Architecture with Linhof Technika+150mm and 135mm

[anne]

I have a Linhof Technika. I normally shoot stills and portraits with this camera but I want to photograph a series of buildings, some of them are in narrow cities where I can't take too much distance from the object. I shift the film and lens plane to keep the three planes parallel. I have a 150mm sinar 5.6 lens and a 135mm Linhof planar 3.5 lens. Which lenses would be better to use that I can still keep the lines in the image parallel and don't have to take too much distance from the object? Or is this possible with my lenses and I am doing something wrong? Maybe someone has a link to a manual (with images) how this works? Many thanks!

[venchka]

anne,

Go wider. 90mm at least. And think about a different camera. The Technika is nice & I'm sure some of the members here will tell us that they can do anything with a Technika. However, mere mortals like myself would benefit from a monorail camera in this case. I own a Technika V and I would not begin to use it in cramped quarters requiring a very wide lens, 75mm perhaps, and ample movements.

A camera like this, listed for sale at this forum would be good for architecture. Current price is $275.


Cambo SC-II 4x5 View Camera with Hard Case (same as Calumet NX-II, which retails for $1,349.99)

Condition: Overall this camera is very good condition, with the exception of some wear to the anodizing on the monorail, dry/non-functional spirit levels (could be replaced), a small crack near the screw in some of the plastic covers on the tilt mechanism (cosmetic & barely noticable), and wear & scratches on the bottom of the tripod mounting block. The ground glass and grid marks appear pristine with no sign of wear. The hard case is completely functional and protects the camera extremely well, but does show substantial signs of use, including scuff marks, scratches and plastic discoloration. The two large primary side latches work perfectly, the small center locking latch has no key and doesn't work very well. I purchased this camera and then never got into large format photography and have never used it.

Click here (http://www.dirtimage.com/forsale/cambo-sc2-hr.jpg) for high-resolution image of kit.

Rail Length: 54cm
Bellows Extension: 17/8" to 19" / 46 to 480mm
Rise & Fall: 120mm
Lateral Shift: 50mm
Swings: +/- 30 degrees
Tilts:+/- 30 degrees
Fine Focus: friction
Weight: 9lbs / 4kg

http://www.dirtimage.com/forsale/cambo-sc2-body.jpg

http://www.dirtimage.com/forsale/cambo-sc2-gg.jpg

http://www.dirtimage.com/forsale/cambo-sc2-case.jpg

Info from Calumet web site:

The Calumet 45NXII combines precision controls and full image-control movments with incredible value. It features tried-and-true view camera standards that have made Calumet and Cambo cameras the most popular view cameras in the world for the past 20 years.

The 45NXII also features a convenient reversible back for easy format changes from vertical to horizontal and which accept Graflok or International roll film backs. It also is compatible with the Calumet and Cambo accessory system, making the 45NXII adaptable to just about any view camera application.


Features
Calibrated movements for precise repeatability
Zero-position detents for quick referencing and setups
Individual lock knobs for each movement for precision image placement
Interchangeable bellows and monorails for unlimited focusing and focal length selection
All-metal construction provides strength and rigidity with lightweight portability


Info from Cambo web site:

The SC-2 Basic is Cambo's classic view camera known for its durability and ease of maintenance. It features a normal bellows, 54 cm long monorail, a reversible ground glass back with graflock mount and spring loaded ground glass.

* Tried and proven
* Traditional Cambo robust, metal construction
* Full movements
* Compatible with most current Cambo accessories
* Easily folds up for travel

The Cambo SC Classics are solidly-constructed cameras with smooth gliding movements, accurate friction focusing, large locking knobs, quick-release mounting block, dual-axis spirit level and zero-position referencing. The interchangeable bellows and monorail systems give adaptability for all shooting situations while their metal construction handles the most demanding conditions yet is lightweight and portable enough for location use.

$325 plus shipping, email "drew [ at ] phototurbo [ dot ] com"

[Kirk Gittings]

I have no experience with a Linhof Technica and don't know how well it would work with wide lenses and architecture. I agree about the 90 it will be necessary in tight areas. But I do have experience with the camera shown and it would be really crappy for architecture without a bag bellows. As is the bellows would bunch up when you tired movements.

[venchka]

Sorry Kirk. It's the theory that counts. Monorail camera for architecture. I didn't even notice the bellows. Kirk is 100% correct. Monorail camera & bag bellows and a wide lens.

[Len Middleton]

Anne,

I have used a Technika for architectural work (interiors and exteriors), but do not remeber using anything much longer than a 90mm. With not being able to back up enough, the 75mm got a lot of work.

That said, I did get a Linhof Super Color Karden 4x5 monorail with a bag bellows and Technika adapter board, and was much easier.

Given a good budget it would be the way to go. However given the choice, I would probably invest in wide "glass" (75 & 90) rather than another camera body, as you already have something that likely will do the job.

My C$0.02, and it is almost at parity...

Len

[Ed Richards]

Which technika? I have a IV, but it was a pain with the 90mm because it was jammed between the struts, which really limited the movements. A cheap monorail with a bag bellows is much more the point. A Master Technika is much better, and would work great, if that is what you have.

[Len Middleton]

Ed,

I agree that it was a pain, as I too used a Techika IV, as well as a V, particularly when compared to using the Karden with a bag bellows. With the 75 & 90 both on recessed boards, on the Technika IV the 75 focused near infinity, right next to the front rise knob. To do a front rise, I would have to rack it forward, raise it and rack it back in. A pain, but doable.

With respect to the OP, according to the current information provided, she does not have the lenses necessary to do it. I would see that as a first priority. Then if funds are left over, the monorail with a bag bellows.

Just my opinion,

Len

[Brian Ellis]

You certainly don't necessarily need a monorail camera to photograph building exteriors, I've been doing it off and on for 15 years with everything from a 4x5 Tachihara to an 8x10 Deardorff and never wanted or needed a monorail camera. I used a Technika V and a Master Technika for many years to photograph buildings. Both cameras were perfectly adequate for exterior architectural photography except that with the V and a 75mm lens front rise was sometimes limited by the camera housing (which is one of the reasons why the camera has rear tilt). The "flap" on top of the Master and all later Technika models allows much more front rise than the V. I'm surprised that someone would tell you that you should buy a monorail camera to photograph building exteriors, at least not without having a lot more information than you've given.

The knob that Len mentions was eliminated with the V and all subsequent Technika models so that difficulty is irrelevant to you unless you happen to have a IV. And even if you do, it won't be a problem with your 135mm and 150mm lenses because they'll be well forward of the knob. I don't know what Ed means when he says the struts interfered with camera movements. I never experienced that with the V and the Master I owned.

It's entirely possible that you'll need a shorter focal length lens than your 135mm lens to do what you want to do but it's impossible to say for sure based on the information given. Which lens you use for architectural exteriors depends on a lot of variables such as the buildings' height, your distance from them, and most importantly on how you want to photograph them. I've used everything from a 75mm to a 300mm lens to photograph building exteriors.

I don't know exactly what you mean when you ask "which lenses would be better to use that I can still keep the lines in the image parallel and don't have to take too much distance from the object?" The technique for keeping vertical parallel lines in the building parallel in the photograph is the same regardless of the focal length of the lens. Assuming the lens has adequate coverage, start with front rise and if that's not adequate then aim the camera upwards, tilt the back forward so that it's parallel with the building, and tilt the lens forward so that it's parallel with the back. You often don't actually want parallel horizontal lines in the building to be parallel in the photograph but if you do and if your camera position isn't square to the building, use front or rear swing. Hopefully I'm not just telling you something you already know.

[Martin Aislabie]

Anne - watch out for vignetting if you put much rise/fall on the camera.

You are much more likely to run into either bellows vignetting or run out of lens image circle than camera movement.

Stopping the lens down will help with image circle and playing with the pleats of the bellows might help with the vignetting

The absence of image is often tricky to detect - watch the corners and edges of the ground glass very carefully.

Martin

[venchka]

I have often said that I know just enough to get myself into trouble. I also said that folks here would say that they could make a Technika camera do anything. I was right on both points.