Field cameras for studio work

[Michael Scott]

I am seeking advice on the pros and cons of using a field camera in the studio for subjects 5 to 15 feet away from the camera. I definitely want a field camera as it will be packed up and carried to numerous indoor sessions on a daily basis AND because I want to be able to travel with it. Any help on length of bellows, best lens length , and usefulness of a rangefinder on the camera would be appreciated. Thanks a lot.

[Gem Singer]

Hi Michael,

Assuming that you are asking about a 4x5 field camera for studio work, I recommend that you get one that has as many movements as possible. The Ebony SV45U2, or SV45TE would be good choices in wooden field cameras. The Canham DLC, or the Linhof Technikardan would be good choices, if you prefer a metal field camera. Stay away from the lightweight, short bellows field cameras. The longer the bellows, the better.

You don't need a rangefinder for indoor work, unless you are planning on using the camera hand held, without a tripod, like weddings, etc. If thats the type of indoor work you are asking about, take a look at a metal Wista with a rangefinder or a Linhof Tech.

Start with a lens in the 180- 240 focal length and add more focal lengths when you find that you need them.

[steve simmons]

Here is some readingthat will be helpful

Getting Started in Large Format. It is a free article on our website

www.viewcamera.com

Deardorf's were used in studios for generations so the idea of a field camera is not out of the question.

I would suggest the following

a camera with at least 14" of bellows

a good 210-240mm lens

rie and fall on the front, swing front and rear, and shift on the front as the minimal movements
Nowthat I have said this what will you be photographing? If you are doing closeup work then you might want to consider a camera with a little longer bellows and one of the lenses designed for this type of work.

steve simmons

[Frank Petronio]

I used a metal field camera in my studio, and for corporate location work (lights, interiors), for years. I found that I could use 6x9 roll film backs for static subjects that most photographers used Hasselblads for. And for portraits, the additional "presence" of the 4x5 was often and advantage. I used a Rittereck 5x7 and a Wista SP with a 210mm lenses quite often for this sort of work (both were excellent cameras).

Once I started using a monorail I found that I became "liberated" to use more generous movements. But the field camera itself never prevented me from using generous movements, at least with moderately long lenses - it was more a mindset, and the less convenient operation of the field camera's controls. In hindsight, the main advantage of the field camera was in packing - it become a tight, little box that was easier to fit into an airline case.

You might consider a lightweight monorail for field and studio work - the Arca-Swiss (old or new series, depending on your budget), Linhof Technikardan, or the Sinar Norma. They are slightly bulkier to carry in the field, but just as lightweight, and more versatile in ever other way.

[Leonard Evens]

I wouldn't preclude the use of a monorail. Some are fairly light and not difficult to pack up and transport from location to location.
For example, see Large Format Nature Photography by Jack Dykinga. He carries an Arca Swiss F series camera on his back in the wilderness.

[Jonathan Brewer]

Frank Petronio.........................................being a wookworker I've seen some of your work in various woodworking publications, excellent work, I have a respect for you craftsmanship.

[Frank Petronio]

Thanks - but that is another "Frank Petronio". I only attempt to do woodworking, my business is marketing and advertising. The furniture maker Frank has a studio in Brooklyn and puts out high-end stuff. No direct relation, but we've talked and he is a nice guy.

[Alan Davenport]

There are two possible problems when using a field camera in the studio. One is that most field cameras lack one or more movements that you would have on a monorail; that may or may not be an issue depending on your subject matter and your individual style.

The other issue is limited bellows. Many, perhaps most, field cameras run out of bellows somewhere around 12" to 14", meaning you can use a 12" lens at infinity but not much closer. My own kit includes a Tachihara 4x5, and my longest lens is 10". With that lens, I can focus to about 5 or 6 feet before I run out of bellows.

There are a number of field cameras that have lots of bellows, and a few of those also have more movements than typical field cameras. One I'd look at is the Canham DLC.

OTOH, a monorail with a hard case will travel well, set up fast, and you won't have any of the limitations of a field camera.

[Bob Salomon]

The Technikardan easily does studio as well as field work.

[Kerry L. Thalmann]

Scott,

I am seeking advice on the pros and cons of using a field camera in the studio for subjects 5 to 15 feet away from the camera.

What type of subjects? Are you talking about portraits, floral arrangements, or product photography? If so, what kind of products - jewelry, automobiles, or something in between?

I definitely want a field camera as it will be packed up and carried to numerous indoor sessions on a daily basis AND because I want to be able to travel with it.

Define "travel". Are you just looking for a camera that is easy to transport from location to location, or one you will be carrying it your back forseveral miles up a steep mountainous trail?

Any help on length of bellows, best lens length , and usefulness of a rangefinder on the camera would be appreciated.

It all depends on your intended subjects. Once we know more about what you plan to photograph and how you intend to use the camera, more detailed answers can be provided. Your original question was too vague to give specific answers. The more details you can provide, the better the responses will be.

Finally, what is your budget for this camera? There is a huge range of new and used large format cameras available. No sense in recommending a $3000 camera when your budget is $500. Again, for us to help you, we need more information.

Kerry

[Michael Scott]

Thanks very much for the replies. A few people have asked what I would be photographing so as to narrow the response possibilities. It would be people - both portraiture and staged tableaus of people.

[Gem Singer]

Hello again Michael,

Since your original question was about a compact field camera, for the type of subject matter you describe, just about any 4x5 folding flatbed field camera would be useable. Your choice would be dependent on your budget. You won't need a large range of movements or an extra long bellows. However, you will need a lens in the 210-300 range for the portraiture, as well as a lens in the 90-150 range for the staged tableus of people. It would be a good idea to use the camera mounted on a tripod. A rangefinder will not be necessary.

Now, if I may be so bold, for the type of photography you describe, I would choose a medium format camera such as the 6x7 Pentax SLR, or a 6x7 Mamiya or Fuji rangefinder model. If you want a slightly larger negative, Fuji also makes a 6x9 rangefinder camera. You can hand hold a medium format camera. you would have the ability to focus faster, and it would give you the mobility you need when photographing that type of subject matter..

[David A. Goldfarb]

No problem at all to use a "field" camera for individual and group portraiture in the studio. You really don't need the extensive movements of a monorail for that, though there's no reason you couldn't use a monorail. The monorail really comes into its own for tabletop still life and architecture.

[Gary J. McCutcheon]

I have used Wista and Wisner(as well as numerous monorails)field cameras in the studio and out. The Wisner Technical Field has 585mm of bellows draw. I've done some wonderful portraits with this camera. I've also used it for catalogue, product, and fine art work. The bellows draw is great and the movements are as extensive as any monorail I've used including a Sinar P and Toyo G. Wisner isn't the word of the Forum but it works well. For $1900 new or $1250 used, it is a great deal. If 4 grand doesn't phase you, get an Arca Swiss. It may be a monorail, but it will do it all, just like the Wisner.

[John Cook]

The long and short of it is that using a lightweight wooden field camera for movement-intensive studio situations is much like driving a leaky red convertible through a hurricane. It will get you where you need to go, but with some discomfort.

Features which are beneficial in one environment can become a distinct disadvantage in another.

[Gem Singer]

John,

We can all agree that movement- intensive studio situations require more movement capability than the average flat bed folding field camera is able to furnish. Certainly, table-top close-up shots would call for extensive movements. However, the type of subject matter Michael revealed that he is planning on photographing does not require much corrective movement on the part of the camera.

[Jim Rice]

I love my Wisner Tech. I have never needed to do anything with it that it would not accomodate.