" LF camera, but it's a great compliment to a monorail (or medium format gear, if that's what you normally work in). You wrote:

"I found that the Calumet roll film holders would not fit on my Pressman - too thick."

Is that with the new modified back? I only ask because the Calumet C2 I just sold does fit my BPD with the original rotating back (although it's a tight squeeze -- I had to be careful to really lift the whole back away from the body, not just the edge like you normally do). As a plus, the Rollfilm holder can be used like a grip.

[rfesk]

I had and sold a Calumet C2n back. The old/original Busch Pressman back would not accept the C2n holder at all - and I tried. It is possible that the C2n plastic body is different from the C2. It would accept the Grafmatics however.

Both the C2n and the Grafmatics have a ridge on the sides that allow them to be mounted on a camera with a Graflok back using the locking slides after removing the ground glass/hood assembly.