An Arca-Swiss user looking for another compact field camera

A late answer to Eugene Singer :
I know that the 45S and 45SU are non-folding cameras. When I use the word "fold" I mean the operation which consists in transforming a camera from its transport position to its operational position in order to make photographs.
On another point, I know that the Linhof was not on the list of Wisawa. Nevertheless, I consider he might explore the Master Technika solution before choosing a camera.



To Wisawa :
About the article on the Canham DLC45, the lens with which the bellows can
interfere with rise, and push on the standards is a 75mm lens.

Wisawa,

The 72/75/80 mm lenses are in the focal length where the standards can be pushed apart by the bellows when some rise is applied.

This does not happen too much, as substantial rise is often not required in landscape work. If you have a lens with lots of coverage (like the 72mm Super Angulon or the 80mm Super Symmar XL) it is posssible to apply enough rise to get the problem described before the lens runs out of coverage.

I just put my 80mm SS XL on the camera and focused at infinity. It appears that I was able to apply about 3/4" to 1" (approx. 18 to 25mm) before the bellows pushed out on the standards. The 75mm lens is a little tighter, and I don't have one to try, but my estimates based on the infinity distance of the 80mm seemed to suggest that it could do about 5/8" (approx. 16mm) before the bellows starts to apply some pressure to the standards.

Once the bellows applies some pressure to the standards, you have to be careful of your focus, because it can shift a little as you apply the rise. However, it is possible to correct for the pressure and continue shooting. Most 75mm lenses, the 72mm, and the 80mm all have enough coverage to out rise the camera, but I doubt that most people will be using the lenses out this far, unless you do architectural work, or similar work that uses those types of movements.

There are two options in this situation. You can get the wide angle bellows, wich eliminates the problem, but raises it's own list of problems (another thing to carry, more expense, you can't fold the camera with the WA bellows on). Aonther option is to get a blank board and have the hole drilled for the shutter with a small amount of rise (built into the board). This only works with lenses that have a reasonably small rear element (the 72mm may cause problems, some of the 75mm lenses may also, but the 80mm should easily accommodate this).

If you do that, you will have to remember that you applied a rise to the lens when you center up the camera. I think you could probably put about 15mm or so rise in the lensboard without any problem. Add that to the camera rise, and you will effectively be able to out-rise the lens.

Let me add one more note about smoothness. If you want the smoothness of the Arca, the DLC is not going to be a suitable camera for you. In fact, I don't think there are ANY field cameras that come close to the smoothness of the Arca (other than the Arca!). If you want a more compact camera for field work, you are going to have to sacrifice some smoothness to obtain that.

All in all, I stand by the statement I made last week in another thread that I think the DLC is one of the best all-around field cameras, and is only bettered (for shorter focal lengths only!) by a few of the Ebony cameras. If I had to live with only one camera for all my work, it would be the DLC without question. No other camera does it all better.

---Michael

...THE NEW AND VERSATILE ARCA SWISS MISURA blah blah blah etc etc

But doesn't it completely lack any rear tilt or swing, but has only rear rise? Not exactly that versatile? Along with only about 30cm extenstion (in practice, less I think)

There are two options in this situation. ...

Michael,

There is a third option you might want to try - a recessed board. This was the solution I used when I had my DLC. I bought a Toyo recessed board, which fits the Canham, to use with my 75mm Nikkor SW. Mounting the lens in the recessed board allowed enough additional separation between the two standards that they didn't push out at the top even when applying fairly substantial (for a 75mm) rise. I don't remember which limited the total rise, the coverage of the lens or the amount of rise before the standards started to push out, but I found this solution more than satisfactory for my landscape shooting needs. New price for the Toyo recessed board is less than $80 - a lot less than a bag bellows. I bought mine used from a local dealer for half that price. They show up on eBay occasionally.

Kerry

Kerry's right, of course.

The recessed board is a third option (and a mighty good one at that). I have a hate/hate relationship with recessed boards, and discounted it as an option because I personally wouldn't consider using one unless as a last resort. In fact, initially, I purchased the DLC specifically to avoid having to use recessed boards for the wide angle lenses, unlike many other field cameras.

It seems that I am often in situations where I cannot get around to the front of the camera to see the settings on the shutter, and a recessed board can obscure the view of the shutter settings when peering around the camera from behind.

It is a very good away to go if you don't set up the camera on the edges of cliffs all the time, however. I suppose carrying a small compact mirror would help to relieve this problem as long as the front lens element is not too large.

---Michael

I looked at the Canham DLC but the back seemed quite mushy when locked up. I don't think it even comes close to your requirement for 'smoothness and rigidity'...

Having actually used one for a few years, sometimes alongside of an A-S F-line camera, there was no "mushiness" when actually using the camera. It was rigid and smooth. My one complaint is that I weished the zero detents were not quite as subtle in feel. I recognize that camera choice is and should be a personal preference but I wanted to relate my experiences. The camera was mainly used for cityscapes, portraits and some macro work in a studio, with lenses from 65mm to 300m and once or three times with the longer focal length Nikkor T lenses, with Quickload, Polaroid and rollfilm holders.

Michael,

Yes, recessed boards can be a pain. The Toyo board is just big enough to allow me to get my fingers at all the controls Viewing the settings was not as easy as a lens mounted on a flat board, but I could see them. With a larger lens, like a 72mm SA XL, it might be harder to get at the controls and view the shutter speed and aperture settings. Also, I left a cable release mounted on my 75 in the recessed board. The fit was so tight it would have been a majot hassle to try to install the cable release in the field.

The saving grace is that I'm not a huge wide angle user (the 75 was my least used lens when I had the Canham). Also, when I did use it it was usually to include something of interest in the foreground - rarely on the edge of a cliff. Most of my cliff-edge shots are taken with longer lenses.

Too bad somebody doesn't make something similar to the Toho Eccentric lens panel for other cameras. This is similar in concept to the off center lens mounting you mentioned, but variable in magnitude from 0 - 15mm, and variable in direction 0 - 360 degrees. Hmmmm, I wonder if it would be possible to mount the Toho Eccentric Lens Panel on a Canham board. I think it would work, but for the same amount of money you could have a bag bellows.

Kerry

I agree with Bob Eskridge- the Horseman metal field cameras are the most compact and light 4X5s I know of (especially the HF if you can find one) and are precise and well made. Yes, there are some compromises in movements and the HF must be mounted sideways for verticals, but most landscape photography does not require the contortions of studio work. You people stop down to f/64 anyway, you could use a box camera for most work of this type. By the way, the Horsemans WILL work with a 75 at infinity, and a 300 tele in an extended board.

Paul,

I can't speak for everyone else, but I NEVER stop down to f64 for 4x5 shooting unless I have absolutely no choice. The 4x5 format is an enlarging format, and f64 is small enough that diffraction is rearing it's ugly head in a big way.

I try to keep my apertures to about f22 and f32 at the absolute smallest to avoid major diffraction effects. If I can shoot with a slightly larger aperture, and use a bit of tilt to get the DOF needed, then I will do this rather than stop down the lens.

I have found over the years that about 2/3 of my shots are verticals, and that would be an unsuitable situation for a horizontal-only camera. If your shooting style is mostly horizontals, using a camera flopped on it's side may not be an issue for you, but it is for me.

The DLC will also work very well with a 75mm lens on a flat board. If fact, it will go down to about a 58mm lens on a flat board with no problems. The issue with the 75mm lens is a limitation to the amount of rise that the camera will easily permit, and I suspect that the Horseman will fail this same test in a similar manner, due to the stiffness of the bellows.

The DLC does not require a tele lens at 300mm, or even at 450mm, nor does it require a tophat to work properly.

It is these reasons for my contention that the DLC is possibly the best all-around field camera made. Some cameras are better for shorter focal lengths (like the Ebony 45s) and others may be better for longer focal lengths (there are many that might be it's equal for longer lenses), but few come close to it's ability to handle both ranges with reasonable adpetness.

---Michael

Michael- Sorry, I was being a wise guy about f/64. Must have gotten up on the wrong side of bed. Fact is, we all like to think the camera we have is the best solution, period. For me, a compact and light camera that I have with me is always better than any other camera that I haven't brought with me because it was too big and heavy. I bring my Horseman HF (and a few compact lenses in a small shoulder bag) with me to places I surely would have talked myself out of with larger gear. BTW, side mounting for verticals isn't so bad with a Manfroto 3D tripod head (also light and compact) that is contorted to keep the center of gravity over the tripod.