Handheld 4x5- Razzle and Speed Graphic

[Chris Usher]

At the request of one of our distinguished members I am starting a new thread on the subject of handheld 4x5.

After many years of shooting 35mm and medium format as a journalist, I became enamored with the idea of shooting on even larger film. One of the MAJOR REASONS I decided (and continue) to shoot film (any film) is that I am convinced that digital capture (even though I shoot a lot of it) is still dubious as far as archiving is concerned-- I contend that in the near future many of us will experience a "Digital Disaster" ( I have already lost 2 hard drives filled with files!). I have redundant drives and countless files which can all be wiped out by the passage of time--
1. Studies have shown that CD's, DVD's, and hard drives are reliable for no more than 10 years, so we must continue to migrate our files to new media every 7 years or so :-0 and...
2. If the computer world continues as it has in it's short history, then we can look forward to a new algorithm I like to call Xpeg. At this point we will all be forced to translate years of jpegs, tiffs, nefs etc into the newer format or risk having them left behind in software progress ( how many of you still have floppy disks with info that can only be obtained through multi-generations of hardware/software combinations dating back to when they were created). and
3. The physical properties that film (and large format) deliver are still way tastier to look at than digital.
Sorry, I just had to get that off my chest--now I'll tell you what I really think;-)

In the past 4 years I have used a Crown Graphic, Speed Graphic and Razzles in an attempt to shoot handheld 4x5 with comfort and success.

Right up front I will say that the Razzles are the clear winner, but the Speed Graphic has it's merits!

At first I outfitted the lighter Crown Graphic with a handle and cable release. The handle added yet more weight to an already cumbersome box, but the deal-breaker was using the rangefinder with the tiny field of view, then quickly composing in the viewfinder hoping that things (including me) haven't moved out of focus. The Speed Graphic is the same thing except the focal plane shutter adds even more weight. Also, I needed a camera that I could carry at my side off my shoulders and the Graphics were just too unwieldy.
Before I talk about the Razzles, let me say here that my Speed Graphic is still a major part of my arsenal! The Speed Graphic is invaluable for use with barrel lenses and you can put much longer focal lengths on it. Although the movements are limited, they are usually all you really need to get the job accomplished.

After seeing a friend's modified polaroid (made by another maker) I started looking into how to get or make one when I came across Dean Jone's site. I now own five Razzles.
The link to his site is <http://homepages.ihug.com.au/~razzle/index.html> Note: pay no attention to the poster-child on the homepage!

Through lots of field testing and communication Dean has done a great job of making improvements since I got my first one-- he has lightened the body by cutting the unused portion off, added a cable release holder, a modern size flash shoe (not hot tho) and recently added movements by using the 900 chassis (this also allows more space for some faster modern lenses which can now fold up into the camera).
Aside from the slimmer profile and much lighter weight, the biggest advantage to these cameras is the integral rangefinder/viewfinder. I also lovingly call these my "Texas Leicas" since they work the same way.

There are limits to the chassis which only allow for focal lengths from 90mm to 150mm although I understand that Dean is currently working on a back extension which will allow up to a 210mm! Also, because of the tracking space in the bed, the 150mm has a limit of about 4ft (if you want infinity too). This is one of the reasons I have so many! I have one with a 150mm that focuses only between 2ft-4ft for closer portraits; the 90mm will focus down to just over 2ft, but the end of the door has to be cut off to make room for unblocked infinity. The 127mm Rodenstock that comes standard on the 110B's is a fabulous piece of glass that ends up being kinda "just right" since it focuses down to about 3ft and has a little extra speed at f4.7.
The brightline in the viewfinder exactly represents the framing at all distances and parallax for the 150mm, for the 127mm it's everything you can see in the viewfinder, for the 90mm it's more than you see (for those Leica user's, it's just like shooting a 21mm without the viewfinder) and parallax has to be figured for in your head and by experience for images made under 4ft--( I focus and move a little to the left kinda like shooting a leica through a fence).
One more thing I find invaluable in using these cameras is the Grafmatic Back--Six sheets ready at your disposal without switching holders all the time and better yet, is being able to have a sheet ready to expose without a pesky darkslide hanging off the side or sticking out of your pocket.

I think I've got enough down here for now and I am really interested to know of any other great handheld options any of you have found!
Cheers to All, Chris

[BrianShaw]

I prefer Graphics for hand-held 4x5.

[Gordon Moat]

I am currently working on a Polaroid 900 conversion. While I do like Dean's version, there were several aspects that I felt could be done differently. The end result being slimmer and more left eye shooter friendly. What I am finding is that it is a ton of work, so obviously this will be slow. One advantage is that I have unlimited usage of an 8 way milling machine for the next few months, and I think that alone opens up a few other options. The lens I am fitting to mine is a 135mm Schneider Xenar f4.7.

I don't know yet how much handheld 4x5 I want to do. What led me to this is more a solution to the problem of setting up a tripod for my normal 4x5. Quite likely I will use it with a Linhof Super Rollex 56x72 back, making it an unusual medium format rangefinder . . . sort of an overgrown Mamiya 7 alternative for substantially less cost.

Ciao!

Gordon Moat
A G Studio

[Frank Petronio]

I know the Linhof Super/Master Technika is a lot more expensive, but after using two Razzles (which are great) and a few Graphics, I think the Linhof is the way to go for me, followed by a customized Crown Graphic with a Linhof Grip.

Albeit, the Linhof is much heavier and more complex, it's not for casual shooting -- but when you do shoot, it's mass helps steady everthing. And it is probably the most varsatile option.

[David A. Goldfarb]

I'm standing pat with my Tech V. I like having interchangeable lenses and the option of camera movements when I need them.

[Arne Norris]

I too am wondering about the possibilities of using a 4x5 handheld. What intrigues me is the combination of the look and feel of larger format with the subtle ways that a type of camera alters how a photographer relates to people they photograph, as well as how subjects respond.

If anyone has any images to share please do.

[Dean Jones]

I guess the ideal 4x5 has yet to be invented.....I have owned and used a Master Tech, Speed Graphic, Bush Pressman, many monorails, and a couple of wooden field cameras. Having the best that all have to offer is difficult to roll into one camera. One of the main problems to overcome is the weight factor, as we all know a few pounds can soon start to feel like twenty if you are going walkabout....this obviously rules out a monorail, despite its excellent ability for movements.
Next there's the interchangeable lens issue. Having one camera body that accepts a range of lenses is great, however one then has to decide on which lens would best suit the subject and remember to bring the right one along. If the camera is rangefinder equipped, will it remain accurate across the board?
Another thing to consider is speed.....I found the 'Speed' Graphic nowhere near as fast as I'd like, plus I felt the dim view offered by the Kalart finder left much to be desired.

The field cameras win by a mile in the weight stakes, and even though the Chamonix is a camera to die for, it's certainly not really a point and shoot.

The final and most important factor of all is the ability to provide accurate FOCUS....not such a problem with a wide angle, but more critical with a longer focus lens. That's where the Polaroid rangefinder wins hands down. If you don't want to fiddle around with a ground glass image viewed through a lupe, whilst the opportunity slips by, you either have to judge the distance by guesstimate, which I can sometimes do with a converted Polaroid model 95, or have a camera equipped with a decent rangefinder.

It boils down to what it is you like to shoot most....scenery, portraiture, reportage, or street photography. An ideal camera that can handle all these scenarios doesn't yet exist, although I lay awake nights thinking about how I could build it :p

My ideal camera would be one with a 90-210mm internal zoom that covers 4x5, allows a little room for movements fitted to a lightweight body with a coupled rangefinder that zooms with the optic, weighs in a three pounds and folds up like a Polaroid :cool:

The reason I stick with the Polaroid body as a base chassis, is that it's very compact, quite sturdy, of good build quality and it folds up. It's easily carried around and can open up and be ready to shoot in around two seconds. You can cover it in whatever fabric and colour you like, use all types of 4x5 and roll film holders, buy a few different ones 'cause they're still relatively cheap and it's dead easy to adjust/repair them in the field with a small screwdriver. I can also leave the tripod at home!

I always hated taking my Master Tech out in case it got wet, damaged or stolen....plus it was too damn heavy and had too many bits. :D

[Rafael Garcia]

http://i67.photobucket.com/albums/h285/ragc01/Anniversary&#37;20Speed%20Graphic/scan0002cpcsc.jpg

Hand-held with a stock 4x5 1943 Anniversary Speed Graphic with 127mm Kodak Ektar f4.7 on a Graphic Supermatic (X) shutter. Focusing was done with the coupled Kalart. Composing was done with the wire finder. Film was Arista ISO 100, tray-processed normally and contact-printed on Arista paper. Print was scanned with an HP psc 1350 all-in-one desktop printer/scanner. Perspective correction and toning done digitally with Paint Shop Pro 7.

Time to shut up and put up!

[Frank Petronio]

80-90&#37; of my 4x5 work is handheld, from the Technika since March, 2007.

The Razzle is a wonderful camera for travel and compactness --

[David A. Goldfarb]

I've posted these before, but since Arne asked--

Handheld with the Tech V 4x5--

http://www.echonyc.com/~goldfarb/photo/ChessTable,2004.jpg

Handheld with a Tech V 4x5" and 56x72 rollfilm back--

http://www.echonyc.com/~goldfarb/photo/Underpass,RiversidePark,June2005.jpg

All the images on this page are handheld with the Tech V 4x5", 210mm Symmar convertible, and Norman 200C strobe setup--

http://www.echonyc.com/~goldfarb/photo/halloween/index.htm

Handheld with Tech V 4x5" and 135/3.5 Planar--

http://www.echonyc.com/~goldfarb/who/9.jpg

Handheld with Tech V 4x5", 6x17cm DaYi back and 150/4.5 Xenar, and Gaoersi adjustible 6x17 viewfinder (yes, the rangefinder works with the expansion back and lenses in the range of about 120-150mm. Longer than 150mm will work, but will vignette. Shorter than about 120mm won't sit on the focusing rail of a Technika.)--

http://www.echonyc.com/~goldfarb/who/23.jpg

All of the above were rangefinder focused.

[Dean Jones]

Before anyone misses the point here :) the MOST important thing to remember is that a great photo firstly emanates from the photographer's eye, then secondly, from the skill and experience associated with knowledge of how to pull it off. The equipment used is the least deciding factor.

I'm not arguing about which camera is better or more suitable for the job, I don't think for a moment that a better shot is guaranteed as a direct result of the camera used.

I'm quite sure David could have achieved equally excellent results from a wooden box.....it's knowing how to manipulate the box that counts. I've said it before, a Fender Strat played upside down and loud still ain't gonna make me sound like Hendrix :o

Cheers.

http://homepages.ihug.com.au/~razzle/

[Sandeha]

Personally I favour the wooden box. Nothing complicated, hardly any moving parts, weighs less than 2lbs, and no need to faff about changing lenses or focusing.

http://i10.photobucket.com/albums/a119/Sandeha/large_format/th_neretta_back.jpg (http://i10.photobucket.com/albums/a119/Sandeha/large_format/neretta_back.jpg) http://i10.photobucket.com/albums/a119/Sandeha/large_format/th_neretta_front.jpg (http://i10.photobucket.com/albums/a119/Sandeha/large_format/neretta_front.jpg)

Angulon 90mm f6.8.

http://i10.photobucket.com/albums/a119/Sandeha/swansea_valley/th_060604_hp5_02_copy.jpg (http://i10.photobucket.com/albums/a119/Sandeha/swansea_valley/060604_hp5_02_copy.jpg) http://i10.photobucket.com/albums/a119/Sandeha/dinas/th_070505_hp5_01c_copy.jpg (http://i10.photobucket.com/albums/a119/Sandeha/dinas/070505_hp5_01c_copy.jpg)

[Dean Jones]

I too have had similar ideas that materialised into a camera or two not unlike yours.....metal, not wood and a little heavier perhaps :p
Blimey I could stumble around in Wales forever........I am a Jones afterall :D

[Thomas Greutmann]

I have done some handheld 4x5 with various cameras, black and white only. And I liked the results with all cameras. The details in a 4x5 negative can be just breathtaking, so no matter what camera you choose you will like what you get, compared to any small format or digital camera. I scan the negatives at 3200dpi, so I think of a handheld 4x5 as a 160 Megapixel camera.

Pros and cons of the various options I have tested:
- Razzle Polaroid conversion: the easiest to work with for "snapshots" because of the combined rangefinder/viewfinder. My preferred option for street shooting.
- Linhof IV: I find this the best compromise between a field camera and a handheld, so this is my preferred option on longer trips when I only want to bring along one camera (and you certainly attract a lot of attention when you use a Linhof with a 360mm Tele Xenar handheld :) ).
- Super Graphic: Not mentioned in this thread yet but a serious contender. Not as easy to operate as a Linhof (I find) but much lighter. I like it better than a Speed Graphic, very light, something for a long hike or bicycle trip.
- Speed Graphic: I like this one less than all the others but you will still get wonderful results.

Greetings, Thomas

[Chris Usher]

I hope that no-one out there thinks I am trying to poo-poo any camera. I must admit that I use my Wisner Expedition and Speed Graphic close to 75% of the time, but when I am shooting people and events in an uncontrolled environment the Razzle is the way to go for me (I really like the WA set-ups that the Retired Pirate uses and Dean's obsessions too!).
All the box cameras--Speed Graphics, Wistas, Toyos, Linhofs etc. have been the backbone of most of photography's short history for a good reason (I swear you could drive nails with a Linhof then turn around and shoot a pic!). I totally agree that the lens interchangeability and movements on these cameras makes them the best for all around use, but I cut my teeth on small, light 35mm cameras with fast prime lenses that made my life as a journalist easier (How big and wild would a f1.4 that covers 4x5 be; not to mention the 1mm of DOP?!--Dean, what do you think about a Schneider 135mm f3.5 Xenon on a 900?)--this is the idea that I continue to search for with LF. Even though changing lenses is quicker and easier on my Nikons (no cam to change), I still carry two or three cameras with different lenses rather than changing lenses to facilitate the spontaneity of journalism. Also, I still don't like using a separate rangefinder and viewfinder (my first Leica was a IIIf and I never liked it).

[Joseph O'Neil]

I hope that no-one out there thinks I am trying to poo-poo any camera. I must admit that I use my Wisner Expedition and Speed Graphic close to 75% of the time, but when I am shooting people and events in an uncontrolled environment the Razzle is the way to go for me (I really like the WA set-ups that the Retired Pirate uses and Dean's obsessions too!).

-snip-

I am really tempted to show the above quote to my wife and say "see honey, this is why I need *another* 4x5 camera, in addition to the 4 I already have"

But for some strange reason, I just don't think she'll go for it. Something or another about money for groceries, the kid's teeth, stuff like that. :)

However, do go on about how great the Razzle is, I just might convince myself yet.
:)

joe

[Toyon]

What the #@^#$ is a razzle?

[Photomax]

Using the search function on the Cameras and Camera Accessories category will yield instant #@^#$ results...

[DW Ludwick]

I often use a Super Graphic handheld, however it is slightly customized, with a different view finder and much lighter with all the electric stuff removed. (battery, capacitors, solenoid,etc.) The range finder works great and I have cams for all my lenses. I still am intrigued with the Razzle and one day, if I'm lucky, I may even own one.....

[Glenn Thoreson]

I have Speed and Crown Graphics in every size from 2X3 to 5X7. A lot of them. Busch Pressmans, a few. Field cameras, crime scene (Rex Labs) cameras, monorail cameras, ad nauseum. All take fine photos. It's just a question of what you like, what fills the requirements at hand and, most importantly, how you use it. For a carrying around, hand held 4X5, I'll take a Crown Graphic any day, and save the money for more film.

[Cedric]

Do you know the Piccolino (http://www.obscura-camera.com/spip/?lang=en)from swiss maker Obscura?
It's amazingly light and easy to use.

Cedric

[HeinrichVoelkel]

to Chris Usher;

Would you mind to tell us/me what lens/camera combinations with Razzle do you own and use....????

By the way: Like your work.

regards Heinrich

[Ed Richards]

For inspiration:

http://museum.icp.org/museum/collections/special/weegee/

[HeinrichVoelkel]

to Chris Usher;

Would you mind to tell us/me what lens/camera combinations with the Razzle do you own and use....????

By the way: Like your work.

regards Heinrich

[Chris Usher]

to Chris Usher;

Would you mind to tell us/me what lens/camera combinations with Razzle do you own and use....????

By the way: Like your work.

regards Heinrich

Thank you very much for the compliments Heinrich:)
My Razzle Arsenal includes a Schneider 90mm f6.8, the standard Rodenstock 127mm f4.7, a Schneider 150mm f5.6 (must unscrew front element to fold it up), a Fuji 150mm f6.3 set for close focus between 2-4 feet (folds-up), and a 900 with movements with the same Fuji lens.
I love them all for different reasons but I tend to use the 90mm and the 900 the most-- I just used the 900 yesterday on a shoot for Sports Illustrated in Detroit; Detroit's QB Jon Kitna would only be able to spare 15mins for the whole shoot-- I shot digital of course, but I also was able to expose 12 sheets of film without skipping a beat. I shot with the rangefinder and I used the ground glass with a little tilt for a nice portrait. I would have been sweating pretty hard trying to shoot 4x5 at all with a view camera!

btw that Piccolino is really cool! --now if they could just get a rangefinder on that thing!

[Chris Usher]

For inspiration:

http://museum.icp.org/museum/collections/special/weegee/

I love Weegee! And he proves that you can do it with a Speed Graphic!:D

[HeinrichVoelkel]

Thank you very much for the compliments Heinrich:)
My Razzle Arsenal includes a Schneider 90mm f6.8, the standard Rodenstock 127mm f4.7, a Schneider 150mm f5.6 (must unscrew front element to fold it up), a Fuji 150mm f6.3 set for close focus between 2-4 feet (folds-up), and a 900 with movements with the same Fuji lens.
I love them all for different reasons but I tend to use the 90mm and the 900 the most

Hello Chris, thanks for elaborating further. Did you use the Yasarex 127 with color film? How is the color rendition?

I'm so unsure on what to order? I ususally use the 135 a lot, but would like to go a little wider? Hhmmmm.

Regards Heinrich

[Asher Kelman]

Thank you very much for the compliments Heinrich:)
My Razzle Arsenal includes a Schneider 90mm f6.8, the standard Rodenstock 127mm f4.7, a Schneider 150mm f5.6 (must unscrew front element to fold it up), a Fuji 150mm f6.3 set for close focus between 2-4 feet (folds-up), and a 900 with movements with the same Fuji lens.

Hi Chris,

What a great endorsement for the Razzle! So, do you have pictures to share? Which camera did you grab for the sports portrait?

Is the lens on a lensboard so one could still use the lens on another camera?

Asher

[Chris Usher]

Hello Chris, thanks for elaborating further. Did you use the Yasarex 127 with color film? How is the color rendition?

I'm so unsure on what to order? I ususally use the 135 a lot, but would like to go a little wider? Hhmmmm.

Regards Heinrich

I have not had any problems with color on any of my Razzles, but I will add that I have not shot any E6 with the 127 that I can think of--- I'm not sure, but I think the 127 is a single coated lens. I think that you will find the 127 to be the best of the all-around set-ups (it's a little faster and focuses a little closer)

[Chris Usher]

Hi Chris,

What a great endorsement for the Razzle! So, do you have pictures to share? Which camera did you grab for the sports portrait?

Is the lens on a lensboard so one could still use the lens on another camera?

Asher

You can go to my website and see many images shot with Razzles--not ALL are shot with the Razzles, many are shot with my Wisner Expedition, but I think that the fact that you can't tell is testament. I will post a couple of images from the SI shoot as soon as it is published (I can't post anything until after they use it). Anyway, I took both my Super Razzle 900 with movements and the standard 127mm. I ended up using only the 900 because time was so short for the shoot. The lens is attached only to an integral lensboard so I wouldn't recommend switching it out-- I'd keep it on there and dedicated.

[Asher Kelman]

You can go to my website and see many images shot with Razzles--not ALL are shot with the Razzles, many are shot with my Wisner Expedition, but I think that the fact that you can't tell is testament. I will post a couple of images from the SI shoot as soon as it is published (I can't post anything until after they use it). Anyway, I took both my Super Razzle 900 with movements and the standard 127mm. I ended up using only the 900 because time was so short for the shoot. The lens is attached only to an integral lensboard so I wouldn't recommend switching it out-- I'd keep it on there and dedicated.

Well, I've really enjoyed visiting your website to discover that you answered my post. Thanks Chris!

Your SX70 images are immediately seductive and are joined by a distinctive almost "Van Gogh" expressionist style. These altered Polaroids capture attention and diverted me from my purpose. I just totally forgot about this thread!!!

Then I explored your other work including Nepal but was most drawn to a rich expression of feelings in B&W photography, especially in Post-Katrina images.

The pictures of jailbirds working to clean debris, all in a line like the chain gangs in the prison pictures with Heddy Leadbetter (A.K.A. "Leadbelly" one of the leading blues characters in American music history). The pictures of that time in the library of Congress are haunting. Add a few lynch scenes and that was the South for a lot of folks, unfortunately. I always wonder what the chore crime was: poverty or just plain bad people? I feel that there tragedy of Katrina started hundreds of years ago!

In fact, looking at your pictures I totally forgot about Razzle! I guess I was bedazzled!

So, Chris, where are those Razzle pictures? :)

Asher

In the "about this photo" there seems to be no mention of camera type!

[Chris Usher]

Hi Asher,
Thank you so much for the comments on my work--it means a lot to hear that someone has gotten lost in your work!:)
It would be too laborious to list exactly which images are shot with Razzles in my Katrina work, but the chain-gang image you like was shot with the standard 127 Razzle with just a kiss of flash on Polaroid type 55--also if you go to my site and type in 200604--everything that comes up from that search was shot on Razzles--if you type in 200603 most of those were also shot on Razzles. Pretty much anything that looks like you could not have shot it on a tripod was shot with a Razzle. All of the protest stuff was shot with Razzles and the closer stuff with the 150mm close-up (2-4ft focus) Razzle. If there is a particular image you wanna know about I can let you know.

[Asher Kelman]

Chris,

Great to see that the Razzle is such an important part of your creative work. With the tiresome online arguments one can get put off from putting money to these cameras, especially when they get dammed. I'm now convinced that these are worthwhile tools.

Do your Razzles differ just in focal length or also in just the character (for example soft focus) of the lens and how do you purpose them. Also what's in your camera bag? Is it just Polaroid or ReadyLoads or even rollfilm too?

Asher

I'm now going back to your work for "200604" and 200603, thanks!

[Chris Usher]

Asher,
My razzles differ only in focal length and the 900 with movements--none of them have any special lenses or soft focus other than using movements. Depending on what I want I use, I shoot with everything from Nikon digitals to the Razzles-- an old converted Agfa Pioneer (my version of the Holga), Razzles, 4x5 Wisner Expedition, Speed Graphic, Mamiya 7's, a Pentax 645, and my everpresent Leica M6 with a 35mm f2. I shoot mostly Kodak films but I also like the type 55 and the EFKE 25...

[Asher Kelman]

Hi Chris,

Your pictures of Katrina have to me the feeling of Dorothy Lange's work and I felt a chill and awe going though them. Some of these are iconic. I wish there was an exhibition near me!

Asher

[Chris Usher]

Hi Asher,
Your comments are fortifying! I have approached the Katrina work with the idea that the hurricane and the aftermath (which continues to this day) is a 21st century equivalent to the the dust-bowl. I must admit that I have had the FSA photographers work of that period in mind while documenting this phenomena-- I have been seeking a visual connection of truth and veracity with the people and their feelings in their environment which is what I think makes the FSA images so compelling. I too wish there was an exhibition near you or anywhere! Actually, I am working on a book (which Kodak has agreed to print) and a traveling exhibition all with the purpose of raising money for Katrina relief--I will keep you posted as it develops (no pun intended):)
Thanks again for your compliments--I will be launching a new website in the next few weeks with much more of this work on it.
Cheers, Chris

[Asher Kelman]

Hi Chis,

I'd really love to see a travelling exhibition. Unfortunately, the major museums, at least in Los Angeles deal with a schedule that is generally planned 1-2 years before hand.

For an ad hoc exhibition, the public emotion has unfortunately gone down as it has neither lasting memory for the real feelings not the attention span. This is a time sensitive topic for the general public. However, your pictures will gain importance and become recognised widely.

My contacts tell me that corporate sponsorship from interested parties involved in the Katrina recovery would be the most interested. It is after all where they want attention. So I'd look to the politicians of the 9th Ward in New Orleans and the contractors and Banks and New Orleans Tourist board for example. Further I'd go the the various trusts. If you do get going and have corporate sponsorship to put the exhibition together, I'll try to get one bank here to consider this for Los Angeles.

There is a huge amount of work, I'm sure!

However this is most important! Humans are built to heal themselves after damage. This is good but the downside is that it erodes conscience at the same time!

Asher

[Former Member 8144]

I too have had similar ideas that materialised into a camera or two not unlike yours.....metal, not wood and a little heavier perhaps :p
Blimey I could stumble around in Wales forever........I am a Jones afterall :D

Hi Dean,

That camera with the 75mm lens looks so compact. Is it something you have made yourself?
I am trying to find the most compact 'box' to put between a 75/90 lens and 54 sheet film.

Thanks,
Marc

[HeinrichVoelkel]

Dear Chris, thank you for so much insight into your work...

I still have some questions regarding the right lens for my Razzle, so I might just ask you, with which lenses the following pictures where shot

20060303_CRU_Aida_005

and

20060301_CRU_Wastemen_004

Thank you in advance and sorry for bothering you with this...

Regards
Heinrich

[Chris Usher]

Hi Heinrich,
the Aida image was made with a speed graphic and a 135mm optar lens and the wastemen was shot with the standard Razzle with the rodenstock 127mm and a touch of fill flash on a tripod. I would say that if you can only have one Razzle, the 127mm is a great all-around lens--it is very sharp and forgiving and it allows you to get closer to your subject than a 150mm and has just enough "wideness" without much distortion.

[Michael Roberts]

Hi Chris,
I've been following this thread with interest. Haven't seen this addressed yet: Do you ever use the wire (sports) viewfinder on the speed graphic (with the bed scale)? I've got a stripped-down 1947 crown that I resurrected after somebody stripped most of the parts away. The RF is gone, but it has the advantage of weighing 1/3 less than the original (and less than a speed since it's smaller). I'm just starting to use it for some hand-held shooting, but I like the feel of it so far. I've added my own distance marks to the bed. I also like the wire viewfinder b/c there's nothing between my eye and the subject. I'm guessing that you've tried this, but you prefer using the rangefinder. Given your experience with the speed graphic and razzles, I'm interested in your thoughts.
Thanks in advance, and keep up the good work!

[Chris Usher]

Hi Michael,
I have both a crown and a speed--my crown came with a distance scale already done by a previous owner as well as an exposure compensation scale for close-up bellows extensions, but I have never used them. I have used the wire frame from time to time just for framing ( and I so agree with you on the benefits of nothing between you and your subject this way), but I still rely on the rangefinder for critical focusing (both cameras have working RF). I think that I would certainly use the bed scale and sports finder with lenses under 135mm and for subject matter that is over 15ft away at f11 or greater, but I will say that since focus is so critical and I tend to use low F stops I feel more comfortable with the RF--the reason why I really like the Razzles is because you can focus and compose on the move which is so necessary in making journalistic images. I think it's really cool that you are working with the scale and the sportsfinder and there is no doubt that with practice, you will be as deadly with that method as if you were useing a rangefinder! The bottom line is to shoot pictures and be happy; and it sounds like that is the case on your end. I would love to see some of your work. Keep on shootin'!
Cheers, Chris

[Bill_1856]

Using a Graphic with the top RF/VF will considerably ease your problem of shifting from range to view finder (a completely natural action for those of us who grew up with Barnack Leicas).
In referring to a "handle" I presume that you mean a Linhof Anatomic Grip, which I fnd a PITA. I find the standard Graphic leather grip, which you slide around the back of your hand, is a very natural way to hold a graphic.
I'm afraid that you're right about the negative archive business.
I just watched Kens Burns' "The Civil War" documentary, and at the end they said that over one million glass negatives had been taken during the war, but that afterwards no one wanted them, and they were sold for the glass in greenhouses, where they gradually faded away. That's why one should rely on his prints, not his negatives (or digital files) for posterity.

[Kuzano]

Total agreement on the "Digital Disaster Waiting To Happen"... I am a computer consultant and here are just a few of the Disasters I have experienced on my own and on client machines in recent times:

1) Flash, thumb, jump, travel drives for storage. I have personally lost (destroyed beyond formatting) three of these drives in the last few months. My final determination. Plugging them into active USB hubs that have their own ac adaptors have destroyed at least two. I suspect the active USB hubs may be a bit to high on the voltage used to power the USB drives (YOU do know there is electric current in the USB port to power the drive, RIGHT??). The other activity that I know destroyed one of the drives is when I did not use the USB tray function (System Tray) to turn OFF the USB port before I pulled the jump/thumb drive out of the port (machine port or hub). In addition, if you are hooking your actual digital camera's up to your computers, are you disabling the USB function before unplugging the camera?
2) My current lightscribe DVD RW dual layer drive does not read a lot of my early CD disks on which I have images stored, so I have to make sure I keep an old CD-RW drive around to read those disks. How long will I have to keep an old drive functional. As long as I keep those images and files on that old disk. It's a ton of work to transfer them. I need the old drive in the machine, alongside the new drive. I anticipate I am going to have to migrate those files every few years.
3) At least one client has burned out a 160 Gigabyte nearly new external hard drive, by running his photoshop editing from that drive over the USB port. USB is NOT (even 2.0) fast enough to be the working drive for image editing. The drive was trashed beyond reformatting. Had to buy a new one.
4) I continually talk to people who think because they have all their images on an external drive, that they are backed up. In reality, the pics are not still on the actual computer and hard drives fail. A backup is NOT a backup until it exists in two places. And I suggest a non magnetic second backup on CD or DVD, off site.

So, it occurs to me that the only ongoing preservation of images for archival purposes, that won't involve migration to another media every few years, will be to take all your important image files to a photo lab and have them output to negative or transparency media, and store them in individual archival sleeves, in climate controlled dry storage. Gee, should they have been shot in digital in the first place. The first poster apologized for the rant. I do not apologize. This is NOT a rant. This is reality.

[Gerry]

Great thread thanks Chris for starting it, I found it very imformative. I also have a razzle on the way from Dean, a nice yellow one he has christened BANANARAMA.

Thanks for all the tips and information, this is a great place to learn and improve. Weegee look out!

www.gerryyaum.com