Getting into 5x7 - advice?

[Riverman]

Merry Christmas everyone

I find the 5x7 format appealing and I'd like to give it a try in 2011. In my current 4x5 kit I have two f8 Nikkors (the SW 90mm and the M 200mm).

- Am I right in thinking that these would both be useful lenses for 5x7 (albeit with considerably wider field of view and less movement than 4x5)?

Also, my current tripod set-up is quite heavy/bulky for 4x5 so I'm hoping it could accommodate a 5x7 field camera. The tripod is an aluminium Gitzo GT2331 and the geared head is a Manfrotto 410.

- Do you think that this combo can accommodate something like the Canham metal 5x7?

Finally, film wise. I do enjoy shooting and printing C-41 especially Kodak Portra. I gather that 160 is obtainable via Badger but it has to be a special order. Moreover, this time next year I'll be back in the UK where, as far as I can tell, 5x7 colour materials are all but unobtainable.

- What are my best options for 5x7 film (colour or b&w - and preferably an emulsion I can obtain either side of the pond)?

Finally, grateful to hear thoughts on the format from anyone else who has craved 5x7 and made the step up.

[Vaughn]

Hello! and merry Christmas and happy holidays to you!

When I moved up from 4x5 to 5x7, it was just a matter of slapping on a 5x7 back of my Indian copy of a Deardorff Special and getting some 5x7 holders. My Gitzo 301 and Gitzo Ballhead #2 was put under no addition strain, and the 210mm I had covered well.

So in most cases, I think that if it works for 4x5, it will work with 5x7. Others will have to help you with the coverages of your present lenses.

At the time of my switch, I was just starting out in alt processes (carbon printing) so was looking for a larger negative to contact print. The only RA4 printing I have done is with 120 roll film. I like Ilford FP4+ for what I do and the HP5+ is also a fine film, so both sides of the pond will be good for those.

I started out with a Rollei (square format ) and moved to 4x5. Skipped 35mm altogether. So working with 5x7 and its proportions was new to me and I enjoyed it.

I hope you have a great 5x7 New Year!

Vaughn

[Ari]

Here is a chart of 5x7 lenses; the image circle required is 208mm, you'll find lots of lenses listed here that cover the format, including your Nikkors. Your 200 just makes it, not much wiggle room, while the 90 gives you some movements.

http://www.largeformatphotography.info/lenses/LF5x7in.html

Cheers!

[Riverman]

Cheers Ari. Thanks for the lens chart link!

[Gem Singer]

I use a Canham MQC57 as my primary camera.

It's relatively light weight, and your tripod and head should be capable of supporting it.

However, the two lenses that you mention will barely cover 5x7. I found my Nikkor f8 90SW to be too wide for 5x7, and I use it for 4x5.

Sold the Nikkor F8 200M because of it's limited movements for the 5x7 format.

A Nikkor f8 120SW, f5.6 180W, or f5.6 210W are better choices for 5x7. Perhaps you can trade with somebody.

I have a 4x5 sheet film and a 6x17 roll film back for my MQC57. That makes for a very versatile camera.

I use Ilford HP-5+ 4x5 and 5x7 sheet film for B&W, and Kodak Ektar100 120 roll film for color

It is not only difficult to find 5x7 color film, but it is also difficult to find a lab. willing to process it.

[mandoman7]

I've been coming into this format from another direction: a 5x7 back happened to come with an 8x10 2D I purchased a couple of months ago. I hadn't thought about going to this format, already having lots of stuff for 4x5 and 8x10 formats. But the vintage lenses I own, while useful in 8x10, offer slightly longer and cleaner looks in the smaller 5x7 size, and the film is way cheaper, without giving up much of the 8x10 look (very shallow dof). Plus the holders take up way less space. The size referred to as "full plate" is 6 1/2x8 1/2, IIRC, which means the 5x7 format is pretty close to the standard size of a century ago, so the selection is usable vintage lenses seems to be a bit larger (and cheaper) than for 8x10.

So, for me, its not about finding the one perfect format, but rather having the option to get different looks with the existing lens collection. Weight-wise I'm already committed to the Kodak 2D for the front standard's sturdiness with older lenses, but the smaller holders offer advantages for big shoots.

[Ari]

Also, if you're looking for versatile lenses, the older Fujinon W lenses, with the writing on the inside of the barrel, usually have quite large image circles, and many can be used with 8x10 cameras. They're excellent optics and not very pricy either.

[Vaughn]

My lens is not on the list. Computar Symmetrigon 210mm f6.3. Plenty of coverage (have never run out doing landscapes) and sharp. In a Copal 1. I think of it as a small lens, but I am use to my other 8x10 lenses, LOL! Not expensive as it is not that well known and it does not have the massive coverage of the Computar f9's. The 210/6.3 does not cover 8x10 in landscape work.

[mdm]

I started in 4x5 and have found my place with a 5x7. It is a wonderful format. Shanghai film can be had inexpensivly on ebay and FP4 is readily available. TMax 400 is very expensive and co-op order only through Canham. Use a 4x5 reducing back for colour work, film is easier to get and process. 5x7 film can be hard to process if you dont have a darkroom, 4x5 is easy with the taco method.

I have tried 240mm, 180mm and 210mm and to me a 210mm lens feels standard, like a 50mm on a 35mm camera. There is very good demand for 200M Nikkors so you could easily sell it and get a f5.6 210mm lens with more coverage.

[hmf]

I use a 180mm and a 250mm, which are a little on the wide and long sides of normal for the format. My 180, badged as a Horseman (a Rodenstock, maybe??) covers the format with some movement. The older 250mm f6.7 Fuji is a gem that renders beautifully and never runs out of coverage on 5X7. I've also pulled the Nikon 90mm f8 SW out of my 4X5 kit upon occasion; it is very wide for 5X7, and allows a little movement. I'd love to have a 120mm SW instead, but they are quite large.

Enjoy the 5X7, they make beautiful little contact prints.

[mdm]

Enjoy the 5X7, they make beautiful little contact prints.

Thats what I love about 5x7 too. I am making intimate little carbon transfer prints. One does not have to slave away on the computer making a digital negative, but that option is there if you want to make a larger print, and you can go as large as you want from an inexpensive flatbed scanner. A 5x7 scanned at 3200spi, in 16 bit B&W is a 600mb file.

[Riverman]

Are most of you 5x7 shooters just printing contacts or enlarging as well?

[ljsegil]

Badger Graphic still has some Kodak Portra 160NC color negative film in 5x7 (left over from our special order earlier this year) and is taking orders for what Jeff is calling Fuji's last run of Provia 100F color transparency 5x7 film. After that, at much higher cost, you can get 5x7 Provia, Velvia 100 and 100F from Japan Exposures, so it is still possible to shoot color 5x7. Both negative and reversal color film are commercially developed and printed if desired by Praus Productions in Rochester NY and Phoenix Imaging in Chicago.
Larry

[Vaughn]

I enlarged a 5x7 once -- half at a time in a 4x5 enlarger -- of the moon coming out of a total eclipse, an exposure every ten minutes or so (early 90's). Everything else has been contact printed -- in silver, in platinum, and with carbon. Perfect size print for holding in one's hands.

[Riverman]

Badger Graphic still has some Kodak Portra 160NC color negative film in 5x7 (left over from our special order earlier this year) and is taking orders for what Jeff is calling Fuji's last run of Provia 100F color transparency 5x7 film. After that, at much higher cost, you can get 5x7 Provia, Velvia 100 and 100F from Japan Exposures, so it is still possible to shoot color 5x7. Both negative and reversal color film are commercially developed and printed if desired by Praus Productions in Rochester NY and Phoenix Imaging in Chicago.
Larry

Cheers Larry. I remember seeing your posts about that Portra order. Do you have a flickr series? I've been looking at 5x7 postings on flickr but obviously black and white predominate. It would be great to see some 5x7 color stuff if you have any links.

[jackpie]

My UK based, enthusiast's view is that 5x7 is great for B&W. Home developed and contact printed, or scanned. There's several B&W films available from http://www.ag-photographic.co.uk at reasonable prices, and home development is easy and cheap.

5x7 in colour is expensive and specialist. There does seem to be a few colour films available in Germany, Japan and the US, either in 5x7, or in 13x18 which will also work with the right metric film holders. I know of no UK source, and one has to doubt it's long term availablity. When necessary 8x10 film can be cut down to 5x7 but I find it a slow, tedius process that it's best reserved for occasional, essential use only.

These factors make it hard to recommend 5x7 for colour work. Keep the 4x5 for colour and get a 5x7 for B&W.

[Ken Lee]

You might find this table (http://www.kenleegallery.com/html/tech/index.html#table) helpful: a list of matching 4x5 and 5x7 focal lengths, based on the diagonal measure of the film.

Also, see this article, written by the illustrious founder of this forum, entitled The 5x7 Format In Practice (http://www.largeformatphotography.info/5x7.html).

For the record, I scan my 5x7 and print digitally - although I have made a few Platinum/Pallium contact prints too.

Using 5x7 film allows you to get by with an affordable flatbed scanner and produce 11x14 prints that are highly over-sampled: hundreds of megapixels. The result is smooooothe.

[Donald Miller]

Union Fotomark in Milano, Italy had Fuji color in 13X18 the last time that I was there. That may be a viable alternative to buying film from the USA.

[Mark Sawyer]

The best thing about 5x7 is that you're half-way to 8x10! :rolleyes:

[mdm]

Scan on a V700 and then printing an enlargement with Epson ultrachrome k3 inks. In my case B&W but really the only way to go if you are doing colour.

[John Kasaian]

A highly desireable 5x7 field camera would, IMHO be a Nagaoka. If my budget allowed, that is what I'd look for (or a Deadorff!) As it is I'm well equipped with an Agfa Ansco Universal(two of them) a Speed Graphic for handheld and a Keystone F-8 aerial which sits and waits until 7" wide aerial film once again is manufactured (and it looks like it's going to be a loooong wait! :( )
My 5x7 lenses: No 33 Kodak, 203 Ektar(on the Speeder,) 215 Ilex Acuton, 13" Cooke, 14" APO Artar, 15" Wollensak "yellow dot" tele(on the F-8)
Film: Ilford HP-5+ & FP-4+ & Arista .eduUltra.
When I get my "stimulus bucks" I'll be able to afford to buy TXP!:D

[Riverman]

Thanks for the helpful responses everyone.

Ken - that's a really useful chart on your website. If I was to pick one lens only for the format, 240mm seems like a good length. When I started with 4x5 I was surprised how 'wide' 150mm was and I find myself seeing better with a 200mm in 4x5. In smaller film formats I love the look of a wide angle lens. Yet in 4x5 I hardly use my 90mm at all.

Jackpie - good to hear from a UK user as well. This time next year I'll be back across the pond where it seems color 5x7 is unavailable locally. Thanks to the UK's crippling rate of sales tax, film is generally much more expensive as well. After getting used to paying the equivalent of about 15 quid for a box of color 4x5 UK prices will be a shock to the system.

My favourite B&W film for 4x5 is Acros so that's out if I jump to 5x7. Ilford Delta 100 looks like a pretty good substitute though. Camera-wise, I have my eye on either the metal Canham or the Walker Titan.

[Ken Lee]

http://www.piercevaubel.com/cam/images/ek2dcat.jpg

Another nice 5x7 camera to consider, is a Kodak 2D (http://www.piercevaubel.com/cam/ekc/2d.htm). They come up for sale now and then. Other similar cameras were made, like the Seneca.

They are made of wood - so they are light. They fold down, but they are rail cameras, not folders.

They are much faster to set up, and you can keep a lens mounted on them at all times. You only need the rear rail when using long lenses or doing close work. They easily accommodate a 450mm Fujinon C.

They don't have a complete set of movements front and rear, but for most purposes, they work great.

[jeroldharter]

Another current option to consider for 4x5 would be the Wehman 8x10 with a 5x7 reduction back. You could probably remove the front piece of the clamshell cover which is only needed for lenses longer than 450mm. If you bought the lightweight version and removed the front piece, you might be around 5 pounds with a very rigid, durable, and portable outfit that could always be used for 8x10. It would give you essentially unlimited bellows, use of lenses down to 90mm (with limited movements due to bellows compaction), and a great 5x7 field camera.

The cost of up-coverting a 4x5 or 5x7 camera to 8x10 is usually very high and the components hard to come by. The cost of a Wehman 5x7 reduction back is $100 if you supply the 5x7 back which you could obtain used. If you are drawn to 5x7, you will certainly wonder about 8x10. This way you could check it out painlessly.

[Sal Santamaura]

...When I get my "stimulus bucks" I'll be able to afford to buy TXP...Don't wait. For some reason (looming discontinuation or film becoming short-dated?), B&H just lowered the price of 5x7 TXP by almost $30 per 50-sheet box:

http://www.bhphotovideo.com/c/product/241632-USA/Kodak_1300078_TXP_4164_5x7_50.html

If you want some, now may be the time to put it on your credit card and pay the bill using your 2% reduction in FICA next year. I'm not optimistic about continued availability as a stock product.

[Gem Singer]

Riverman,

Since you like the look of your Nikon/Nikkor 200M in 4x5, a good choice for 5x7 would
probably be the Nikon/Nikkor 300M.

The Fujinon 180A and 240A, mounted in Copal 0 shutters, are also nice small light weight lenses for 5x7.

Most 240's are mounted in large heavy Copal 3 shutters.

The Fujinon 250W, mounted in a Copal 1 shutter, is also a good choice for 5x7.

[John Kasaian]

Riverman,

Since you like the look of your Nikon/Nikkor 200M in 4x5, a good choice for 5x7 would
probably be the Nikon/Nikkor 300M.

The Fujinon 180A and 240A, mounted in Copal 0 shutters, are also nice small light weight lenses for 5x7.

Most 240's are mounted in large heavy Copal 3 shutters.

The Fujinon 250W, mounted in a Copal 1 shutter, is also a good choice for 5x7.

Schneider G Clarons are light and small 240mms, quite reasonanbly priced on the used market and work splendidly on 8x10s if you see one of those is in your future.

[John Kasaian]

Don't wait. For some reason (looming discontinuation or film becoming short-dated?), B&H just lowered the price of 5x7 TXP by almost $30 per 50-sheet box:

http://www.bhphotovideo.com/c/product/241632-USA/Kodak_1300078_TXP_4164_5x7_50.html

If you want some, now may be the time to put it on your credit card and pay the bill using your 2% reduction in FICA next year. I'm not optimistic about continued availability as a stock product.
Thanks for the heads up Sal!:)

[Robert Skeoch]

I just switched from 8x10 to 4x10 for a project I want to shoot in that format. I also bought the 5x7 back for the ShenHao 4x10. Haven't fired it up yet but have a couple holders and Delta 100 on order.

Thanks for the info on the 5x7 image circle. Do you know the image circle needed for the 4x10. I would love to check out the lens list against the 4x10 circle.

Thanks.

-rob

[Vaughn]

I read 275mm in a post that was never disputed.

I have a 6.25" (159mm) Wollie Ex W Angle f12.5. It covers 8x10 poorly (at least the case with my sample). but it does a respectful job when centered on 4x10. But I think the lens will shine on my 5x7.

[Riverman]

I have film, camera and lens on order. Looking forward to getting stuck into 5x7 in 2011!

About double dark slides for 5x7: I gather that the external dimensions of 13x18 holders are the same as those of standard 5x7 holders. Presumably therefore, with the correct film and holder combination, one can shoot either 5x7 or 13x18 films on a 5x7 camera with a standard back?

One of my favourite 4x5 films - Acros 100, is available in half plate size but not 5x7. Does anyone know whether it is possible to obtain half plate double dark slides with the external dimensions of regular 5x7 holders - so as to permit shooting half plate on a 5x7 camera?

[Justin Cormack]

Yes, half plate holders are available. Their main use is to shoot Acros now!

Someone is selling some on the UK large format forum at the moment, and they are relatively easy to get in the UK, not sure about the rest of the world.

[sanking]

I use a Canham MQC57 as my primary camera.

It's relatively light weight, and your tripod and head should be capable of supporting it.



I owned a Canham MCC57 for a while and in spite of some its light weight, wide range of movement, and excellent bellows draw I came to dislike it very much because of the bottom axis rotation on the back, and the tighten knobs on the side. I sold it and replace it with a traditional wood 5X7 which I much preferred, though the method of moving the standard was always a challenge with the Canham wooden camera, and I have owned two others in addition to the 5X7. I eventually sold the wood Canham and bought a Shen Hao FCL-57. I must say, however, that if you buy a Canham and have any issues you will get excellent service from Keith, and that may be worth more than some of the design issues I mention, which are after all very specific to my own expectations and methods of working.

Sandy King

[Gem Singer]

Sandy,

Just the opposite for me. I sold my Canham 5x7 Traditional and purchased the all- metal Canham MQC57.

Both cameras have base tilts on the rear standard. However, the wooden Traditional has axis tilts on the front standard, as well as bracing arms for the rear standard.

Some folks prefer axis tilts. I find base tilts easier to use. It's a matter of personal preference.

I know Keith Canham personally, and I agree, it's much handier to be able to deal directly with the guy that actually made the camera if a problem should arise.

That's also the main reason I use Pyrocat-HD. I can directly contact the person who formulated that developer if I have a question. So, please don't go away.

Hope you solve your health problem quickly.

Best wishes for the New Year.

[Riverman]

I'm picking up a MQC57 so we'll see how I get on with the camera. Lens wise, I've got a Fujinon 210 5.6. Really excited about starting off in 5x7.

I see Canham is taking orders for Tmax 5x7. The order doesn't seem to be going too well though.

Keith told me that, given enough for a minimum, Kodak will cut and pack any of their emulsions in 5x7.

I'd love to shoot some of the new Portra 400 in 5x7. Probably not 3000 sheets though!....

[ROL]

I must say, however, that if you buy a Canham and have any issues you will get excellent service from Keith, and that may be worth more than some of the design issues I mention, which are after all very specific to my own expectations and methods of working.

Sandy King

I second these comments by this (http://www.rangeoflightphotography.com/pages/film#tripleboxes) experience.

I am almost exclusively B/W, and enlarge in 5X7 (mostly FP4+, HP5+, TXP 320) on a Zone VI with Schneider 180mm and Rodagon 210mm lenses from 8X10 to 30X40. I tray process all negatives in PMK Pyro. I presently shoot with 110 XL Super Symmar (little movement), Fujinon A 180 (moderate movement - my fave), and Nikkor M 300 (much movement) on a Gitzo Mountaineer with Acratech ballhead. I now frequently crop 5X7 to 4:5, 3:5, or 1:2 because of these (http://www.rangeoflightphotography.com/pages/cropping-a-negative) experiences.

Torrent, Bridalveil Creek - TXP320, Nikkor 300M (4:5)
http://www.rangeoflightphotography.com/albums/Yosemite/Torrent%2C%20Bridalveil%20Creek.jpg

Reflection & Flow #1 - Arista Pro 125 (FP4+), Nikkor 300M (1:2)
http://www.rangeoflightphotography.com/albums/Yosemite/Reflection%20and%20Flow%20%231.jpg

Half the cost, inconvenience, and weight of 8X10.
Nearly twice the real estate of 4X5, with but 50% of the weight.
Good shooting!

[Riverman]

Wow. ROL - inspirational work!

[Jiri Vasina]

I have film, camera and lens on order. Looking forward to getting stuck into 5x7 in 2011!

About double dark slides for 5x7: I gather that the external dimensions of 13x18 holders are the same as those of standard 5x7 holders. Presumably therefore, with the correct film and holder combination, one can shoot either 5x7 or 13x18 films on a 5x7 camera with a standard back?

One of my favourite 4x5 films - Acros 100, is available in half plate size but not 5x7. Does anyone know whether it is possible to obtain half plate double dark slides with the external dimensions of regular 5x7 holders - so as to permit shooting half plate on a 5x7 camera?

Riverman, yes, modern HalfPlate holders should be of the same external dimensions as 5x7" and 13x18cm. I use all three of them (HP, 5x7" and 13x18cm - and also a 5x8" with my Chamonix 5x8" :) )...

Jiri

[Jay Decker]

Here's little different perspective that might be helpful...

The first question that to ask yourself is what subjects do you photograph and with what lens "signature" do you want shoot your photographs with. I am talking about both the global lens category and the lens focal length. Personally, I tend to photograph people, still life, and old stuff I find in the desert and forest. And, I decided that I want to photograph my subjects with the so called vintage lenses, e.g., Voightlander Heliar and Euroscop, Hermagis Eidoscope, Taylor, Hobson and Cooke lenses, etc., because I like the look these lenses impart to the images they create. The reality of shooting with vintage lenses is that many of the lenses that I am interested in photographing with are barrel lenses, i.e., lenses not mounted in shutters.

I have an 8x10 Kodak 2D that I shoot a lot with a 5x7 reducing back. I did I start with this camera with the intent to shoot 8x10, but have found that I really like shooting 5x7 Tri-X with this camera. I like this set up for 5x7 for a number of reasons, the cameras are relatively cheap, easy to repair/restore, and easy to modify with an internal mounted Packard shutter with flash sync that works with barrel lenses mounted on easy to produce 6x6 lensboards. One of the great things about the camera is that I have about 30 inches of bellows draw available for close up work. I do also use this camera to photograph with modern super sharp lenses, e.g., Schneider G-Claron. If you are a sharp lens fan, there are sharp barrel lenses and they frequently tend to be less expensive than shutter mounted lenses.

This is not smallest and lightest 5x7 solution, but it is not that bad either. The camera weighs 10 to 11 pounds with internally mounted Packard shutter, 5x7 reducing back, and extension rail. Oh, and, yes... it does shoot 8x10 nicely also!

[mandoman7]

I've been following the same strategy, Jay, with the Kodak 2D and 5x7 back option. I found a very good one on ebay that had a 5x7 back and then found an 8x back on the forum. So now, with an internally mounted packard and 5x7/8x10 backs, I have tremendous flexibility in lens selection, and film choice. I'm liking the 5x7 over 4x5 for general shooting, for reasons mentioned in other posts, but personally I don't want to give up the 8x10 option and with the 2D I didn't have to.

[Vaughn]

I have a 5x7 back on a Kodak 2D, also. Nice way to use a 28" lens with 5x7 or 8x10 (a 12-21-28 Turner Reich). I did buy a smaller version for 5x7 -- I can walk around with it on the tripod easier than the 8x10.

Vaughn

[ROL]

Wow. ROL - inspirational work!

Thanks. But, I do think of myself as "Riverman (http://www.rangeoflightphotography.com/news/middle-fork-of-the-salmon-river)":rolleyes:

[GabrielSeri]

I'm picking up a B&J 5x7 field camera from these forums. Looking forward to using the new format. I want to use it with my Schneider 180mm f5.6 Macro Symmar HM lens or my Schneider Super-Angulon XL 5.6 90mm with a recessed lens board. Has anyone use this combination? I will do black and white work.

[Barry Kirsten]

Interesting thread.

I'm currently thinking about moving to a larger format sometime in the future and that the Chamonix 5x8 might be the way to go. In terms of image size, not significantly different to 5x7, although the slightly wider format may be attractive in some landscape shots. However one big advantage I see in 5x8 is the ease of getting film. Unlike 5x7, for which the writing may be on the wall, it seems to me that the future of 8x10 is looking quite safe; it requires just one cut to produce 2 5x8s from an 8x10.
Any thoughts on 5x8 as a format, and on the Chamonix in particular? Thanks,

Baz.

[mdm]

I'm picking up a B&J 5x7 field camera from these forums. Looking forward to using the new format. I want to use it with my Schneider 180mm f5.6 Macro Symmar HM lens or my Schneider Super-Angulon XL 5.6 90mm with a recessed lens board. Has anyone use this combination? I will do black and white work.

Not shure the 90mm will work. I use a 180mm fujinon a and a 210mm lens. Will a 180mm macro symmar cover at infinity? You will have plenty of bellows reach for close work, a B&J cant be fitted with a sliding tripod block and it does not have front standard focusing like a 2D, which is why I bought a 2D myself (The seller was a little economical with the truth and it is away having some work done on the 5x7 back).

[mdm]

Interesting thread.

I'm currently thinking about moving to a larger format sometime in the future and that the Chamonix 5x8 might be the way to go. In terms of image size, not significantly different to 5x7, although the slightly wider format may be attractive in some landscape shots. However one big advantage I see in 5x8 is the ease of getting film. Unlike 5x7, for which the writing may be on the wall, it seems to me that the future of 8x10 is looking quite safe; it requires just one cut to produce 2 5x8s from an 8x10.
Any thoughts on 5x8 as a format, and on the Chamonix in particular? Thanks,

Baz.

Just get a cheap 5x7, to try things out. A new 5x8 is a nice thought, but once you have spent megabucks on new film holders and hours scratching 8x10 film to within an inch of its life in the pitch black, you will wish you had just got a 5x7 and some buggered old holders. Will your Angulon cover 5x8?

PS I may be selling my very tidy B&J in a month or two and it is already in the district.

[Robert Fisher]

Barry, I have a Chamonix 5x8 - an incredible camera - it just takes seconds to cut 8x10 film into two equal pieces that fit the Chamonix holders perfectly - IMO a much better option than 5x7

[Daniel Unkefer]

I'm new to 5x7, but I've had a 4x5 and 8x10 close to thirty years.
Here is my Sinar Norma 5x7 ready to go.
It's has it's distinct advantages.

[Jiri Vasina]

Barry, I have a Chamonix 5x8 - an incredible camera - it just takes seconds to cut 8x10 film into two equal pieces that fit the Chamonix holders perfectly - IMO a much better option than 5x7

I concur with Robert, 5x8 is very easy to cut down from 8x10, and I don't have any more scratches on 5x8 fim (cut down by myself) than I have on 13x18cm and half-plate both of which are factory cut...

And the Chamonix 5x8 (http://www.vasina.net/?p=94) is a wonderful camera...

Jiri

[Ken Lee]

I'm new to 5x7, but I've had a 4x5 and 8x10 close to thirty years.
Here is my Sinar Norma 5x7 ready to go.
It's has it's distinct advantages.

I see that you have the Sinar Shutter along with the cable that works with the film holder. Could you please explain how that cable works ?

[Daniel Unkefer]

I see that you have the Sinar Shutter along with the cable that works with the film holder. Could you please explain how that cable works ?

Ken,
After you have popped-open the shutter and are ready to expose, you slide the film holder into the rear standard, and as it is attached by cable to the front shutter. It closes the shutter, and just that quickly you are ready to fire.

You can insert the film holder with one hand, and hold and fire the cable release with the other. Now that is rapid-fire large format photography.

The whole point of all the Norma automation, was to be able to operate all controls, from the groundglass position, without walking around the camera to operate the controls from the front.