Chamonix 45n-2 Upcoming Review

[lilmsmaggie]

Hello all,

I just spent a very intense week with my Chamonix 45n-2. This was a week where I was introduced to the basics of the cameras movements, setup and operation.

During this time, I shot approximately 44 sheets of film. I say approximately because out of a total of 50 sheets:

1 - sheet was sacrificed to the "How to load film in a Film Holder Gods"
1 - sheet was sacrificed to the "How to test the Fixer Test Gods"
2 - sheets were sacrificed to the "You loaded 2 Sheets in the same holder God's
and finally, 2 sheets were sacrificed to the "You forgot to stop down the Len's God's."

I did get in some very nice shots for which I am extremely happy with and the veritable, "the one that didn't get shot, or the one that got a way."

At the moment, I'm recuperating and thinking about what I'd like to say. My intent on submitting this review is to add my thoughts and experience to and hopefully constructively augment the fine review submitted by Steve Brot.

So stay tuned. :)

[lilmsmaggie]

As in Steve's case, I'm a LF newb, so please, take my comments with a grain of salt.
I would like to add that Steve did a fine job giving the reader a well-rounded introduction to the Chamonix 45n-2. It does not bear repeating; nor do I wish to indulge discussion of the bubble levels. During the week that I used this camera, I used the bubble levels as rough indicators, relying instead on the levels of my Manfrotto tripod and 210 jr. geared head. I had few or very minor problems with respect to leveling the camera and getting a shot.

For example, yesterday morning at approximately 6:00 am PST, I was able to setup and level both tripod and camera, install lens board and lens, focus, insert film holder and fire off 2 shots in under 8 minutes. The subject was the Pasadena City Hall shot from curbside to capture a symmetrical image of the building's facade just after sunrise. I mention this example specifically because I was 30 minutes late arriving to the site and was rushing to get a shot of the building while it was still lit by several exterior light fixtures.

I actually shot a total of 4 sheets of Pasadena City Hall. The last two were not quite as rushed but also were not quite as good as the rushed shots taken under 8 minutes. Was I lucky? - you bet! But I got the shot I was after.

I have negatives but I haven't had an opportunity to scan them (I also don't have a very good scanner). :)

More to come ...

[Mark Woods]

Post your City Hall shots. I've thought about shooting it, but haven't found an angle I like. I see it almost every day.

[David Karp]

It was easier to get a good shot of it before they started putting banners across the front!

[lilmsmaggie]

Post your City Hall shots. I've thought about shooting it, but haven't found an angle I like. I see it almost every day.

I'll try -- I don't live in Pasadena. I only spent the week there, so I'm not quite sure which direction I was facing. The street I was on, there was a small stone and red-brick church on the corner and I could see the words "City Hall" while facing that side of building. I also was able to get a nice shot of the Gamble House while I was down there.

I lived in Los Angeles area for a while before moving to the Bay Area and then the Sacramento area. I have to say, I still love Pasadena -- it's a beautiful city!

[lilmsmaggie]

It was easier to get a good shot of it before they started putting banners across the front!

I didn't see any banners. Maybe they were on the opposite side of the building from where I took the shot.

[Mel]

Hello all,

I just spent a very intense week with my Chamonix 45n-2. This was a week where I was introduced to the basics of the cameras movements, setup and operation.

Where exactly were you introduced to the Chamonix for a week?
There's nothing I would like more.

[lilmsmaggie]

Where exactly were you introduced to the Chamonix for a week?
There's nothing I would like more.

I found out about the Chamonix through this forum and bought the camera from Hugo Zhang: hugoz_2000@yahoo.com


I attended a 1 on 1 workshop with Per Volquartz: http://www.pervolquartz.com

[Mark Woods]

Per is a wonderful person and an amazing photographer. He lives within walking distance of my house. I took a PP and Carbon Transfer workshop at his house with him and Jim Fitzgerald. A great way to spend the weekend. I ended up buying an 11x14 Chamonix to get big prints from my big camera. ;-) Hugo's a great guy too.

[lilmsmaggie]

Per is a wonderful person and an amazing photographer. He lives within walking distance of my house. I took a PP and Carbon Transfer workshop at his house with him and Jim Fitzgerald. A great way to spend the weekend. I ended up buying an 11x14 Chamonix to get big prints from my big camera. ;-) Hugo's a great guy too.

I fully agree, Per is a wonderful person and equally wonderful and amazing photographer. I just hope I can continue to have the opportunity to learn from him in the future. He can tell you where we set up to take the shot - that is if he can stop laughing about that morning's events ;)

[lilmsmaggie]

OK - Here's my thoughts on the Chamonix 45n-2:

Firstly, if you own one, or have had the opportunity to have seen one and handled it, you know it's a well-designed, light weight little camera.

While in the Los Angeles area on Friday, I stopped into Freestyle photo to pick up some mat board and saw a Wista on display. I don't know which model Wista it was but this particular Wista sported a price tag of around $1499, plus tax. From what I could see of the Wista, - the Wista can't touch the $800 Chamonix 45n-2 in looks, price or performance-- no way!

Documentation:

Now I realize that there are die-hard LF photographers out there that will say: "You don't need no stinkin user guide,” but for us newbs on the block -- Please Chamonix, give us a user guide. I'm not talking about a How-to-shoot large format photography guide," I'm saying a user guide on how to use the various control features the Chamonix 45n-2 offers to set adjustments and a diagram depicting the various knobs and what adjustment they’re used for.. Case in point: The ground glass protector. On the surface removing and replacing the ground glass protector looks simple enough but "looks" can be deceiving. There is an inordinate amount of fuss and fumble factor with this seemingly simple gizmo. I would spend an extra $22 and purchase the optional leather protective jacket and forego the fumble factor entirely. I'm sure there is something obvious about installing the protective plate - but being intuitive ain't one of them.

If you simply can't justify the $22, then I suggest you do the following sometime before you remove the ground glass protector and start using the camera:

With the ground glass protector still in place, orient the camera so that the rear standard is facing away from you, and you’re looking at the front standard. Take a scripto pen or other suitable marking pen and write on the protective place a letter corresponding to its orientation to the camera itself, e.g. "T" for top in the center, "R" right side, "RS" for rear standard, "L" for left side and finally "FS" for front standard. Marking the protective plate in this way will remove the fumble factor. You'll know exactly how to orient the plate to the camera itself.


Camera set up:

Another area where documentation would enhance the learning and use enjoyment of this camera falls under the area of collapsing the camera for transport.

The Chamonix 45n-2 comes standard with a Universal Bellows. If the camera is not folded in the proper sequence, the camera will not fold. You can also mess up the accordion folds of the bellows material itself. This latter issue creates a slightly curved raised area that will appear on your negative as a result of the bellows material blocking incoming light. To check for this, mount a lens on the camera and set it to its largest aperture. With the lens wide open; look through the lens at the ground glass area. You should be able to see all four corners of the ground glass. If you can't, there's a good chance the bellows is not folding and opening properly.

Also, with a 210 mm lens mounted on this camera, the bellows tends to sag when the bed is extended and must be supported somehow to avoid vignetting or other problems. In my case, I used a sock folded in half. Not sure what causes that sag except to say it may be related to the way the bellows material folds when the camera is collapsed for transport.


Adjustment Controls:

An engraved scale would greatly improve the photographer’s ability to set focus on the Chamonix 45n-2 and improve near-far focusing operations. I had to use a pencil and mark these positions on the sliding focusing mechanism. This operation using the pencil to establish near far positions actually takes two people to perform: one to focus the camera on the near far areas, and someone to make a pencil mark on the focusing rail. Not good.

Rear- Tilt / Rise-Fall:

It would be nice if this operation incorporated some type of notched detent or click-stop mechanism.

There are those out there that are going: “What do you expect for $800?”

My response is these are just observations and suggestions based on use over the period of a week of daily use, averaging 4 or more sheets of film being shot. I’m not saying give me this and that feature but keep the price at $800.

With continued use of the Chamonix 45n-2, I’m sure that I and others like me will discover other areas that might benefit from improvements to the existing design. The ones I’ve mentioned are on my short list of improvements I would like to see. Make no mistake – the Chamonix 45n-2 is a great camera at a great price for the newbie or seasoned LF photographer.

[stevebrot]

I attended a 1 on 1 workshop with Per Volquartz: http://www.pervolquartz.com

What an opportunity! Per is an incredible talent. He is also a real Ebony fan. Out of curiosity, what was his opinion of your Chamonix?


Steve

[stevebrot]

Thanks for your notes on the camera. Your experience mirrors my own.

A few questions/comments:

I don't follow what you meant by marking the GG protector. Mine is a pain to get on too, but I haven't seen that orientation would help. Has Chamonix changed the design? On mine there are four holes that mate to the slotted posts holding the GG in place. The holes are offset such that the protector will not slip off unless the GG frame is lifted a little to allow clearance with the back.
Ditto the request for an engraved scale. My camera has marks on the bed, but they are too vague to be of any use even in the best of light.
Regarding folding the camera...I move the front rise to its lowest position prior to folding the rear standard down. This provides a "relaxed" orientation for the bellows.
For rear tilt, the camera has a stop built-in for full vertical in the form of two small sliders. It is more cumbersome than a detent, but has the advantage of not being a detent when attempting fine adjustment. Likewise for front rise/fall. Where I would REALLY like a detent or some form of physical stop is for front swing and shift.



Now about those bubble levels...just kidding! :D


Steve

[David Karp]

I didn't see any banners. Maybe they were on the opposite side of the building from where I took the shot.

I have not been there lately. Often when I have come there in recent years they have strung a large banner above the main entrance (street side, not the courtyard side). If one is not there now, perhaps this is a good time for me to drop by for a revisit.

[lilmsmaggie]

What an opportunity! Per is an incredible talent. He is also a real Ebony fan. Out of curiosity, what was his opinion of your Chamonix?

Per loves the Chamonix -- as I was leaving to come home he jokingly asked if I was leaving the camera there.



Thanks for your notes on the camera. Your experience mirrors my own.

A few questions/comments:

I don't follow what you meant by marking the GG protector. Mine is a pain to get on too, but I haven't seen that orientation would help. Has Chamonix changed the design? On mine there are four holes that mate to the slotted posts holding the GG in place. The holes are offset such that the protector will not slip off unless the GG frame is lifted a little to allow clearance with the back.

Yep. You got it. Pain in the you know what. Looking down on the folded camera with the rear standard pointing away from you. In other words, the protective plate is over the gg and the camera is positioned so that the adjustment knobs for the rear standard are pointing away from you. It would be like if the camera were opened from its folded position and you were holding the camera looking directly at the front standard, lens mount area. Does that help?


Ditto the request for an engraved scale. My camera has marks on the bed, but they are too vague to be of any use even in the best of light.

I agree. Maybe some contrasting color like black lettering on an off-white background or something.


Regarding folding the camera...I move the front rise to its lowest position prior to folding the rear standard down. This provides a "relaxed" orientation for the bellows.

Good idea !

For rear tilt, the camera has a stop built-in for full vertical in the form of two small sliders. It is more cumbersome than a detent, but has the advantage of not being a detent when attempting fine adjustment. Likewise for front rise/fall. Where I would REALLY like a detent or some form of physical stop is for front swing and shift.



Now about those bubble levels...just kidding! :D


Steve