Seeking the perfect monorail

[jspillane]

I'm working on a project that I need a monorail camera for, and I am drowning a bit in the options.

I've shot a variety of monorails and field cameras before, but nothing I currently own will work for this (I am mostly an MF shooter).
Without going into too many details, I am looking for a monorail that allows for the following:

1) Able to use a broad quantity of lenses with some movements (75mm at the wide end and probably 420 at the telephoto end).
2) Reasonably light as work will be in the field and involve moving location frequently.
3) High rigidity and with smooth geared focusing and movements (I will need to be able to make very precise adjustments).
4) Preferably I'd like something not too fiddily to break down and set-up, as I will have to do so frequently.

Of course, I am also a bit at mercy of what I can find available. In my research I've been most attracted to the Arca-Swiss C (if I can find a good copy). The Sinar Alpina also seemed like a possible option, as it appears to be lighter than the F series (which I think is just a touch too heavy for this). The Canham DLC and Linhof Technikardan 45s both look great but are usually be out of my price range - if either is head-and-shoulders going to be better I can probably cough up the dough though.

Other suggestions/thoughts from those who have shot with a greater variety than I? I am trying to keep the camera under 6lbs w/o lens, preferably closer to 4.5lbs although I am willing to sacrifice weight for quality build and smooth operation.

[peter schrager]

Calumet 4x5 with case maybe a lens and holders
$200...as good as any

[Alan9940]

IMO, one of the main issues you'll have is trying to hit your weight class (4.5 lbs), yet still get all the functionality you're looking for. Both the Canham and Linhof are certainly beautiful cameras, but quite expensive; the Technica is fiddly, IMO. My Arca-Swiss F-line, with 6x9 front standard, universal bellows (for wide angle), and long bellows for telephoto meets all your criteria. It seems that you've looked at the F-line already and dismissed it so my opinion probably ain't worth much.

[Jimi]

It breaks the weight barrier by a good bit ... but the Horseman LE? Here is a good review of that one by the way: https://www.largeformatphotography.info/mono-field.html

[Daniel Unkefer]

https://live.staticflickr.com/65535/49919277533_009ee45407_z.jpg (https://flic.kr/p/2j4cm3R)New Sinar Norma second 4x5 one (https://flic.kr/p/2j4cm3R) by Nokton48 (https://www.flickr.com/photos/18134483@N04/), on Flickr

I recently bought this 4x5 Sinar Norma for $220. Would a Norma fit your bill?

[Oren Grad]

Geared + (relatively) lightweight + long FL range + easy transport/setup = $$$$. There's no way around it. If you can compromise on price, one of the Toyo VX125 flavors or a suitably-configured Arca-Swiss F-Line might be your best bet.

[jspillane]

My Arca-Swiss F-line, with 6x9 front standard, universal bellows (for wide angle), and long bellows for telephoto meets all your criteria. It seems that you've looked at the F-line already and dismissed it so my opinion probably ain't worth much.

Definitely not dismissed! It looks quite interesting, especially the C series which is a bit lighter. I've been a bit confused looking at options since there are multiple eras of their cameras. I am guessing that the specs I've seen are for the F-C which seems as pricey as another option...


It breaks the weight barrier by a good bit ... but the Horseman LE?[/url]

Horseman LE looks beautiful, but unfortunately almost 10lbs as camera weight is going to pose a rather big restriction for intended use.


Geared + (relatively) lightweight + long FL range + easy transport/setup = $$$$. There's no way around it. If you can compromise on price, one of the Toyo VX125 flavors or a suitably-configured Arca-Swiss F-Line might be your best bet.

Yeah, that's kind of my fear. I'll probably just have to cough it up. The VX125 looks great, I hadn't looked at it before. Any idea how it would compare to a Canham DLC? It seems like I can find them on the used market for a similar (high) price.

I am looking kind of closely at the Sinar A1/Alpina also, since they seem to be much lower priced but largely viable. Geared focus but friction adjustments and on the wide end it sounds like I might be constrained to 90mm though... I suppose I could actually get to separate body for wide angle use for less than the 'perfect' cameras... I am sure I am being overly prickly with what I want...

[Oren Grad]

The VX125 looks great, I hadn't looked at it before. Any idea how it would compare to a Canham DLC?

Radically different cameras. The Toyo is a monorail, the Canham is a folding field camera, and to my taste one that's very fussy in handling to boot. There are plenty of happy owners of metal Canhams, so you should absolutely not take my somewhat jaundiced viewpoint as the last word. But if monorail handling and controls are what you want, a Canham ain't it.

[Bob Salomon]

You are not looking at this correctly.
What you need to know is the total weight of the camera plus required accessories to accommodate the range of lenses you will use. Like extension rails. Plus factor in how close you want to be able to focus with the longer lenses as that may require more or longer rails. Then how short a lens can the camera use with the standard bellows and/or a wide angle bellows?
Geared movements will add weight unless they are friction movements which would not be that precise compared to geared movements, including focus.

[Bernice Loui]

~No such item as the "Perfect" Monorail camera.~

Possible to share-describe what this project is and what the print goals are?
Once the limit of 4.5 to 6 pounds is expected, the limits on camera is no longer simple as this weight range is closer to a light weigh field camera (folder).

*That said, make the print goal and needs to achieve these prints as the driving factor for a view camera. Know a view camera is nothing more than a light tight box with a flexi center, one end of the box is a lens holder, the other end of the box is a film or image recording device holder with mechanical supports that can be adjusted with precision and remain stable-rigid after adjustment.

*Allow the print image goals to drive the lenses and all related to determine the camera needed as the choice of camera should be FAR lower on the priority list and never the top of the list. Making the camera as top priority often results in grief from lens compatibility, lack of bellows choices, lack of supporting accessories that allow the print goals to be achieved.

*This view camera stuff is distinctly different than medium or small format fix lens cameras where picking a particular camera brand tends to peg the user to that camera brand's lens-optics offering. This simply does not hold true for the more than a few view cameras.


Bernice








I've shot a variety of monorails and field cameras before, but nothing I currently own will work for this (I am mostly an MF shooter).
Without going into too many details, I am looking for a monorail that allows for the following:

1) Able to use a broad quantity of lenses with some movements (75mm at the wide end and probably 420 at the telephoto end).
2) Reasonably light as work will be in the field and involve moving location frequently.
3) High rigidity and with smooth geared focusing and movements (I will need to be able to make very precise adjustments).
4) Preferably I'd like something not too fiddily to break down and set-up, as I will have to do so frequently.

I am trying to keep the camera under 6lbs w/o lens, preferably closer to 4.5lbs although I am willing to sacrifice weight for quality build and smooth operation.

[Jimi]

Horseman LE looks beautiful, but unfortunately almost 10lbs as camera weight is going to pose a rather big restriction for intended use.


As explained in the review mentioned, you are anyways going to have to move around a sturdy enough tripod, etc. even with some sort of super-light high-tech wonder camera. A cleaned-up Sinar Norma is a good compromise, as is the Sinar F. Both of these fold up nicely. I'd think the Alpina/Wolf option is a bit limited if you want a longer or shorter rail (harder to find) so I'd rather go with an F.

[Jim Noel]

I have been looking for the PERFECT 8x10, as well as 4x5 ad 5x7, since about 1939. Good luck.

[Axel]

I'm in the process of wondering about that very subject myself... although I have it already : the Norma :)

Perfect for field work : lightweight, very sturdy, accepts any lens, easy to use, ample shifting ranges (H and V).
It is easy to find, too, and generally cheap (in 4x5"), accessories included but I had to buy several before I got one that is in really really good shape. I use it every day, come rain come shine : see at www.axeldahl.com

What it doesn't do too well : vertical swing isn't yaw-free and getting the two standards aligned to perfection is... difficult. Apart from that, zip, nothing : it is made to work, withstand dust, rain and daily professional work. No idea how much it weighs but it is a moot point for me as I pack 7 lenses with it (from the 75 to the 210, with the 55 and 400 on the side whenever necessary). It isn't a P2 for sure but "light" is in the eye of the beholder - and his shoulders mostly !

Never mind the Sinar F1/2 : easy to find yes, lightweight, yes, very cheap, yes but they age extremely rapidly when one uses them outside, in the real world. I used the rear standard of an F2 for a while and two crucial points are now worn beyond redemption... Back to the Norma I went.

However, what troubles me is the lack of available parts and repairs possible and that weighs on the alternative candidate as well : the VX125. Apparently Toyo doesn't make cameras anymore (?) so it just is a matter of time before the same happens. The VX is pricier, too.

[Oren Grad]

However, what troubles me is the lack of available parts and repairs possible and that weighs on the alternative candidate as well : the VX125. Apparently Toyo doesn't make cameras anymore (?) so it just is a matter of time before the same happens.

If you have a specific source for this, please cite it. As of this moment, the company's website is still up, with pages for both their camera and their machine tool products. See, for example, the page for their monorail cameras:

http://www.toyoview.co.jp/sub13.html

[CreationBear]

I'd definitely try to kick the tires on both the Toyo and Linhof TK before making up your mind. You'd be a little short-sided in terms of focal length with the Toyo (~325mm IIRC) but the bellows are supple enough you can go "wide" without having to switch to a bag bellows. If you only now and again shoot longer than 300mm, going the tele route for the occasional long shot might make sense given the convenience of the overall package.

[AuditorOne]

The Cambo SC 4x5 seems to work pretty well for me. Very simple to use. Pretty inexpensive. Not too bad to carry if you slide the standards off the rail and it is pretty easy to set up. Parts can be found in any number of places. Lens boards are large enough for any number of lens sizes, bag bellows are fairly common and not terribly expensive. And the graflock back is basically the standard so there are probably hundreds of options for film handling.

I usually pack my Intrepid into the hills because it is so light and handy but if I need the movements for some architectural work or other reason I have no difficulty bringing the Cambo along with me. Good little camera and very flexible.

[Ari]

I like both the TK45s and the VX, but using the hybrid extension rail of the VX is kind of annoying. Just a touch too clever.
Another monorail to consider is the Linhof Kardan Color (not sure if this is the correct model name).
It looks like they took a Technika and added a rail. Very solid and stable, but a bit heavier than your needs.

[B.S.Kumar]

However, what troubles me is the lack of available parts and repairs possible and that weighs on the alternative candidate as well : the VX125. Apparently Toyo doesn't make cameras anymore (?) so it just is a matter of time before the same happens. The VX is pricier, too.

Toyo still makes new cameras, though at a much smaller scale than earlier. The lead time on some models can be a few months. Parts for the VX and G and series and field cameras are available.


I like both the TK45s and the VX, but using the hybrid extension rail of the VX is kind of annoying. Just a touch too clever..

The telescoping rail on the VX125 is somewhat over-engineered, but you can use all the accessories of the G system.

Let me know if you need more information.

Kumar

[Dan Fromm]

The Cambo SC 4x5 seems to work pretty well for me. Very simple to use. Pretty inexpensive.

If a long long rail is needed, 80/20 1"x1" T-slotted extrusion is available quite inexpensively in lengths up to 97". Shorter pieces can be connected.

[6x6TLL]

I really like my Arca Swiss F-field metric with orbix (tm), but there's no denying they are rather pricey, even when buying used.

It's light, precise, will work with any of the lenses you mentioned, is quick to set up and dial in. Very bright ground glass too.

Seems like you have a lot of great options suggested in this thread.

[Axel]

Toyo still makes new cameras, though at a much smaller scale than earlier. The lead time on some models can be a few months. Parts for the VX and G and series and field cameras are available.
Kumar

Hello Kumar,

Ah - that is in line with the response I got a few days ago from MAC in the US : "Toyo products and part for repair are becoming very scarce."
So I guess photography has somewhat gradually turned into a side-business for Toyo, with on-demand and/or limited production batches. As long as they are still made, I'm fine with it and the VX remains an alternative to the Norma.

[LabRat]

There is no "perfect" camera, just those that meet your needs, and you can interface the operations with easily and skillfully... There are cameras while high rated/high cost that some folks will not get the hang of, and some cheap, modest cameras that are a joy to use (depending on the individual user)...

A suggestion to get up-to-speed quickly is to find a model that has axis tilts rather than base tilts... Axis tilts mean that the lens will tilt along it center axis, which means that when you need to add to add some tilt, it will do so without changing overall focus as you tilt it, so you can try a little to see if it's working for you without changing the overall focus constantly to match the effect... With base tilt cameras, the standards move on an arc and change their focus, so you have to constantly correct for it... There are workarounds to get part of the focus, then to tilt and refocus, but it requires more time and skill... But of course possible...

You might have to consider your project as a short term "get over the hump" effort to start and finish with a camera you can comprehend and use, or different camera designs that have a greater learning curve... Define exactly what you are trying to do and match that to the great # of designs out there... General advice would be to just start with some first camera, decide what you love or hate about it, then much easier to make an informed choice for you next "dream" camera...

And there's plenty of other operations to master, such as film loading, learning to see what the camera sees, the other entire rig, exposure metering, camera operations, maintaining your vision through the process, processing/printing etc...

Less about the (bling-bling) camera, but the big "everything else" in the process...

Steve K

[jspillane]

All of this has been super helpful! Thank you.

To be specific about why I am concerned about a few pounds of weight difference:

The project involves using the view camera as a pass through system for video as well as photography. Which is to say, we are going to be mounting a digital cinema camera to a rig with the camera and shooting video off of the ground glass. I've done this before on smaller projects in a very amateurish way, but this is a paid gig and involves actors and camera movements - which means the camera will have to be mountable on a rail dolly along with the cinema camera (we are using a relatively light one, around 2lbs). With all the rigging, lenses and two cameras, the cinematographer I am working with is requesting that the whole rig be under 20lbs - he thinks that a 7-8lbs camera will be too much to deal with.

Lens-wise I am still figuring out what kit we'll use, but I am also interested in using some rather heavy barrel lenses, which makes a reasonably low weight but sturdy camera even more important.

Right now I am thinking about going with a cheaper but heavier option (such as a Sinar A1/F1/F2 or a Linhof Color Kardan) to test the system out and make decisions about how it will operate, and then decide if we can work with that camera or if we need to shell out for one of the more premium 'lightweight' models.

Another possibility I am exploring is using a heavier 4x5 for static shots and getting a 2x3 camera for the dolly shots.

Hope that all makes sense; I know not the normal usage of such cameras in these parts (I do look forward to using said camera to take photographs as well, after this project is done, although I think MF is better suited to the way I shoot most of the time).

[Bernice Loui]

I'm going to suggest using a Sinar F2..

"we are going to be mounting a digital cinema camera to a rig with the camera and shooting video off of the ground glass."

~On a Sinar, mount the video camera on the Sinar rail. There are various Sinar rail components that allows this to be easily done.~
To shade the connection between Sinar ground glass to video camera, add a Sinar bellows and front standard to the ground glass end of the Sinar, there is a latch to attach a bellows to the ground glass-film holder end of the Sinar. This effectively shades the connection between ground glass to video camera allowing video images to be made off the ground glass. The extra standard supports the other end of the bellows where the video camera lens is stuck into to capture the GG image.

There are very real world reasons for this. Sinar F2 is low enough weight to meet the needs of this rig. IMO, this rig will be to frail to have any real degree of stability and this lack of stability will appear in the videos as stray movement. In the business of serious film and video production rigs are often a LOT more than 20 pounds, this is done for stability reasons and portability is a far lower consideration.. Know both stability and lightweight cannot not be achieved in a camera support system without serious fancy-dancy techno aids (they would be powered and "active).

Ditch the idea of a "light weight" field portable rig.. not gonna work that well.

Once you're into the Sinar system it is essentially a "Lego" camera system with easily available building blocks that can be added-removed as needed.

This is a VERY important aspect of a camera system that is not often considered. As for lens compatibility, Sinar has the least limitations of any camera system. Virtually any lens within the limits of the Sinar Lens board dimensions can be used. There is no real bellows or camera rail length limitations as both are completely modular. Barrel lenses can be used with a Sinar shutter, Fact is cinema zoom lenses like many of the past and present offerings from Cooke, Angénieux and others including cinema primes from Zeiss, Cooke, Schneider, Canon and many others can be easily adapted to making images on a Sinar. If the weight of the lens is significant, it is easy enough to add a lens support between the lens to rail as needed. The Sinar P front standard is rated to support lenses up to 8 pounds. Beyond that, adding a lens support to the rail can greatly increase lens weight capacity. The lens support can be made up as needed using various Sinar components. Matt boxes to support filter are extremely common in video and cinema work, simply add another Sinar front standard, bellows and what ever is needed to support the needed lens shade and filter stack.

Keep in mind Sinar parts from Norma to P are interchangeable on the same rail.

No other view camera system can offer this degree of flexibility and alterability.


Bernice



All of this has been super helpful! Thank you.

To be specific about why I am concerned about a few pounds of weight difference:

The project involves using the view camera as a pass through system for video as well as photography. Which is to say, we are going to be mounting a digital cinema camera to a rig with the camera and shooting video off of the ground glass. I've done this before on smaller projects in a very amateurish way, but this is a paid gig and involves actors and camera movements - which means the camera will have to be mountable on a rail dolly along with the cinema camera (we are using a relatively light one, around 2lbs). With all the rigging, lenses and two cameras, the cinematographer I am working with is requesting that the whole rig be under 20lbs - he thinks that a 7-8lbs camera will be too much to deal with.

Lens-wise I am still figuring out what kit we'll use, but I am also interested in using some rather heavy barrel lenses, which makes a reasonably low weight but sturdy camera even more important.

Right now I am thinking about going with a cheaper but heavier option (such as a Sinar A1/F1/F2 or a Linhof Color Kardan) to test the system out and make decisions about how it will operate, and then decide if we can work with that camera or if we need to shell out for one of the more premium 'lightweight' models.

Another possibility I am exploring is using a heavier 4x5 for static shots and getting a 2x3 camera for the dolly shots.

Hope that all makes sense; I know not the normal usage of such cameras in these parts (I do look forward to using said camera to take photographs as well, after this project is done, although I think MF is better suited to the way I shoot most of the time).

[jspillane]

I'm going to suggest using a Sinar F2..

There are very real world reasons for this. Sinar F2 is low enough weight to meet the needs of this rig. IMO, this rig will be to frail to have any real degree of stability and this lack of stability will appear in the videos as stray movement. In the business of serious film and video production rigs are often a LOT more than 20 pounds, this is done for stability reasons and portability is a far lower consideration.. Know both stability and lightweight cannot not be achieved in a camera support system without serious fancy-dancy techno aids (they would be powered and "active).

Ditch the idea of a "light weight" field portable rig.. not gonna work that well.

Once you're into the Sinar system it is essentially a "Lego" camera system with easily available building blocks that can be added-removed as needed.

Ah, yes, this is exactly what I am looking for! I see how it would be easy to mount the camera to an extended rail with available parts. Thank you, I am going to research this further but it looks a very good system; and honestly the additional weight won't be an issue if the mounting system saves us having to build/customize something different.

I am well aware of the perils of trying to do movement with this system... We want to do some tests to make sure it is even possible to get smooth enough, but we're using rail dollies and I think it will be. I work in film professionally and have dealt with monster rigs before. It's really quite remarkable how small the cameras are getting though. We're probably going to be using a Red Komodo for the motion shots (1kg, essentially a high end action camera) and a Red Gemini (about 3kg rigged) for the static shots. This is going to be a small crew though and will involve location moves, so I am trying to avoid a set-up that is too complex to breakdown and move with.

Again, thank you everyone for your thoughts. It's been very helpful for me just to try to write down and articulate the possible concerns here...

[Bernice Loui]

Have all the Sinar bits to make up what could be. I'll set this up later and post an image of this set up. If this is what you're looking for, this is what is needed.


Bernice


Ah, yes, this is exactly what I am looking for! I see how it would be easy to mount the camera to an extended rail with available parts. Thank you, I am going to research this further but it looks a very good system; and honestly the additional weight won't be an issue if the mounting system saves us having to build/customize something different.

I am well aware of the perils of trying to do movement with this system... We want to do some tests to make sure it is even possible to get smooth enough, but we're using rail dollies and I think it will be. I work in film professionally and have dealt with monster rigs before. It's really quite remarkable how small the cameras are getting though. We're probably going to be using a Red Komodo for the motion shots (1kg, essentially a high end action camera) and a Red Gemini (about 3kg rigged) for the static shots. This is going to be a small crew though and will involve location moves, so I am trying to avoid a set-up that is too complex to breakdown and move with.

Again, thank you everyone for your thoughts. It's been very helpful for me just to try to write down and articulate the possible concerns here...

[Bernice Loui]

This what you're wanting to do?

205830


205831


205832

Sub the Canon mirrorless for a Red video camera. Those with a fixed focal lens to the GG is not that heavy. The Sinar P rear should support that ok. The geared Sinar P rear will allow dialing in of the Red video camera position to the GG with precision and control. Remainder of the Sinar camera system can be built up as needed from more bellows and less rail down to a bag bellows, less rail for wide angle lenses. Lens shade-mate box and filter stack in front as needed.

There are few view camera systems that can be set up this way using standard accessories.

Bernice

[Axel]

As a sidenote, any wide-angle lens up to about 100mm is going to produce a very pronounced hotspot on the ground-glass ; illumination will become even across the entire 4x5" above 120mm.
For the long lens, a tele design would allow to eschew all the railing and bellows and supports with only one thing to secure - the lens.


What I see above is probably going to be wobbly !
(a decade as commercial director and DoP allows me to surmise that :)

[Bernice Loui]

Yes on the light fall off problem with trying to produce wide angle lens images from the ground glass. Aid to that problem would be to apply one of those "center" filters designed to correct for light fall off.. That falls into needs and judgement and all related to the OP's image making needs.

That set up is not ~wobbly~.... it is EXTREMELY WOBBLY....

No one should be surprised, that was a quick Sinar demo lash-up to aid in answering the OP's question. If that set up were to be used to make useful images, the Sinar rail and all must have proper support or there is about no possible way it's gonna work at all.


:)
Bernice



As a sidenote, any wide-angle lens up to about 100mm is going to produce a very pronounced hotspot on the ground-glass ; illumination will become even across the entire 4x5" above 120mm.
For the long lens, a tele design would allow to eschew all the railing and bellows and supports with only one thing to secure - the lens.


What I see above is probably going to be wobbly !
(a decade as commercial director and DoP allows me to surmise that :)

[jspillane]

This looks like about as good as we're going to do, so I am looking for an F1/2 and associated accessories now.
We'll see how horrible the wobble is - I might have to abandon the notion of dolly shots altogether and accept that we won't be able to get stable motion with this technique, but I am eager to try.

I'll be sure to report back once I have finished the project (it may be a little while). This has been hugely helpful, and I'll may seek all of your expertise again as we move forward.

Now to settle on what lenses to try for...

[Bernice Loui]

Not sure if the Sinar P rear with camera mount is needed. It is completely possible to make up something that will fit your needs better. Sinar rails have a M6 threaded stud on one end and M6 nut on the other end. It is very possible to make up a camera mount that fits with the Sinar rail negating the need for the P rear and camera mount. This is the kind of stuff cinema folks make up as needed all the time. Essentially, the basic system with this degree of adaptability is what can work for this image making need.

As for lenses, pick what ever is needed to achieve your image making goals.. Long as it is mostly within the physical limits of the Sinar lens board, the lens-optic will work within the Sinar system. Have FUN.

Dolly shots will demand multi points of very rigid and stable support for the Sinar rail. Simply add Sinar rail clamps as needed to a stable base HARD mounted to the dolly. A set up like that could do the trick. IMO, this rig will need more than two Sinar rail clamps and all related.


:)
Bernice



This looks like about as good as we're going to do, so I am looking for an F1/2 and associated accessories now.
We'll see how horrible the wobble is - I might have to abandon the notion of dolly shots altogether and accept that we won't be able to get stable motion with this technique, but I am eager to try.

I'll be sure to report back once I have finished the project (it may be a little while). This has been hugely helpful, and I'll may seek all of your expertise again as we move forward.

Now to settle on what lenses to try for...

[Drew Wiley]

I've seen over a dozen Sinar rail clamps mounted to a structural steel I-beam for a rock-solid super-long bellows microphotography setup. There are times I eliminated the rail clamps completely, and used stainless U-bolts to retain an extra long rail & bellows in a channel routed into a long section of maple hardwood for analogous stability. There are all kinds of possibilities. For those willing to sell their personal jet to finance a really fancy Sinar, there was even a model with completely remote focus and movement controls via servos and a computer interface. It's truly a SYSTEM, like Lego blocks.

[reddesert]

205893

All this talk of monorails ...

[grat]

Thank you. My fingers kept twitching every time I saw the subject. :)

[Drew Wiley]

Not quite the same thing. If you want that, get a big cable with high voltage plug at the other end, and alligator clip it to your main camera rail. Cheap thrills.

[Luis-F-S]

Perfection doesn't exist. That said, I'd get a Sinar F2 (or P2-heavier & more money) 4x5, reasonably easy to find used and as good a field monorail as has been made. Should meet most of your criteria, except maybe for weight, my F2 is 8# 2.5 oz.

[Ari]

205893

All this talk of monorails ...

Me too, but it was this one:


https://www.youtube.com/watch?v=KGg5rfBfWT4

[Daniel Unkefer]

Hah Hah :) ^^

[Rod Klukas]

The Arca-Swiss field camera is under six pounds and as it is modular could be used for many different formats and both digital and film choices. I currently shoot a GFX50R on my Field, as well as 75mm and up to 450mm lenses for 4x5 film. It does require a longer bellows for lenses longer than 300mm but that is so light and compact it is no issue. On the shorter end you can go down to 55mm in 4x5 film lenses on a flat lens board with the standard bellows. With a recessed 47mm XL Schneider is possible. Precise and with a Graflock back meaning you could use roll backs with no issue. Extremely rigid and compact. Sits on a folding 300mm rail hand collapses down to 6" for back packing. For extending besides the bellows mentioned above, you would need a single plug-in extension rail and lens boards, of course. That is it. Screen is superb both with wide angle and long lenses. Extremely compact.
See info link: https://www.dropbox.com/s/7cp6qnbc46q2ymq/Arca-Swiss%20F-line%20Metric%20Field%20Compact.pdf?dl=0