I ditto Michael's comments, and Brian always makes the same comments, but there is always a caveat. I owned a Technika and sold it. Didn't like the back movements and found the SV45U more versatile and easier to use.
A lot of people like the smoothness of the Linhof, and I did too, but guess what? My SV45U became that smooth with use and periodic lubrication of the pivots and sliding surfaces (once a year, now 9 years old). Is it as precise as a Linhof? I doubt it but it doesn't make any difference in actual field use.
I think the bottom line is different cameras appeal to different people, and I've made as sharp a negative with a 1922 8x20 Korona that you'd swear would never take a good negative, but yet it does time and time again.
Get a camera that's comfortable for you to use, and that you like using and owning, whether it's an Ebony or a Linhof.
funny story: i've won the auction/trade for the SV45TE 2 weeks ago, having to wait 2 more weeks in order to recive it.
As i stated in the previous posts, i have a good friend who also wanted an Ebony, so i passed to him my SV45TE (one week until the arrive) and with the money for it i've bought a 45S, which i had already in mind from the start, in the same wish list , togheter with the SV45TE.
I had the occasion of a good trade for the 45TE but after reading more&more (and finding on ebay a new 45S for 2700$) i went for it, accomplishing the initial intention and desire on a fast, non folding camera, if possible an Ebony
This move was determined by the fact that the 45S has 80% of the movements of the 45TE, is non folding so +speed on location, bigger back shift ( very interesting for my, panoramic work), almost 1kg lighter and overall more suited for landscape work, 1300$ earned from the price difference.
I know that the loss is connected to the useable long lens, due to the 270mm maximum bellow extention, but i think that this setup ( 45S+ SW 90 F8 + Sironar S 135) will better fit my needs. I will be able anyway to use on the 45S also 300mm lens, using extension tubes (which i would prefer instead of the extension back).
I must admit that i was a bit affraid of the "starting procedure" of the 45TE; a non folding camera with a lens attached on the body was my initial desire, but i didn't had the chance to find a good deal for the 45S, only new from Badger.
Overall, avoiding the "the best camera is the one that's with you" discussion, i would say that i think pretty normal to read also some critics for the ebony, that why i've started this thread, in order to know/read if these camera are "that good", but in the same time to know also the possible issues, both situations based on work experiences.
I already know that the Ebonys are high class cameras, so i'm pretty much expecting an item with superb design and "presence", great attention for details and high craftmanship's work. My concernes were mostly around the ebony wood myth of the "total stability/ super hard wood".
Overall the reviews are very positive, almost everywhere, so i wanted to group all the possible comments in some kind of "Ebony thread", where to find out more practical informations about the cameras.
I have owned and used a lot of field cameras over the years - both wood and metal. The progression was MPP - Linhof - Shen Hao - Wisner - Chamonix - Canham - and finally an Ebony. They all have their pros and cons and which one you end up with will have a lot to do with personal opinions and a comfort level.
What I did not like was the control layout of the Chamonix, the rear movements of the Linhof and MPP, and I learned to live with the Canham's unique approach. There is a quality feel to some of these makes that is missing from others - such as the Shen Hao whose hardware just felt cheap. The metal cameras were just too heavy. I did like the Canham's long bellows and range of adjustments. The Wisner is just a very good looking camera with its wood, brass and red bellows, but I did not like the way the pinion gear would run off the rack.
They all can do the job if you are willing to use them as they were intended and know their limitations - I have taken equally good and bad images with all of them.
I am now using an Ebony and I am very happy with it as a tool. I find it suits my working style well, is "pretty to look at", has very smooth and precise adjustments, and gives me a nice feeling whenever I handle it. But, whether the Ebony is the "best camera" will always be a question of personal opinion - which you should be able to answer after you have used yours for a while.
Brian's criticism is not trivial. I don't have an Ebony, but my Nagaoka does the same thing with my most useful lenses (162 mm Optar, and 6" dagor), where the changeover point between the two focusing knobs is about 1/4" in front of their infinity position. I find it extremely irritating, and consequently use this camera a lot less than otherwise.
"My concernes (sic) were mostly around the ebony wood myth of the "total stability/ super hard wood"
Ebony wood as good as it gets in wood. I've bounced my focusing frame down a waterfall twice - please don't ask the details - and not only did it survive except for a cover glass one time, it was essentially unmarked. I don't think you could do that with aluminum. If I had even thought there might be a remote possibility of mis-alignment I would have replaced it.
I think the harder tropical woods have a resiliency that aluminum does not have.
The downside is that ebony wood is heavy, and with the dovetail design of the asymmetric rear movements, that increased weight on the rear standard causes roughness and binding that to me becomes less tolerable as you move up beyond 4x5. This is not an issue with the symmetric backs.
When I bought my 5x7 Ebony, I chose mahogany because it was an asymmetric back and because I intended to carry it in a backpack on occasion. It's lighter, but I know it is not as durable as ebony wood.
The changeover point "problem" will exist for some lenses at some point regardless of the camera brand. You can get around it with a single-draw design, but then your range of lenses will be limited.
But again, you should get a camera that's comfortable for you to use and you like using, regardless of brand or material.
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