Interested in 4 x 5

[thebbqguy]

I am interested in 4 x 5 photography.

What recommendations do you have for ways to learn, get started, spend less than $750 to get started?

I need to learn what I don't know but I don't want to wait till I learn it to get started because that day may never come.

I will have to find a lab for processing too.

[Gary Beasley]

You can start with a fairly cheap crown graphic or an older foldup. I would think seriously about processing your own film and contact printing( if b&w) so you can keep your costs down.

[jim_jm]

Lots of good information on the LFF Home page (https://www.largeformatphotography.info/). For starting out with 4x5, you should be able to find a variety of cameras and other needed equipment for well under your budget.
A good book to start with is "Using the View Camera" by Steve Simmons.

Welcome to LFF!

[6x6TLL]

I'm pretty new to LF myself. To start with the last question, I would suggest shooting B&W initially to learn. Process it yourself, the necessary equipment is cheap and readily available. I've been using Arista EDU 100 and 200 as a cheap option with which to learn the camera, movements, and keep the price of mistakes as low as possible.

As far as gear is concerned, the advice I received was to think a little bit about what you want to shoot, as choice of kit will follow subject matter/environment. Also to consider what kind of lens(es) you may expect to use, as the widest and narrowest in coverage won't necessarily work on all cameras. While it makes sense in 35mm and medium format to choose the camera first and then the lenses you want, with LF it seems more common to consider what kind of pictures you'll expect to take (landscape, architecture, portraits, macro, etc), determine the focal lengths you expect to use (75-90mm and 150mm maybe good starting point for landscape and architecture, 180-240mm for portraiture, etc) and make sure the camera will work with the chosen focal lengths.

You could get a press camera, like a Crown Graphic or similar, which leads to a certain style of working. Or you could get a field camera, Intrepid sells very inexpensive cameras, and at their 4th generation design I'm sure you could find one of the earlier ones used for an attractive price. Or you could go for a monorail/studio camera, like a Sinar, Toyo (who also make field cameras), or similar.

I'm by no means an expert, just passing on the advice I received when I started on my LF journey.

Let us know what you end up getting and how things work out!

[John Kasaian]

Steve Simmon's Using The View Camera is an excellent primer on the subject, out of print but used copies should be readily available.
There are plenty of good inexpensive used cameras too----Calumets and Graphic Views with a lens should be well within your budget if you don't mind monorails.
While you're waiting for your copy of Using The View Camera to arrive, binge read the LF Home Page( click on the light blue banner ^^^above^^^) and ask your questions right here. After 30 days you can access the FS section which usually has some very decent equipment---and at least the sellers here will be more knowledgeable than many of the sellers on eBay.
Setting up a B&W darkroom to develop those big beautiful negatives is easily done and if you scan your negatives that eliminates the need to hunt up a 4x5 enlarger(also eliminates some of the fun, IMHO)
The thing is, this isn't rocket science and you can do it on a budget
Have fun!

[Dugan]

I would recommend a Calumet CC-400 monorail...maybe a 135 or 150mm lens. Basic and bulletproof camera, and they made a gazillion of them..very easy to find cheap. A Crown Graphic (press camera, not a lot of movements) would work, too...but it won't teach you as much.

[B.S.Kumar]

An inexpensive monorail camera is the best for learning movements, and ideal for certain types of photography like still life and architecture. Field cameras can certainly be used for these, but many times one needs to work around their limitations.

My first LF camera was a Super Technika V with three lenses. I had seen their ads in Photo Technik magazine where they showed all kinds of photography. A year later, I bought a Sinar F2, and suddenly everything became much easier. I bought a Wista 45D after I moved to Japan, and like it for its compact size. I use it when I know I won't need much in the way of movements.

Kumar

[thebbqguy]

Calumet or Intrepid seem like suitable candidates that are in my price range. I had originally planned on a press type camera. I want to resist buying something and immediately wishing I'd bought something else. That's probably a good reason to take a more traditional route and avoid the press cameras.

I had been planning to take some darkroom classes before the virus kinked that up. I bought a couple of cheap 35mm film cameras recently to refamilarize with film.

I'm primarily interested in architecture and landscapes initially. I'm thinking something around 135 mm and 210 mm for lenses.

I do need to do more reading and it seems like I came to the right place for that as well.

Thanks for the suggestions.

[Havoc]

Monorails have more movement while field cameras are easier to take outside. I went for a field camera because I want to take it outside. Got a Wista 45 because easy to find, sturdy and reasonably cheap. It's more important to have a decent lens with a correct working shutter. Get a focal length that suits what kind of photos you want to take. If you're going to develop yourself, a tank for 4x5 and then enough film holders that you can fill your tank with film to use your chemicals efficiently. I get them in multiples of 3 holders because I can fit 6 sheets in a Jobo 2520.

[Gary Beasley]

Once you have gotten yourself equipped and shooting film if you have decided on the field camera, hiking, landscape route have a look at grafmatics or the Fuji clone of it. Six sheets carried in half the space as duplex holders. I use them all the time for my outings.

[peter schrager]

I would recommend a Calumet CC-400 monorail...maybe a 135 or 150mm lens. Basic and bulletproof camera, and they made a gazillion of them..very easy to find cheap. A Crown Graphic (press camera, not a lot of movements) would work, too...but it won't teach you as much.
double recommend!! you can find deals on these with a lens for around $200 all you need is film holders and film...

[Andrew Plume]

Well I started with a Wisner 'Traditional' a beautiful Camera indeed, I then added a Sinar F1 and even though the Wisner had plenty of movements, the Sinar had
the lot and then there's the extensive Sinar system to build on, can't go wrong imho with Sinar

best of luck and welcome on board

Andrew

[Chuck Pere]

Don't forget to look around YouTube for view camera information.

[jp]

$750 is a reasonable budget.

A cheap monorail and 135mm lens to get started, or a press camera like a speed graphic pacemaker / crown graphic with such a lens to get started. Functionality versus portability. I mostly use speed graphics, but other people would rather have something with more features/adjustments.

When corona quarantine is over, attend some events or outings with other LF photographers to see in person the variety of camera options.
Add good used film holders, some antistatic plastic bags for the film holders, a rugged tripod (tiltall or something new in the >$150 range)
For developing, I like the combiplan tanks, other people use stearman or jobo tanks. 6 sheets at a time and probably $1 in chemicals. If you have a dark place to load films holders, you can load your tanks. Add a thermometer of some sort for consistent results. I use a digital kitchen timer for film developing.
Printfile pages or other filing system for when you get something worth keeping.
For contact printing, get a spring back contact printing frame and some 5x7 variable contrast paper. I use a smaller format enlarger with a VC head for contact prints, other people use a light bulb.

For paper, I think it's fun to try different options and I think highly of some of the Foma papers, Oriental, Ilford, etc... For film, I don't mess with anything except Kodak/Ilford/Fuji.

[Peter De Smidt]

Well I started with a Wisner 'Traditional' a beautiful Camera indeed, I then added a Sinar F1 and even though the Wisner had plenty of movements, the Sinar had
the lot and then there's the extensive Sinar system to build on, can't go wrong imho with Sinar

best of luck and welcome on board

Andrew

Right, and I've seen Sinars for not much more than what a Calumet CC-400 goes for. The latter are fine cameras, but I've owned two, and the locks didn't really lock. I'm sure the washers could've been replaced.

[Alan Gales]

I've seen old monorails go for as low as $50 on eBay. You can spend a couple hundred dollars and get a really nice one with a light tight bellows. I used to recommend a Cambo or Calumet but as mentioned above Sinars have come down in price and are not much more. Toyo monorails are nice too. There are a lot of accessories easily available for Sinar here in the Unites States.

For a first lens I would recommend a 150mm, 180mm or 210mm to start. Nothing wrong with a 135 but they have a smaller image circle so less room for movements. A "normal" focal length is 150-180. The 135 and 210 are slightly wide and slightly long. A lot of monorails came with 210 lenses. You can get a better bargain if you buy a camera kit with a lens or two, film holders, and accessories. Don't worry about the brand of lens. Modern Schneider, Rodenstock, Nikkor, Fujinon, and Caltar are all good. Let price and condition be your guide. You want a modern, accurate shutter for starting out.

Nothing wrong with a Speed or Crown Graphic except you are limited in movements. A monorail has all your movements and if you decide later that you want a lighter camera, you can add a Speed or Crown and only take the monorail when you need those movements.

For a light meter you can use a cell phone app, a 35mm camera or a digital camera. You can use an oversized black t-shirt for a dark cloth. Just make sure that your current tripod is up to the weight of a 4x5 camera. The large negative isn't going to help you if your camera isn't steady.

Good luck finding a lab near you that will develop sheet film. If you don't have a dark room you can load and unload film holders in a photographic tent like a Harrison Tent. You can use a Jobo Expert drum and a cheap used Beseler drum roller for development. Of course you will have to scan your negatives on a flat bed scanner if you don't own an enlarger.

I also highly recommend the Steve Simmons book. It's not as detailed as some but is very easy to understand. It's the first book that I bought.

Welcome to large format. It's a lot of fun!



P.S. I see you are the BBQ guy. I'm also a member of the Pitmaster Club at Amazingribs.com. :cool:

https://amazingribs.com

Alan

[Two23]

I suggest going cheap on the camera.. Buy a lens or two, incident light meter, 2 or 3 film holders, tripod magnifying loupe to focus. Black jacket or t-shirt for dark cloth. Black & white film is economical and easy to process at home. I suggest a Stearman sp445 for that.


Kent in SD

[Jim Jones]

Don't start with the ideal camera. Only you can know what is ideal for you, and that is learned through your own experience. My second view camera was a flatbed Burke & James, and I used it more than any other view camera over many decades. A view camera's lens should cover more than necessary to best utilize full movements. That is more important than the camera itself. The lens does not need to be new. Multi-coated lenses are a significant improvement when shooting in some light, but otherwise even quite old lenses may work well enough. Remember, great photographs were being produced with the lenses of a hundred years or more ago. Cameras come and go over a long lifetime, but the right tripod lasts forever. Developing B&W film in trays in an improvised darkroom saves money and gives you an important tool for image quality,

[Doremus Scudder]

I'm going to make a contrary recommendation/suggestion than many of the above. It may cost you slightly more in the beginning, but may make your LF experience a little more pleasant.

If you intend to carry your camera around outside (you mentioned landscape), then forget about a bulky monorail camera. Yes, they are more simple in design and straightforward in operation than many field cameras, but really not designed to be carried around in the field. They are fine for studio, tabletop and even location work (think drive to the location, unload, shoot, pack up). But, if you plan on hiking even relatively short distances (say a few miles) with your camera, then you'll likely find that a heavy monorail like the Calumet, etc. are just not suited to your needs. The reason these cameras are so cheap these days is partially because they are not as much in demand as lighter, more portable cameras.

There's a good reason why folding wooden cameras are called "field cameras." :) They are portable, light and small. I carried a Graphic View II monorail (my first LF camera) around outdoors for several months before it finally became just way to much work to bother with and I got myself my first wooden field camera (a Wista DX). I still have both cameras along with a few others now, but my Wista DXs are still my go-to cameras for field work. My monorails are relegated to the studio.

Field cameras like mine have tilts that are a bit harder to deal with at first than monorail cameras because you need an extra refocusing step when using them. IM-HO, it's well worth the time it takes to master base tilts as a trade-off for portability.

Field-camera movements are not necessarily bare-bones. Yes, many models are lacking some movements (e.g., shift) and many have limitations on the range of movement with rise/fall, shift, and even tilts. Some have tilts only on one standard. However, there are many full-featured field cameras out there with a full range of movements, interchangeable bellows, and the capacity for lenses from very short to very long.

I will also recommend against the press-style cameras (Graflex, et al.) if you plan on using camera movements regularly (did you mention architecture?). Similarly, the metal folding cameras, while really well-made and full featured, can be a bit on the heavy side.

If I were presently looking for a new camera, I'd look seriously at the Chamonix folding cameras. If those are out of your price range, there are lots of used wooden folders for less. Do look for a camera with a full range of movements, i.e., tilts and swings on both standards, front rise/fall and shift on at least one of the standards if you plan on doing anything like architectural work or close-ups.

FWIW, I use my Wista SW (basically a DX with interchangeable bellows) for all kinds of architectural work. After a bit of practice, it is every bit as fast and capable as most monorails.

As for lenses: I recommend you look ahead and plan a three-lens kit of short - normal - longish, then choose the one of these three that you will likely use the most and start with it, filling in the others as you need/can. I'd recommend looking at a 90mm - 135mm - 210mm set. If you want portable and lightweight, look at the smaller, slower versions of the two outside lenses (e.g. a 90mm f/8 lens instead of the much bulkier 90mm f/5.6 and a smaller lens in the 200mm range instead of the usual 210mm f/5.6 lenses, which are rather heavy).

FWIW, my most-used focal length is 135mm. Yes, they limit your movements a bit if you're doing architecture, but are fine and dandy for most everything else, plus being a very usable focal length for close-up work.

Hope all this helps,

Doremus

[thebbqguy]

I've already learned a lot in a short few days. This forum is a wealth of information.

I'm seeing quite a few Toyo field cameras listed on eBay today as well.

I was originally leaning toward the metal monorail style based on some You Tube reviews and the recommendations in the thread here.

I think I'll be leaning towards a Field Camera, but I'll adapt to whatever I end up with to learn with. I do want to avoid accumulating multiple cameras and finding an excuse why one won't work. I'd prefer to just adapt to whatever I end up with.

I enjoy learning new skills and once I figure out a development strategy I'll be ready to go.

[Peter De Smidt]

Toyo field cameras are excellent. My AX has been my main 4x5 camera for 20 years. The limits come if you want us use wider lenses than about 90mm, especially if you also need extensive movements, as you might with some architecture.

[kekkafuza]

i'm kind of in the same boat! want to get into 4x5 when the quarantine is over, been shooting and developing my own 120 for a while and want to take a step into LF.

Mostly looking to shoot interiors, portraits, and occasional landscape. via recommendations i've been looking into busch pressman and crown graphics but all ebay sellers are estate sellers and can't say if the gear works or not.. seeing a lot of faulty shutters on lenses -- guess it's a waiting game or taking a risk.

[jp]

i'm kind of in the same boat! want to get into 4x5 when the quarantine is over, been shooting and developing my own 120 for a while and want to take a step into LF.

Mostly looking to shoot interiors, portraits, and occasional landscape. via recommendations i've been looking into busch pressman and crown graphics but all ebay sellers are estate sellers and can't say if the gear works or not.. seeing a lot of faulty shutters -- guess it's a waiting game or taking a risk.

Buy gear here from photographers who know what they are selling, like Kumar or Galli and many others.

[kekkafuza]

Buy gear here from photographers who know what they are selling, like Kumar or Galli and many others.

You know what, I didn't know there was a classified page, but I ventured to the main forum board for once and there it is haha! Thanks.

[Bob Salomon]

Buy gear here from photographers who know what they are selling, like Kumar or Galli and many others.

I thought Galli is no longer on. This forum.

[B.S.Kumar]

If you intend to carry your camera around outside (you mentioned landscape), then forget about a bulky monorail camera.

It depends on which camera. This is a Toyo D45M monorail camera on a 6" rail next to a Toyo 45AR field camera.

Kumar

https://i.postimg.cc/52hT0nXk/Toyo45-DCamera-02.jpg

[6x6TLL]

Don't forget you're going to want a sturdy tripod (and possibly head) to go along with that fancy new camera and lens.

You may already have one that will serve you well to begin with. One clever suggestion I was given was to get a nice big umbrella too, in order to block the wind from moving the camera on windy days.

I think you can count on one hand the number of people here using something other than Gitzo (myself being one of those few), but really anything stable and light enough to carry should be fine, at least for starters.

[Doremus Scudder]

It depends on which camera. This is a Toyo D45M monorail camera on a 6" rail next to a Toyo 45AR field camera.

Kumar

https://i.postimg.cc/52hT0nXk/Toyo45-DCamera-02.jpg

Hi Kumar,

I do know that there are monorails that are more portable than a full-size Sinar F or the Calumet/Graphic View cameras that have been recommended. It's just that those are likely not in the OP's budget and I didn't consider mentioning them.

So, it's good you bring this up. Nevertheless, a six-inch rail limits one to fairly short lenses...

Maybe an Arca Swiss would do the job for him; mine packs up really small and it was cheap too.

Best,

Doremus

[B.S.Kumar]

I typically sell the Toyo D45M for ~25,000 JPY, and I've seen the equally compact older Oschwald Arca cameras for ~300 USD. So yes, portable monorails are out there. One just has to search for them!

The 6" rail on the Toyo is ideal for packing. The regular rail is 14" and can be screwed on to it in less than a minute...

Kumar

[Oren Grad]

Kumar, what does a D45M weigh? I'd guess at least a couple of pounds more than a 45A, which in turn is quite a bit heavier than most compact wooden field cameras.

[B.S.Kumar]

Oren, from one of my earlier posts:

For the record, with the Toyo D45M camera on the 6 inch rail, it is 320 mm tall, 230 mm wide and 185 mm front-to-back, and these measurements include all the knobs. It weighs 3,125 grams, while the 45A weighs 2,650 grams.

Kumar

[Oren Grad]

Thanks, Kumar - not so bad for a monorail, even allowing a bit for a longer rail.

[Bernice Loui]

Mostly repeat... from previous post on this topic.

Camera should be FAR lower on the priority list as it is really a flexi light tight box with a means of movable support for a lens on one end of the box, a movable means of support on the other end for the film holder or image recording device and a flexi light tight bellows in between the front and back of this box.. It's really that simple.

1) Ask yourself what kind of prints are your goals. This is THE question of Great importance as it will drive the entire image making system.

2) What focal length or lens types are required to achieve the intended goals of your prints?

3) Camera required to support the lenses needed and image making situations for the print goals. Know there is no such camera that is ideal for all image making and print goals made. Do NOT allow anyone or any media to tell you there is some ideal camera that will do it all. Not gonna happen, Never will happen.

4) Camera support sytem aka tripod and tripod head. This is driven by the camera type. Do NOT get into wanting the lowest weight camera with the lowest weight tripod-tripod head. as there are many trade offs with all choices. Again there is no such thing as the ideal tripod and tripod head for all image making needs and cameras.

5) Accessories required. GOOD film holders that do not leak light and not beat to death, light meter, dark cloth, focusing magnifier aka loupe, filters if needed, tape measure, case for the camera, lenses and etc... Important of a good case is often not appreciated initially.

6) Processing exposed film. Color, B&W or both, will it be done home dark room, sent out or ?

7) Print making, dark room, scanned into digital file then sent off for print or ?

8) Print mounting and presentation.

Given a budget of $750.. try to find a good used 4x5 view camera system (camera, lens, film holders, case and all that) with a modern lens in shutter that is proven accurate and free of problems for about $300. IMO, this is still very do-able if not in a rush, knowing precisely what is wanted. The outfit does not need to be pretty, it must be in good proper working order. Pretty cameras, lenses and.. command a pretty price that is often not worth it when starting out.

$50 to maybe $100 for a GOOD tripod and head, tripod can be beat to crap long as it can lock solid, stable and works GOOD, supports the camera nice and stable with ease of adjustment and locks that stay where they are set.

About $150 or far more on film, you'll burn LOTs learning, expect LOTs of Oooops and How did THAT happen...

About $150 on 4x5 film processing tank that are proven good quality (IMO stay away from newly minted budget developing tanks that have problems as the grief they can cause is hideous), chemicals and related or budget that or more if sending film out for processing.. which will add up real fast.

Don't spent that entire $750 budget on camera alone as there are LOTs of related cost which are often MORE important than having a ritzy spanky camera that will not make your finished prints any better.



Bernice

[thebbqguy]

I think I need to learn how to develop film first and foremost at this point. That seems to be the common advice running through all of the recommendations. I am not going to overspend my budget on a camera because all of the other costs have to be factored in too.

I have been pleasantly surprised that with some patience there have been some cameras that appear to come with a set of needed items that are usable for learning purposes.

I became aware of large format about 15 years ago after seeing a Clyde Butcher exhibition.

[Bernice Loui]

Suggest learning how to develop B&W film first using any 35mm camera that works OK.

Once this skill set has been learned to some degree, moving up in film format size is easier and provides pause to decide if this is what ya wanna do. This sheet film view camera stuff is NOT a small commitment or resource endeavor. It is extremely demanding to do this well as with any artistic endeavor. Know film format alone is not going to produce prints of visual admiration from the highly experienced, skilled and greatly practiced as film format size alone is just one facet of the much greater whole.


Bernice



I think I need to learn how to develop film first and foremost at this point. That seems to be the common advice running through all of the recommendations. I am not going to overspend my budget on a camera because all of the other costs have to be factored in too.

I have been pleasantly surprised that with some patience there have been some cameras that appear to come with a set of needed items that are usable for learning purposes.

I became aware of large format about 15 years ago after seeing a Clyde Butcher exhibition.

[thebbqguy]

Thanks Bernice.

I have always admired from a far when it comes to large black and white prints. I've always had the internal dialogue with myself telling me I could never do that because...(its too hard, too time consuming, too expensive, etc).

I recently read a book about mindsets. I learned that while I am growth mindset oriented regarding many things, I do have fixed mindset tendencies (as do most people).

As part of that realization, I've decided to start being more growth mindset oriented regarding photography.

I learned photography in high school with a Canon AL-1. To refamilarize I recently purchased a Ricoh film camera to learn how to begin developing black and white film. Although the class has moved to Zoom because of the virus, I have signed up for a b & w processing class. The first session is next Saturday.

Anyway, I'm now on a path to begin getting past some of those gatekeeper and gatekeeping thoughts. I have plenty of time these days, that is for certain.

[Bernice Loui]

To Learn means To Change. Do NOT be afraid to fail in the worst ways possible, then learn as much as possible from the failure.. Not giving up and learning something in the process results in growth, change and real learning.


Bernice

[thebbqguy]

Natalie Oberg is my more recent inspiration. She purchased her first 4x5 and first film camera fairly recently, a 50 year old ex-Chicago Police camera.

[thebbqguy]

I've been looking at lots of sample images, looking at lots of blogs and YouTube tutorials. I think I'm definitely setting my sights on a field camera and the 150mm focal point appears to be appropriate for me to start.

[6x6TLL]

Natalie Oberg is my more recent inspiration. She purchased her first 4x5 and first film camera fairly recently, a 50 year old ex-Chicago Police camera.

I found several Natalie Obergs on a Google search. Curious about which one you mean, would love to check out her work. The one married to Andreas doing long lens cinematography has some really amazing wildlife work, among others.

[thebbqguy]

@natalieanalog on Instagram

[thebbqguy]

How are the Omega 45's? Are there Omega field cameras?
How portable are the monorails?

[paulbarden]

How portable are the monorails?

Lets just say, "where there's a will, there's a way". But monorail cameras are not designed to be used as field cameras. You can do it with 4x5, but it will likely prove to be cumbersome and tedious.

[Bob Salomon]

Lets just say, "where there's a will, there's a way". But monorail cameras are not designed to be used as field cameras. You can do it with 4x5, but it will likely prove to be cumbersome and tedious.

Never played with the Technikardan?

[Bernice Loui]

Curious generalization about Monorail cameras..

All goes back to print image goals. Do a search on LFF on the difficulties of trying to use a short focal length wide angle lens on field or foldable camera, then do the same search on using long focal length lenses on field or foldable cameras.. Fact is, field or foldable view cameras have baked in limitations that could be very serious depending on print image goals.

As for monorails, it's portability depends on the specific monorail and how it would be used outside. Architecture photographers have a very significant advantage to use a GOOD monorail camera over a field or folder, as Architecture photography is done outdoors and indoors often very demanding on camera movements.

Again, it really comes down to print image goals and the needs of an individual image maker. There is NO single ideal view camera to meet ALL image making demands.


Bernice



Lets just say, "where there's a will, there's a way". But monorail cameras are not designed to be used as field cameras. You can do it with 4x5, but it will likely prove to be cumbersome and tedious.

[B.S.Kumar]

Omega cameras are Toyos re-branded for the US market. Mostly they were the lower-end models like the Toyo C and E. I think one model was called Omega F. These models lacked the geared movements and/or interchangeable bellows / rails. The absence of these features makes them lighter, but not less bulky and un-portable as the Toyo G series, their big brothers. They were intended to compete with the Calumet which was popular in the US school market.

Kumar

[thebbqguy]

Omega cameras are Toyos re-branded for the US market. Mostly they were the lower-end models like the Toyo C and E. I think one model was called Omega F. These models lacked the geared movements and/or interchangeable bellows / rails. The absence of these features makes them lighter, but not less bulky and un-portable as the Toyo G series, their big brothers. They were intended to compete with the Calumet which was popular in the US school market.

Kumar

Did any of the Omegas or Calumets have the geared movements?

[Dugan]

The Calumet CC-400 had geared front rise.

[Two23]

I think I need to learn how to develop film first and foremost at this point. That seems to be the common advice running through all of the recommendations. I am not going to overspend my budget on a camera because all of the other costs have to be factored in too.

.



If you can make pancakes you can process film. The SP-445 is extremely simple and convenient. Processing your own film is more than just saving money. You don't have to wait 7-10 days to get your results back. You can see how things turned out as soon as you get home. You could even process the film out in the field if you have a dark bag to load the tank, but you'd have to haul a to of water and stuff along.


Kent in SD

[6x6TLL]

Lets just say, "where there's a will, there's a way". But monorail cameras are not designed to be used as field cameras. You can do it with 4x5, but it will likely prove to be cumbersome and tedious.

I'd say there's one exception to that statement, in the Arca Swiss cameras (All Round CAmera made in Switerland, now in France) that were specifically designed to bridge the gap between field and monorail cameras. Very light, portable, yet still sturdy and precise.

That said, I would not recommend one to the OP, as they are very expensive and not as common (e.g. parts availability) as many of the more common brands in the USA, and probably not what you want to start out on.

[Oren Grad]

The field-vs-monorail generalization is an oversimplification. There are field cameras that are big and klunky for their formats, and there are monorails that have been optimized for field use.

Usually when a beginner asks about monorails, he or she is asking about the sort of garden variety commercial studio camera that is selling very cheap these days. Most of those are relatively clumsy for transporting in the field, but as Kumar has pointed out with his Toyo example, with careful selection and configuration that can be mitigated to some extent. Ultimately it depends on one's tolerance for weight and preferences re handling.

[B.S.Kumar]

I'm not sure if Omega sold any of the G models. As I recall, the budget models were branded Omega, and there may have been co-branded models - Omega Toyo.

Kumar

[Bob Salomon]

I'm not sure if Omega sold any of the G models. As I recall, the budget models were branded Omega, and there may have been co-branded models - Omega Toyo.

Kumar

The G was soLd in the U.S. no idea how many though. Sold under the Toyo name.

[Bob Salomon]

I'd say there's one exception to that statement, in the Arca Swiss cameras (All Round CAmera made in Switerland, now in France) that were specifically designed to bridge the gap between field and monorail cameras. Very light, portable, yet still sturdy and precise.

That said, I would not recommend one to the OP, as they are very expensive and not as common (e.g. parts availability) as many of the more common brands in the USA, and probably not what you want to start out on.

Again, look at the TK for exception to the rules.

[B.S.Kumar]

The G was soLd in the U.S. no idea how many though. Sold under the Toyo name.

That's what I said - I'm not sure if Omega sold any of the G models. Toyo sells through MAC group in the US now.

Kumar

[Bob Salomon]

That's what I said - I'm not sure if Omega sold any of the G models. Toyo sells through MAC group in the US now.

Kumar
Toyo Omega was sold by Berkey Photo Marketing who owned Omega until BMC was liquidated. This was before MAC Group came into being. The principles of BMC,
Henry Froelich and Paul Klinginstein, along with Jan Lederman, started MAC Group, Jan was Paul’s son in law. He still is the principal of MAC Group.

[Bernice Loui]

Arca Swiss is not the only monorail designed with the intent to bridge the folder-field -vs- common monorail camera.
BTW, been and done the Arca Swiss folder monorail, still have an Arca Swiss 69 as it is unique in what it can do and offer. Once up to 4x5 and larger there are other alternatives that are IMO better.

Others compact easy to transport monorails:

Toyo VX, Linhof Technikardan, Toho FC-45 and others.. Personal fave is Sinar Norma for a long list of reasons.

Point being again, no single camera is ideal for all.

I'm of the opinion that due to the shift on folks using view cameras going from what was once indoor studio produced color transparencies in 4x5 for commercial color work that was the main and primary market for 4x5 view cameras to hobby-artist oriented outdoor "Group f64" orthodoxy folks the field camera or folder has become symbolic definition of Large Format view camera stuff.


Bernice




I'd say there's one exception to that statement, in the Arca Swiss cameras (All Round CAmera made in Switerland, now in France) that were specifically designed to bridge the gap between field and monorail cameras. Very light, portable, yet still sturdy and precise.

That said, I would not recommend one to the OP, as they are very expensive and not as common (e.g. parts availability) as many of the more common brands in the USA, and probably not what you want to start out on.

[cp_photo]

The Horseman L45 monorail is awesome and comes apart easily to be packed for bringing it out into the world. I started with LF in 2016 with a Horseman L45, then bought a Chamonix 045-N1 new to replace it. I sold the Horseman, then found I missed it for its sturdy construction and ample movements. A few days ago I bought a mint condition L45 again to replace the one I sold and have been missing. It was less than $210 shipped from Japan by EMS.

[Bernice Loui]

Horseman L series is one of the most under rated monorail cameras on the market today. They are an absolute bargain for what they offer in features, camera stability, ease of use, precision of geared camera movements. LX, LXC and LM were their answer to the Sinar P. Items like lens boards, bellows and various other add ons are mostly interchangeable with Sinar.

And Oh how many remember this pix of AA on the front cover of Time magazine with a ...... Horseman L series monorail, which was what AA often used outdoors during his Foto classes during that era, not a folder or field camera.. why?
202853


Bernice




The Horseman L45 monorail is awesome and comes apart easily to be packed for bringing it out into the world. I started with LF in 2016 with a Horseman L45, then bought a Chamonix 045-N1 new to replace it. I sold the Horseman, then found I missed it for its sturdy construction and ample movements. A few days ago I bought a mint condition L45 again to replace the one I sold and have been missing. It was less than $210 shipped from Japan by EMS.

[thebbqguy]

I prefer to buy a package deal with camera and all accessories together, but I'm finding cameras listed with no lenses.

How can I be sure lenses will match up with the individual camera if buying separately?

[Greg Y]

bbqguy. Unlike rollfilm cameras where each camera has proprietary lenses, on LF cameras you can use lenses by a variety of makers, or from different eras of lens design. Google is your friend. Here's a piece by my friend & pro photographer Todd Korol, on choosing LF lenses... it's a good primer. & your observation is correct, package deal LF kits are the exception rather than the rule.
https://www.youtube.com/watch?v=mU5EpJB56tE&t=52s

[Bernice Loui]

Read post# 33 in this thread about print image goals defining what lenses are required.

What needs to be well understood and accepted, view camera is essentially nothing more than a box that is precisely supported on the ends and flexi in the middle. This is why there are no brand defined lenses for a view camera, the lens mounting restrictions baked into the majority of roll film cameras do not apply to a view camera. This is often due to roll film cameras being a fixed box between lens mount to film plane which imposes stiff restrictions and requirements on the lenses (back focal length, lens mount, data interchange between camera body to lens) that can work for a given fixed box camera. None of which really applies to a view camera.

So, pick the lenses of your choice that has the best possibility of meeting your print image goals, then figure out the camera that works best with that given lens set choice. That said, there are view camera system that do appear on the used market. Not sure how often this happens any more, but there was a time when complete view camera systems were available used at very modest cost in the local ads and similar.


Bernice




I prefer to buy a package deal with camera and all accessories together, but I'm finding cameras listed with no lenses.

How can I be sure lenses will match up with the individual camera if buying separately?

[Two23]

I prefer to buy a package deal with camera and all accessories together, but I'm finding cameras listed with no lenses.

How can I be sure lenses will match up with the individual camera if buying separately?

If they fit on the lens board and aren't heavy, it matches up. Buying package deal with lens is generally not a good idea because you aren't customizing to your needs. For my Chamonix 4x5 I have three sets of lenses. One is of lenses vintage 1850-1870 that I use for shooting wet plate. The second set is of lenses vintage 1900-1930 I like to use when shooting dry plate (or just want a softer look on film.) The third set is modern lenses (Nikon, Fuji, Rodenstock) in Copal shutters. I use these when I need a big image circle for architecture or want a more modern look to my images. This is what I love about large format--I can use lenses from any era since 1840. Some people even take lenses from telescopes made in the 1700s and can use those to make photos with.


Kent in SD

[Doremus Scudder]

I prefer to buy a package deal with camera and all accessories together, but I'm finding cameras listed with no lenses.
How can I be sure lenses will match up with the individual camera if buying separately?

Large-format lenses mount on lensboards, which in turn, mount to your camera. Most lenses will fit on most cameras. Only lenses that are extremely large are sometimes a problems, since they end up being too heavy or bulky to fit some smaller cameras.

Any lens you buy needs to be mounted to the right-size board for the camera you have. Usually the lens and the lensboard are a package and stay together as a unit (i.e., we mount each lens on its own dedicated board and leave it there).

Those of us that have cameras that take different size boards usually find a way to adapt the smaller boards to the larger by means of an adapter board.

In your case, the camera you end up with will determine what boards you need. Get one, with the right size hole, for each lens.

Hope this helps,

Doremus

[Bob Salomon]

Large-format lenses mount on lensboards, which in turn, mount to your camera. Most lenses will fit on most cameras. Only lenses that are extremely large are sometimes a problems, since they end up being too heavy or bulky to fit some smaller cameras.

Any lens you buy needs to be mounted to the right-size board for the camera you have. Usually the lens and the lensboard are a package and stay together as a unit (i.e., we mount each lens on its own dedicated board and leave it there).

Those of us that have cameras that take different size boards usually find a way to adapt the smaller boards to the larger by means of an adapter board.

In your case, the camera you end up with will determine what boards you need. Get one, with the right size hole, for each lens.

Hope this helps,

Doremus

While most, or many, lenses will mount to virtually any lens board that is larger then the shutter and/or lens physically not all will mount onto the camera if the rear barrel is larger in diameter then the opening in the front standard for the lens to protrude through.
For instance, virtually all 45 cameras that use a Linhof Technika 45 lens board have an 80mm diameter opening in the front standard that the rear barrel will have to fit through. If that rear barrel is larger then 80mm the lens won’t mount.
Also, some lenses have a rear barrel to large to allow the board to lock onto the front standard.

[Alan Gales]

The field-vs-monorail generalization is an oversimplification. There are field cameras that are big and klunky for their formats, and there are monorails that have been optimized for field use.

Usually when a beginner asks about monorails, he or she is asking about the sort of garden variety commercial studio camera that is selling very cheap these days. Most of those are relatively clumsy for transporting in the field, but as Kumar has pointed out with his Toyo example, with careful selection and configuration that can be mitigated to some extent. Ultimately it depends on one's tolerance for weight and preferences re handling.


Oren, I used to buy, part out, and flip camera kits. I once sold an entry level Calumet 4x5 monorail that only weighed about 6 pounds. That's about the same as a Wista or Toyo 4x5 metal field camera. Take it off the rail and it is portable.

Calumet also made an even lighter model named the Cadet but it looked kind of flimsy.

[Oren Grad]

Take it off the rail and it is portable.

Once you have to futz with taking it off the rail, it's a different game. OK, once I have to futz with taking it off the rail... YMMV.


Calumet also made an even lighter model named the Cadet but it looked kind of flimsy.

I remember it well, fiddled with one at the local Calumet store long, long ago. No, I wouldn't want one now.

In that vein, I've owned various Gowlands. Peter made a 5x7 for me that was quite lightweight, but it was a nuisance to transport and to use in the field; all too easy to knock the standards out of alignment after painstakingly setting it up. Light weight is very important to me, but not if it comes at the expense of having the camera be a continual headache in use.

[Peter De Smidt]

The Cadet was the worst LF camera I ever used.

[Bernice Loui]

Think tolerance of a camera's abilities depends on it's user.

At the beginning of the LF learning curve where all things are new and uncertain of how all this LF stuff works. This allows a lot of tolerance for lesser abilities of camera, lens, and virtually all items related to image making with a view camera. As the artist-photographer-practitioner goes up the learning curve, develops more skills , knowledge, abilities and at some point their very own style of print images made, understanding and demands on the hardware (camera-lens-film-processing-print making and all) grows and develops too...

That is when tolerance for lesser hardware (camera-lens-film-processing-print making and all) becomes greatly reduced. Some are perfectly good what what every tools are in hand, others aspire and dream of their idealized widget that might not make one bit of difference in the prints they are producing..


Bernice

[Havoc]

That is when tolerance for lesser hardware (camera-lens-film-processing-print making and all) becomes greatly reduced. Some are perfectly good what what every tools are in hand, others aspire and dream of their idealized widget that might not make one bit of difference in the prints they are producing..


Bernice

At last I got to the point where I realised that. Whatever camera, film, lens, process I use, I'll never be able to make good enough use of it to make a difference.

Somehow at the back of my head it still nibbles at the edge...

[Greg Y]

Going back to the very first post. I'm sure you can get started for $750, but it's equally worth considering the cost of consumables in the entire project when 100 sheets of Tmax costs $300...or FP4 $200....

[thebbqguy]

Going back to the very first post. I'm sure you can get started for $750, but it's equally worth considering the cost of consumables in the entire project when 100 sheets of Tmax costs $300...or FP4 $200....

I know. I continue to pick out hobbies that cost lots of money.

I have found 100 sheets of FP4 for $180 and free shipping today.

[Alan Gales]

Once you have to futz with taking it off the rail, it's a different game. OK, once I have to futz with taking it off the rail... YMMV.


Your mileage may vary. So true.

Setting up quickly when the light is changing can be really important. I'm not quick anymore anyway so I don't worry about it. I just take my time and enjoy myself. :)

[Oren Grad]

Setting up quickly when the light is changing can be really important. I'm not quick anymore anyway so I don't worry about it. I just take my time and enjoy myself. :)

Typical conversation when I check in at the local Audubon sanctuary:

Audubon staff person: "What a cool camera! Are you going to be taking pictures of birds?"

Me: "Uh, no, I'm way too slow for that. Just things that are willing to sit still for a while, like rocks and trees."

[simdil]

I have a Linhof Technika V and an Intrepid 4x5 4th gerneration.
To my surprise, I find Intrepid is very good, if considering its price range.
PRO
Very light, ideal for trekking or long urban explorations. Very easy to put in place, very simple to operate, good movement range and good compatibility with lens boards. Very good lightproof.

CONS
Some minor cosmetics details could be imoproved (for what that matters... I find the Linhof pretty ugly and bulky, too).
It is light weight, so it requires a sturdy and heavy tripod in particularly windy situations.
The back standard has only tilt but not swing movement.
Last but not least: it ships in 8 weeks delivery time.

Overall, thumbs up for Intrepid.

[cablerelease]

I'm in a similar boat. The last time I shot LF was in college and I'm realizing, as a professional photographer, I need to do something to mix up my work and get some creative inspiration going. Diving back into 4x5 and just joined this forum!

I'm going to rule out monorails. I need a field camera for portability. I *think* I can rule out press cameras as I do want to have a basic selection of movements. Or am I missing any foldable press cameras that have movements? I don't need any obscene amounts of movement as I will mostly shooting landscape and portraits.

The Intrepid really does look enticing for the price point and weight. However, they have a 6-8 week lead time on delivery and I'm itching to get one of two projects up and running the first week of June so I'd like to play it safer and find something on eBay, or elsewhere. I don't think I can see the classfied section here yet as I've just joined the forum.

I know I will start with just one lens. I need something that is roughly comparable to a 50mm in 35mm format. I'm thinking a 210 should suit me or perhaps a 180? Curious what people's thoughts are there? When I shoot vertically I always crop my 35mm format images to 4x5 ratio so that's why I'm thinking a 210 migt be most compfortable for what I'm aiming to do.

Lastly, the other project I want to work on I'd like to shoot 6x17. In an ideal world whatever lens I get would also work with one of those graflok roll film backs. Is there a 180 or 210 that will work? I don't think I'll have the money to get one of these backs right away so if it requires a different lens then I might just build that into the cost of getting setup in the future.

[simdil]

I had the same time constrain when I ordered Intrepid, back in Feburary. I waited 7 weeks, but I must say the customer service is good and sends regular updates about the production status.
For the lens: that´s really a pesonal choice. My normal is a 150mm (roughly: focal lenght/3 gives you the 35mm equivalent, which in my case is a 50mm). To me, that f-lenght is kind of wysiwyg. But again, it´s a a personal choice related to the kind of photo you want to achieve. If I had to choose again, I would consider a 180mm.

For the back: Intrepid can mount any graflok-type back (Horseman brand). I got a 6x9 and a 6x7. I know there is a 6x12 from the same company. Pretty expensive. Actually, given the price of roll film and the graflok back, you might consider just using film sheets and crop.
Moreover: in my experience, when I use a film roll back, I feel more comfortable applying a black crop mask on the ground glass. It helps me to frame and compose.

[David Schaller]

A 150 is generally the same as a 50mm on small format. A 210 is good to start with, for portraits and some landscapes. You will probably want something wider, so you might end up not even getting a “normal” focal length. I was walking around today with a 90, 135, and 210, for landscape, and used the 135 and 210.

[Peter De Smidt]

I'm with David on that.

[Luis-F-S]

I’d look at a Sinar F2. Dirt cheap at auctions these days. I have 3. Two bought here recently for under 4 bills each. Great field and a “real” camera. You can use holders or any graflok-type back. Although it is a monorail, it was designed to be a field camera. I used my first one for architectural work for years, so it's very fieldable. Hauled it all over the place. It was designed to be part of the Sinar system, not be the lightest, cheapest camera that could be built. I paid around $1400 for my first one I bought years ago. Handled lenses from the 47 SA to the 90 SAXL with ease and as long a lens as you had bellows.

[grat]

Lastly, the other project I want to work on I'd like to shoot 6x17. In an ideal world whatever lens I get would also work with one of those graflok roll film backs. Is there a 180 or 210 that will work? I don't think I'll have the money to get one of these backs right away so if it requires a different lens then I might just build that into the cost of getting setup in the future.

Ah! Something I can speak about without sounding like a gibbering fool. Seeing some spectacular 6x17 panoramas was the gateway drug that convinced me to go large format. Seeing the price on the Shen Hao 6x17 field cameras left me a bit speechless, so I looked in other directions, especially when I realized they can only do 120 film.

The short version is that in order to get the full 170mm spread, the Da Yi / Shen Hao film holders have to be set back from the usual focal plane (which is why they have their own ground glass holders, and are so much more expensive). As a result, 210mm lenses kind of work, but get cropped slightly on the ends. Anything between 90 and 200 is supposed to work-- I haven't been able to test this yet, apparently there's some kind of global crisis that's hammering international shipping. :(

Tony Santo has an in-depth video on the Da Yi back: https://www.youtube.com/watch?v=EScJzoWlMaQ (jump to 3:20 if impatient)

The backs run $600-800 USD.

[Bob Salomon]

Ah! Something I can speak about without sounding like a gibbering fool. Seeing some spectacular 6x17 panoramas was the gateway drug that convinced me to go large format. Seeing the price on the Shen Hao 6x17 field cameras left me a bit speechless, so I looked in other directions, especially when I realized they can only do 120 film.

The short version is that in order to get the full 170mm spread, the Da Yi / Shen Hao film holders have to be set back from the usual focal plane (which is why they have their own ground glass holders, and are so much more expensive). As a result, 210mm lenses kind of work, but get cropped slightly on the ends. Anything between 90 and 200 is supposed to work-- I haven't been able to test this yet, apparently there's some kind of global crisis that's hammering international shipping. :(

Tony Santo has an in-depth video on the Da Yi back: https://www.youtube.com/watch?v=EScJzoWlMaQ (jump to 3:20 if impatient)

The backs run $600-800 USD.

The widest lens that covered full 617 on the Linhof Technorama was the 72mm SA XL. Unless those cameras can’t handle the 72 it should also work on them.

[grat]

The widest lens that covered full 617 on the Linhof Technorama was the 72mm SA XL. Unless those cameras can’t handle the 72 it should also work on them.

Apparently, and again, this is second-hand knowledge, anything less than a 90mm will probably require a recessed lens board to achieve focus. The other common theme I encountered researching this is that 90mm is such a wide angle already, most people prefer to use something a bit longer anyway.

[Havoc]

The other common theme I encountered researching this is that 90mm is such a wide angle already, most people prefer to use something a bit longer anyway.

Depends on use and taste I suppose. While the 105mm on my Fuji G617 is "a bit" longer than 90mm I don't find it too wide. But then I love wide angles.

[grat]

Depends on use and taste I suppose. While the 105mm on my Fuji G617 is "a bit" longer than 90mm I don't find it too wide. But then I love wide angles.

With the 6x17 back, the width of the captured image goes from 5" (127mm) to 6.6" (170mm), so there's going to be a corresponding increase in the field-of-view. It's closer to putting the lens on a 5x7. It's early, and I'm light on caffeine, but I think it gives the effective field-of-view of a 72mm lens.

[Alan Gales]

The other common theme I encountered researching this is that 90mm is such a wide angle already, most people prefer to use something a bit longer anyway.

Back when I shot a 35mm Contax one of my favorite lenses was my 25mm Zeiss. When I started with 4x5 I heard that you should take your favorite 35mm lenses and multiply them by 3 to get an approximation for 4x5. I then bought a 75mm lens but ultimately felt it was too wide so I sold it and bought a 90mm. The 90mm (to me) felt like my old 25mm Zeiss did.

We had a discussion about this on the forum a few years ago. Some people felt like I did and some didn't. You really have to see for yourself. Fortunately, if you do buy a focal length that you end up not liking then you can get most of your money back if you sell it. I just look at any money lost as a cheap rental fee.

[thebbqguy]

I attended a Zoom meeting yesterday explaining film development at home. I'm sure it would have been better in person, but Zoom is pretty good and very interactive.

I just need to pick up the supplies and give it a try.

My wife caught on to my 4x5 plans yesterday. I thought she might be a naysayer, but it's a "go" once we're out of the stay at home order.

[John Kasaian]

I attended a Zoom meeting yesterday explaining film development at home. I'm sure it would have been better in person, but Zoom is pretty good and very interactive.

I just need to pick up the supplies and give it a try.

My wife caught on to my 4x5 plans yesterday. I thought she might be a naysayer, but it's a "go" once we're out of the stay at home order.

This is why there is mail order and e-tailers, friend! :cool:

[Alan Gales]

This is why there is mail order and e-tailers, friend! :cool:

Or he could make a camera out of a turkey and his wife then beg him to buy a Deardorff instead! ;)

[thebbqguy]

Or he could make a camera out of a turkey and his wife then beg him to buy a Deardorff instead! ;)

You know my wife pretty well. LOL. She hates it when I buy something that needs to be replaced a short time later. She much prefers spending once vs. spending twice. I see it happen all the time in fishing. New guys go with budget stuff and it breaks, so they buy new stuff they should have bought the first time.

[Alan Gales]

You know my wife pretty well. LOL. She hates it when I buy something that needs to be replaced a short time later. She must prefers spending once vs. spending twice. I see it happen all the time in fishing. New guys go with budget stuff and it breaks, so they buy new stuff they should have bought the first time.

A lot of guys do that with tripods. I admit that I was one of them when I bought my first 35mm camera tripod many years ago. I ended up replacing it and then giving it away to a friend who didn't have one. He cussed it a lot but it was a little better than nothing. ;)

When I mentioned John's turkey I meant it literally. He took a frozen turkey and tried to make a pin hole camera out of it but it started to thaw. It's kind of a running joke here on the forum. John is a really good sport and a fun guy.

[thebbqguy]

Thanks to this thread I've learned a lot about large format considerations. You Tube has helped a lot too with understanding the various movements and why to use them.

I've definitely narrowed the cameras down to 3 brands, but I'm not sure it matters to me much at this point (Sinar, Toyo, Horseman).

Unfortunately with the things going on in the world I'm going to have to hold off on pulling the trigger a few weeks.

[Gary Beasley]

Thats not all bad, you can take the extra time to learn more. Welcome to the Darkslide!

[Bernice Loui]

Highly recommend selecting lenses to be used to make the images you've got in mind, then decided on camera-camera support and all related.

If you're going to be back-packing and such you're likely going to want compact-light weight lens set that is easy to travel with. For indoor-studio work stuff compact-lightweight becomes a much lesser issue.

Know long as the "camera" has a light tight bellows, precise-stable standards adjustments and stays put once set, offers enough add-ons to meet your image making needs.. it will work to make images on film.. Focus less on the camera, focus more on the print image goals.

~No single camera is ideal for all image making needs~ They are all a set of trade-offs driven by a long list of requirements and possible technical solutions to these requirements.

IMO, more important is the post camera process which is the means to image production.



Bernice





I've definitely narrowed the cameras down to 3 brands, but I'm not sure it matters to me much at this point (Sinar, Toyo, Horseman).

[Mike Ratel]

I would recommend a Calumet CC-400 monorail...maybe a 135 or 150mm lens. Basic and bulletproof camera, and they made a gazillion of them..very easy to find cheap. A Crown Graphic (press camera, not a lot of movements) would work, too...but it won't teach you as much.

I was about to pull the trigger a Calumet CC-400 for $120 shipped on the 'bay until I saw on locally on Craigslist for $50. It was listed for a month and usually with things listed that long I try to bargain with the seller. In this case I just gave the guy the $50 (via PayPal in compliance with social distancing practices). There is much made about how a press camera is so much more portable. The Calumet weighs about as much as my Crown Graphic and both have handles. Camera in one hand, tripod in the other, backpack with your film holders, cable release, etc slung over your shoulder and you're good to go.

[thebbqguy]

Great deal. I haven't found a deal like that yet.

[Dugan]

Score!
I used to use my CC-400 in the field. Carried it in an old Army surplus rucksack/backpack, tripod in one hand, bag of film holders, meter, loupe and darkcloth in the other.
Enjoy!

[Mike Ratel]

Score!
I used to use my CC-400 in the field. Carried it in an old Army surplus rucksack/backpack, tripod in one hand, bag of film holders, meter, loupe and darkcloth in the other.
Enjoy!

I don't know that my Calumet is any lighter than my Crown Graphic. Sure the Crown folds up but the Calumet has a handle. I am not the hiking type but if I were I would grab my Nikon EM before I took either 4x5 camera.