Architecture/lanscape Camera to go with Nikkor 90mm f4.5

[Kirk Gittings]

I've made my living primarily shooting architecture for over 30 years now, the last two fully digital with DSLRs and t/s lenses. Until it was stolen, I used a Tachihara for some 15 years of that and a Calumet Widefield then up to 2 years ago. In the day I think I paid $400 for the Tachi and $175 for the Calumet (and about 3k for the DSLR bodies and thought that was a deal!). From my competitors point of view, two relatively crappy cameras, but I was never into impressing anyone with unnecessarily expensive equipment and these cameras were serviceable, especially the Widefield which was originally designed for architecture. One can do world class work with limited equipment if one understands and sees architecture.

[Robert Hughes]

One can do world class work with limited equipment if one understands and sees architecture.

For instance: "In 1921, Steichen happened to vacation in Venice at the same time as Isadora Duncan. She was on her way to Greece with her pupils, who were also her adopted daughters, known as the Isadorables. She persuaded Steichen to come along by promising that she would let him make motion pictures of her dancing on the Acropolis. Once there. She changed her mind. Her style in movement and costume was based on classic Greek imagery and, faced with the real thing, she was overwhelmed. Steichen settled for borrowing a Kodak camera from the headwaiter at his hotel. Standing among the ancient, sacred stones of the Acropolis, Isadora felt she was too much an intruder to move, but finally she managed to produced the two appropriate classic gestures that Steichen recorded."

[Merg Ross]

I've made my living primarily shooting architecture for over 30 years now, the last two fully digital with DSLRs and t/s lenses. Until it was stolen, I used a Tachihara for some 15 years of that and a Calumet Widefield then up to 2 years ago. In the day I think I paid $400 for the Tachi and $175 for the Calumet (and about 3k for the DSLR bodies and thought that was a deal!). From my competitors point of view, two relatively crappy cameras, but I was never into impressing anyone with unnecessarily expensive equipment and these cameras were serviceable, especially the Widefield which was originally designed for architecture. One can do world class work with limited equipment if one understands and sees architecture.

I thought of you, Kirk, when I spotted this thread. I also used the Calumet Widefield along with the longer rail model. My 90mm SA lived on the Widefield. My only regret was not being able to afford the f:5.6 SA, but my eyes were younger and I lived with the somewhat dimmer image of the f:8. The two Calumet's are still in my camera locker, probably as capable as they were 40 years ago!

[Paul O]

Walker Titan XL or Ebony 45SW

[rdenney]

Sinar F with a bag bellows

Second the motion, with the following qualifier: Get an F2. It has a stronger front standard.

The Sinar folds up in a couple of different ways. You can disconnect the bellows and tilt the rear standard down, and then raise the front standard slightly and tilt it down over the top of the rear. That makes a compact package.

Or, you can disconnect the bellows from one end, pull the standards out to the ends of the rail, and then turn them sideways. It will fit in a flat suitcase in that configuration.

I just mash the two standards together and put the camera in a "mobile office" rolling briefcase. The case is about a 16" cube, and I am able to conveniently carry the camera with bag bellows, focus cloth, bulky lenses (47, 65, 90, 121mm Super Angulons, 210 and 240 Rodies), a 6" rail extension, 6x12 back, 6x9 back, Vario back, standard bellows, extension rod to use bellows as a compendium shade, loupe, Pentax spot meter, and at least half a dozen rolls of film. Removing the roll-film holders would make room for a dozen film holders.

I leave the tripod adapter on the tripod.

It takes up about half the space of the Calumet monorail case I have with my 45NX. And it has wheels. It's quite perfect for architecture work, I would think.

And F2 is far below the budget, but by the time you really add the goodies, it ends up costing that much. I'm including a few lenses, lens boards, extra bellows and rods, backs, til-head, Maxwell screen, and so on, it will add up to the budget.

Rick "who used to roll the Calumet case around on a hand truck" Denney

[spiky247]

I like to use the Toyo VX125 for architecture. It's a monorail that collapses a very flat package, the bellow is made from a special fabric, so you don't need bag bellows. It allows for a full range of geared movements, which I find very useful when shooting architecture.

[spkennedy3000]

Dear all,

Thanks very much indeed for your extremely helpful suggestions and information, I am currently reviewing the posts and I will make my decision based on it. Thanks again,

Simon

[AlexLF]

I second Technikardan.

[Joshua Dunn]

I would strongly suggest a Sinar F2. I have several and for me it is the most versatile/economic way to go. I have seen them go for $500 on the big auction site. Accessories are plentiful and well priced save for Sinar shutters that still sell for a lot (but are well worth it). I use on in the field (it weighs about 8 pounds without a lens and breaks down pretty compact), indoors a lot and if you need movements it can be twisted like a pretzel. I have used mine with large format lenses from 38mm to 600mm.

I agree with rdenny about the better front standard on a F2 verses a F1. Additionally the F2 has geared fine focusing independent of the front standard lock; extremely useful with low light interiors. When fine focusing with a front standard instead of the rear, you do not change the size of the image on the ground glass, just the focus. I have found this extremely useful with critical interior architecture.
With your budget I would get a Sinar F2 with a bag bellows and a good lens.