Tom Hoyle
8-Oct-2014, 16:11
Hi all,
This is my first post, but I've been trawling for a while and learning lots from all the experienced people on here. I've been using a Toyo 45G monorail for about six months and really love the large format way of working. As we are moving into summer (I'm in New Zealand) I'm looking at buying a supplementary field camera to take into the hills to do some landscape work, the monorail being less than ideal for this application.
I've read lots of reviews of different models but I seem to be going around in circles trying to find a model with the exact combination of features I am after so I was hoping someone on here might be able to point me in the right direction. My requirements are thus:
-work with lenses from 90mm -240mm and ideally with a 47mm SA XL on a recessed board (is this asking too much?)
-have a revolving graflok back (preferably one that will fit my reflex finder from the Toyo monorail, but not essential that it fits, graflok is essential and I must be able to mount in portrait)
-have decent front movements, but anything crazy I can do on the monorail, just the minimal landscape stuff required for this camera
-have rear shift of around 15mm
-available used for <US$1000
-weight isn't a huge factor, I'd rather carry a bit more for the sake of sturdiness and rigidity, so leaning towards a metal camera rather than a wooden one
The reason for the graflok plus rear shift requirement is because I would like to be able to shoot digitally by attaching my stitching plate (graflok attachment) to the rear standard and using a mirrorless camera to pick up frames to stitch together in a planar fashion. This only allows me to shoot a 645 sized image from the centre, unless I mount it in portrait and shoot two sets shifted laterally at the rear, which gives me something like a 6x9 frame (less width after stitching but nearly). To shoot wide, this stitching is required, as otherwise a 90mm lens at 645 isn't wide at all. If I can shift and use the 90mm, then I can get some decent width. With the 47mm, even better! Maybe I am being irrational and I should just use front shift, but it seems to me that this is more likely to result in stitching/focus errors? My preferred method of stitching is with no lens movement to avoid disappointment (and time) later.
You might think I'm crazy doing this, but I like big files and don't have the money for a scanning back. Don't worry, I also shoot plenty of film, but a little mirrorless camera and the stitching plate are smaller and less prone to accidents than film holders in adverse conditions.
I'm hoping someone out there has been down a similar track and has a helpful suggestion for me. Thanks!
Tom
www.tomhoyle.com (http://www.tomhoyle.com)
This is my first post, but I've been trawling for a while and learning lots from all the experienced people on here. I've been using a Toyo 45G monorail for about six months and really love the large format way of working. As we are moving into summer (I'm in New Zealand) I'm looking at buying a supplementary field camera to take into the hills to do some landscape work, the monorail being less than ideal for this application.
I've read lots of reviews of different models but I seem to be going around in circles trying to find a model with the exact combination of features I am after so I was hoping someone on here might be able to point me in the right direction. My requirements are thus:
-work with lenses from 90mm -240mm and ideally with a 47mm SA XL on a recessed board (is this asking too much?)
-have a revolving graflok back (preferably one that will fit my reflex finder from the Toyo monorail, but not essential that it fits, graflok is essential and I must be able to mount in portrait)
-have decent front movements, but anything crazy I can do on the monorail, just the minimal landscape stuff required for this camera
-have rear shift of around 15mm
-available used for <US$1000
-weight isn't a huge factor, I'd rather carry a bit more for the sake of sturdiness and rigidity, so leaning towards a metal camera rather than a wooden one
The reason for the graflok plus rear shift requirement is because I would like to be able to shoot digitally by attaching my stitching plate (graflok attachment) to the rear standard and using a mirrorless camera to pick up frames to stitch together in a planar fashion. This only allows me to shoot a 645 sized image from the centre, unless I mount it in portrait and shoot two sets shifted laterally at the rear, which gives me something like a 6x9 frame (less width after stitching but nearly). To shoot wide, this stitching is required, as otherwise a 90mm lens at 645 isn't wide at all. If I can shift and use the 90mm, then I can get some decent width. With the 47mm, even better! Maybe I am being irrational and I should just use front shift, but it seems to me that this is more likely to result in stitching/focus errors? My preferred method of stitching is with no lens movement to avoid disappointment (and time) later.
You might think I'm crazy doing this, but I like big files and don't have the money for a scanning back. Don't worry, I also shoot plenty of film, but a little mirrorless camera and the stitching plate are smaller and less prone to accidents than film holders in adverse conditions.
I'm hoping someone out there has been down a similar track and has a helpful suggestion for me. Thanks!
Tom
www.tomhoyle.com (http://www.tomhoyle.com)