J B Harlin, a fellow Texan from the the DFW area, who designs and builds large format cameras (as large as 11x14), once told me that
the only time a camera needs to remain extremely rigid is while the shutter is open during an exposure.
The best advice I can offer someone who is contemplating the purchase of a 5x7 camera: purchase a
4x5 reducing back for the camera. If possible, one that is equipped with Graflok-type sliders.
If strong, gusty winds are blowing (and I suspect they do quite often where Alberto photographs), only a rigid camera will remain stable during that brief period of time. It's a matter of what conditions the instrument will be used in...Originally Posted by Gem Singer
One interesting thing keeps popping up in this thread, composing on the GG. Years ago I bought a Linhof zoom viewfinder for a Technila whci I carry in my pocket at all times. I have masks for various formats and have my composition completely set and the corners determined before I get the camera out. From there on it really makes no difference which format I am using, I hit my corners, focus and go..completely automatic..EC
You suspect correctly Sal))
Thanks again for these last remarks, friends
Interesting tip Sal, an eyeglasses 0 /+1,5 ...i could try
I think i'll gonna buy.. I'd like could be a shen or a chamonix since I love that design, they both lightweight, compact, acceptably affordable
OR..a good second hand camera
have to post something into Sale/Wanted section
I will bring you up to date
Ciao!
A
Alberto Bregani | Mountain Photographer
My starting page
http://about.me/albertobregani
I'm going from a Sinar P 8x10 to a Chaminox 5x7 since lenses are much more affordable, it's light, small and more rectangular. It is my first wooden camera. I am surprised at how rigid it is.
Alberto, I think you already have the most adequate equipment to shoot in the mountain, regarding large format. The Shen Hao PTB 45 is an incredible lightweight camera, but a solid one.
I've been shotting with 4x5 and 8x10 (and 5x7, with a reducing back), for some years, here is what I think about these 3 formats...
4x5 - too small for contact prints but it fits in 8x10", 9 1/2x12" and 16x20" photographic paper without croping. Good for horizontal and vertical photos.
5x7 - the smallest contact printable size. Good for horizontal photos but, imo, to stretchy for vertical ones. For enlargements, there isn't any photographic paper thats fits this format without croping.
8x10 - Porportions like the 4x5, with same advantages. Contact prints with a nice size.
I have two 5x7" enlargers (Durst 138s and 139G) I've been enlarging 4x5 and 5x7 and contact printing 5x7 and 8x10 negatives, for a few years, here is what I think about this...
You CAN notice very well the diference beetween a 4x5 and a 5x7 negative enlarged to 16x20". Although, if you don't have any 5x7 negative 16x20 photo nearby to compare, the 16x20" enlargement from a 4x5" negative is incredibly sharp!!!! The other will be simply MORE incredible! It's like a Porsche and a Ferrari!!! ;-)
I have all I need to shoot and develop 4x5, 5x7 and 8x10, Jobo Expert tanks for the 3 formats, Jobo ATL 2 processor, etc.
I can tell you that I have thousands of 4x5 negatives, about 100 8x10s and about 20 5x7s...
I started picking formats more for ease of composing than sheer negative size. For some reason I could not ever find what I was looking for with 4x5, the reason I set up the tripod to being with would get lost on the smaller GG. But the extra space of 5x7 really helped me settle down and not have to struggle to pick up that thread again. Some formats just seem to live in that sweet spot, a combination of GG size and ratio that suits a particular field of view.
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