Reflex large format cameras....this weeks obsession!!

Having used monorails and field cameras for all my large format work over the years, I have recently been intrigued by cameras such as The Graflex RB Super series, the Arca Swiss Reflex and other makes. I would love to own one of these fascinating cameras one day, the idea of focusing and immediately shooting, particularly for portraits, really does appeal.
Some of you will already own one of these beasts so tell me your experiences, post your links and show me your photos you have taken with them.....Thanks Andy

I have a 5x4 Kershaw Soho Reflex, I've not got around to restoring the shutter yet or photograph it but it's a nice camera front movements as well, quite ingenious front swing.

British focal plane shutters are far more sophisticated compared to the much simpler Graflex shutters, they sue two curtains and the speed dial alters the slit width between then as in cloth shuttered 35mm & 120 cameras.

I have 3 Thornton Pickard Ruby reflex 1/4 plate and 6x9 as well as a quarter plate Press Dallmeyer (a rebadged Houghton Ensign Reflex) with a 6" f3.5 lens.

There's also a Postcard size Graflex waiting restoration as well.

Ian

Large format SLR's a definitely unique beasts, but having used a Super D many years ago, I'll throw out some negatives about them to calm your weekly obsession a little bit... :rolleyes:

The swinging of the big mirror coupled with the huge focal plane shutter stirs up a bit of dust, no matter how much you try to keep the camera clean. Expect dust spots on your negatives.

The clunk of the mirror is sizeable, and the cameras are heavy, so many of the famous users employed a tripod or monopod, which impinges a bit on the hand-held point-and-shoot style of working. Working with a LF SLR is as deliberate as working with a view camera.

The focal plane shutters don't sync with electronic flash, so you need to use flash-bulbs or subdued back-ground light and a manual closure after the exposure. The dimmer lights will make focusing harder.

Except with the 190mm Ektar on the Super-D, you need to compose and focus at the taking aperture. Unless you're working with bright lenses or lights and close to wide open, expect some focusing difficulties.

You don't get to use a loupe for critical focusing. And the viewing hood is specially designed to be a pain in the arse for anyone wearing glasses...

Most LF SLR's (including most Super D's) take the old Graflex slotted holders, so unless you convert it to a Graflok back, or find one that's been converted, you're stuck with finding and using old holders that usually sell at premium prices.

Quote:

---

Originally Posted by Mark Sawyer

Most LF SLR's (including most Super D's) take the old Graflex slotted holders, so unless you convert it to a Graflok back, or find one that's been converted, you're stuck with finding and using old holders that usually sell at premium prices.

---

They also take the heavy 12 shot bag mags.

Quote:

---

Originally Posted by Mark Sawyer

Large format SLR's a definitely unique beasts, but having used a Super D many years ago, I'll throw out some negatives about them to calm your weekly obsession a little bit... :rolleyes:

The swinging of the big mirror coupled with the huge focal plane shutter stirs up a bit of dust, no matter how much you try to keep the camera clean. Expect dust spots on your negatives.

The clunk of the mirror is sizeable, and the cameras are heavy, so many of the famous users employed a tripod or monopod, which impinges a bit on the hand-held point-and-shoot style of working. Working with a LF SLR is as deliberate as working with a view camera.

The focal plane shutters don't sync with electronic flash, so you need to use flash-bulbs or subdued back-ground light and a manual closure after the exposure. The dimmer lights will make focusing harder.

Except with the 190mm Ektar on the Super-D, you need to compose and focus at the taking aperture. Unless you're working with bright lenses or lights and close to wide open, expect some focusing difficulties.

You don't get to use a loupe for critical focusing. And the viewing hood is specially designed to be a pain in the arse for anyone wearing glasses...

Most LF SLR's (including most Super D's) take the old Graflex slotted holders, so unless you convert it to a Graflok back, or find one that's been converted, you're stuck with finding and using old holders that usually sell at premium prices.

---

Brrrr. It's chilly under your wet blanket, Mark!

Actually, that's good to know. I've coveted the Graflex SLRs (in theory) for years, but you've now allowed me to reallocate those unspent fantasy dollars for other theoretical purchases.

Jonathan

A Graflex was my earliest fantasy camera, from looking through Modern Photography magazine's camera buying guides in the 50s and 60s. I had my heart set on a RB Auto, until someone gave me a 4x5 Super D, which I still have.

It's lots of fun. I had the best time with it when I had a 300mm Heliar on the front, and Polaroid 3000 on the back, which made available light portraiture a possibility. I always hand held it, but Hugo Zhang's Tibetian pictures made me try it with a monopod, which works well.

I will try to dig up some old photos, from the Polaroid era. Here's one recent one, with the correct 15" Wollensak tele and x-ray film. It's nothing special, but all I have at this moment:

https://farm4.staticflickr.com/3888/...9c1aa8ab_c.jpg

Train by michael.darnton, on Flickr

So I've got to get one with the slotted film holders and the aperture/focusing sounds a touch frustrating....but not put off yet!

Another, with Polaroid 51 (high contrast), c 1974 or so.....
flash in an umbrella, probably.

https://lh3.googleusercontent.com/J0...Y=w408-h556-no

They're great cameras, and some wonderful work has been done with them. I still fantasize about getting another Super D myself... :)

But, like most things, they're far from perfect...

Quote:

---

Originally Posted by Mark Sawyer

And the viewing hood is specially designed to be a pain in the arse for anyone wearing glasses...

---

+1. This is my biggest problem so far in my occasional tinkering with Graflexes.

To the OP: don't overlook the Gowlandflex TLRs. A lot bulkier, but no moving mirror and hence no mirror noise and shock, no dust blowing around, no shutter lag, full modern flash sync, and you get to see the subject at the moment of exposure.

Mine has a Graflok back--many Super Ds do--and I bought a pair of reading glasses for the appropriate distance and that is working well.

Every time Graflexes come up, a sector wants to paint them as a p.i.t.a. and I don't know why. They're just not that hard to use. Certainly a LOT friendlier than my 8x10 is!

By heck I have just found John Minnicks Aero Liberator site http://johnminnicks.com fantastic!

Thank you for thee wet blanket! :-)

Neck strap! Great idea.

I have a Graflex Series B 5x7 reflex camera, with a graflex slotted holder and a 5x7 bag mag. I did some handheld shots wth it a number of years ago and they turned out fine. The sound it makes when shooting is like a whoosh-thunk! Although if tripod mounted, you can flip the mirror up before tripping the focal plane shutter. I'll post a shot from the camera later.

I've got an rb super d 4x5 and it does not get dust on the negatives. The 190mm is an awesome lens. It's old enough I don't dare lug it by the strap on top though. I'm not using at the moment as the focal plane shutter needs a little TLC. https://www.flickr.com/search/?w=13759696@N02&q=rb are my photos of it/ from it.

Some downsides; it is more expensive and heavier than other graflex options like speed graphics. It has limited lens options as well.

Other upsides is that the chimney hood works great in daylight; nice and dark compared to a flip up hood or modest darkcloth.

I love my Super D Graflexs -- the 3.25x4.25 even more than the 4x5. I particularly love the old leather Bag-Mags with 12 sheets of film. 3x4 sheet film is very difficult to come by (I'm down to my last 1/2 box), and the loss of 4x5 Polaroid has all but killed my Large Format work.

So a a Mag-bag holds 12 sheets of film?

Quote:

---

Originally Posted by arca andy

So a a Mag-bag holds 12 sheets of film?

---

Yes. A few of the very late ones held even more (16? 18?) but I've never seen one of them.

I have three Plaubel Makiflexes that I have been with me for close to twenty-five years.
Similar in operation to a Mamiya RB-67, or a European version of the Auto Graflex.
I have succeeded in obtaining the majority of items that were in the system.
Schneider Xenar and Symmar lenses, as well as Tele-Arton and Tele-Xenar lenses
were available in automatic-iris and manual versions. I also have a complete set
of Rodenstock Imagons and a number of barrel lenses I have adapted to these bodies.
The bellows will work with lenses from 120mm to 360mm. The 150mm F4.5 Apo Lanthar
was also in the Plaubel lineup (also with automatic iris), as well.

6x6cm and 6x9cm Makina backs, 9x12 film plates, and 4x5/Instant film Graphic holders work in this camera.

In the photo, an Automatic-iris Makiflex with 180mm Schneider Xenar, another Makiflex with the Auto-iris Schneider 210mm Xenar, and finally, the "Makiflex Standard", a basic model (no auto-iris and less features) with the 150mm F2.8 Schneider Xenotar.

Check my flikr site for more on these. Need to post more photos taken with the cameras. Working on it! https://www.flickr.com/photos/18134483@N04/

I have always wondered about convwering a vier camera reflex viewer to sit on top of a LF SLR.

A few years ago I got a reflex viewer from a Polaroid MP-4 and adapted it to my Speed Graphic. It clipped on replacing the viewing hoodd.

Anybody ever done something like that with a SLR?

Photos taken with my Graflex Series B 5x7, circa 1985. The lens on the Graflex is a Kodak No. 34 8.5 inch Anastigmat, and the film for all shots was Ektapan. Shots either handheld, braced on my lap or sitting on the table top - the last one was a handheld panning shot.

Attachment 123592 Attachment 123593 Attachment 123594 Attachment 123595

Yes, some of my favorite portraits were done with an RB Super D 4x5 with the 190 Ektar in ambient light. The previous owner did a fantastic series of street work with it--printed in platinum.
---Harry.

I like watching old newsreels, seeing the news guys on the sidelines of events, bouncing around with their huge Graflexes. Obviously they were OK with it as a hand camera.

I'm still thinking about that neck strap. My Super D is just about mint--it spent its life on a tripod in a portrait studio in Detroit--and I'd hate to punch a couple of holes in it, but still. . . .

I have been using a 4x5 Super D for 10 years, and really love it. I recently switched to Graflex 5x7 Home Portrait. All the things mentioned above--the good and the bad--are certainly true, but for me the worst is that these are orphans, and there are few people out there who can repair them, and even fewer parts.

I almost bought an Arca reflex a few years back. It has a higher sync speed than the super D (1/50 versus 1/5, IIRC) but was dissuaded by an Arca repairman, who told me it was a nightmare to fix.

https://lh5.googleusercontent.com/-T...00/MinaHat.jpg

I also have used them on and off over the years. A monopod gives you most of the mobility you want but also helps fix your position momentarily so you can focus. Reading glasses help with focus, as does really pressing into the hood with your face. The 190 Ektar on the SuperD with the auto-aperture is a very fine lens that people would be hunting down to modify if it wasn't the stock lens ;-p In any event the auto aperture is worth using and not complicated after a few minutes of familiarization. Finding a Super D that is clean and properly converted to Graflock is certainly the best way to go if you shoot a lot but even a much older version with the normal aperture and slot back will likely be usable.

Arthur Elgort and many fashion photographers have used these. Especially with Polaroid and portraiture sometimes the slight misfocusing can look OK, at least if you hit their nose and not their ears. I actually used a Grafmatic so I could shoot (waste film) quicker, 0.33 fps.

I have lots of fun with my Graflex super D 45 in Tibet. I like to use it for portraits.

I love my 5x7" Press Graflex. I found the quick rack-and-pinion focusing and reflex viewer ideal when our son was a toddler (really!), and it's a well-balanced camera, despite appearances. I usually use it with a bag mag that holds 12 shots, and it's a great size for contact printing.

The mirror slap isn't so big an issue--it lands on what seem like velvet pads, but the shutter vibration can be, especially if you try to shoot a vertical. To start with, the finder is totally impractical for vertical shots, and then there's no real way to stabilize the camera. Even on my biggest tripod with my strongest head, you've got that big mirror and big shutter both pushing sideways with not much supporting it, so there's often some camera movement. Maybe sandbags would help.

Lately, though, as my eyesight changes, I'm thinking I'm going to need different glasses for it, because the viewing distance isn't quite right with or without my glasses, and if I push my glasses down on my nose, like I normally do for reading, it doesn't quite work mechanically with the viewer. Unfortunately, normal positive reading glasses from the drug store don't do it.

Attachment 123607 Attachment 123608

Quote:

---

Originally Posted by Hugo Zhang

I have lots of fun with my Graflex super D 45 in Tibet. I like to use it for portraits.

---

Your Tibet thread was one of the first things that started this slight obession....must have been a hell of a trip! Got anymore Super D adventures planned??

Quote:

---

Originally Posted by David A. Goldfarb

...I'm thinking I'm going to need different glasses for it, because the viewing distance isn't quite right with or without my glasses, and if I push my glasses down on my nose, like I normally do for reading, it doesn't quite work mechanically with the viewer. Unfortunately, normal positive reading glasses from the drug store don't do it.

---

That's where I am too, alas. Without glasses is impossible because I need way too strong a correction, but all the reading glasses and supplemental lenses I've tried so far are either optically not quite right, mechanically far too fussy with the viewing hood in the way, or both. A very long-barrelled loupe might be good for certain subjects, but so far I've struck out on that idea as well.

Quote:

---

Originally Posted by Oren Grad

That's where I am too, alas. Without glasses is impossible because I need way too strong a correction, but all the reading glasses and supplemental lenses I've tried so far are either optically not quite right, mechanically far too fussy with the viewing hood in the way, or both. A very long-barrelled loupe might be good for certain subjects, but so far I've struck out on that idea as well.

---

Some pictures of Edward Weston show him wearing rather prissy-looking Pince-Nez glasses, which is the only thing he found worked with the Graflex chimney.

I got mine a year or so ago. I enjoy shooting with it. Did some modifications - take a look - http://www.pbase.com/rsweatt/rb_mods

or

one of these:


Attachment 123612


4x5 twin lens reflex - with parallax correction

TWR would be sweet! Pretty damn rare though.

I built a camera like the Minnicks Aero Liberator (since I like DIY and figured I could do it as well, plus didn't want to spend the $2k he wants for his work). I started with a 3x4 RB Super D and added a 4x5 Graflok back. I didn't keep the rotating feature. I have pics posted here, somewhere in the DIY camera thread, I will find it if need be. I used a 4x5 Graflok back from a speed graphic, and cut it down to minimum possible size. I mounted it vertically, with the "opening" end of the graflok pointing downward. this was so I could mount an RZ67 prism above it and not have it interfere with the back. The max size you get is about 4" wide x 4.5" high with this arrangement. The focus plane is in the same place, basically, so no real need to shim the ground glass.

With the execption of 2 small corner cuts on the rear brass plate that holds the rotating back, everything was reversible should I choose to do so. I used the mounting holes for the rear brass plate to mount the 4x5 magnesium graflok back, which worked out fine. I did have to use black silicone to fill a few small gaps around the edge, but it worked out fine and removes pretty cleanly if need be.

All in all it's a great hand-held portrait rig. I use mine with an RZ67 prism on top which gives right-side-up viewing, and covers about 70% of the frame or so. I built a new front standard to take various larger-sized custom lensboard choices. My main lens is an 8" Pentac f/2.9 which reaches infinity perfectly yet also close-focuses to 1-2feet or so. It also takes a Nikkor 270-T just perfectly, and also reaches infinity where it should. Close-focus is a bit more limited but can still do a pretty tight head-shot. I also use it some with a 360 Tele Arton, which needs some extra extension, but can go from infinity to about 5' close-focus distance.

the RZ67 prism makes for a bit heavy but still doable for hand-holding, esp. with the Pentac (relatively light for it's speed). If I was to do it again, I'd probably seek out a Fuji GX680 prism, as it should cover more of the frame, and they are cheap enough. I used the RZ prism since i had it on hand.

Here's pics:

http://www.largeformatphotography.in...=1#post1058026

-Ed

Quote:

---

Originally Posted by EdSawyer

TWR would be sweet! Pretty damn rare though.

I built a camera like the Minnicks Aero Liberator (since I like DIY and figured I could do it as well, plus didn't want to spend the $2k he wants for his work). I started with a 3x4 RB Super D and added a 4x5 Graflok back. I didn't keep the rotating feature. I have pics posted here, somewhere in the DIY camera thread, I will find it if need be. I used a 4x5 Graflok back from a speed graphic, and cut it down to minimum possible size. I mounted it vertically, with the "opening" end of the graflok pointing downward. this was so I could mount an RZ67 prism above it and not have it interfere with the back. The max size you get is about 4" wide x 4.5" high with this arrangement. The focus plane is in the same place, basically, so no real need to shim the ground glass.

With the execption of 2 small corner cuts on the rear brass plate that holds the rotating back, everything was reversible should I choose to do so. I used the mounting holes for the rear brass plate to mount the 4x5 magnesium graflok back, which worked out fine. I did have to use black silicone to fill a few small gaps around the edge, but it worked out fine and removes pretty cleanly if need be.

All in all it's a great hand-held portrait rig. I use mine with an RZ67 prism on top which gives right-side-up viewing, and covers about 70% of the frame or so. I built a new front standard to take various larger-sized custom lensboard choices. My main lens is an 8" Pentac f/2.9 which reaches infinity perfectly yet also close-focuses to 1-2feet or so. It also takes a Nikkor 270-T just perfectly, and also reaches infinity where it should. Close-focus is a bit more limited but can still do a pretty tight head-shot. I also use it some with a 360 Tele Arton, which needs some extra extension, but can go from infinity to about 5' close-focus distance.

the RZ67 prism makes for a bit heavy but still doable for hand-holding, esp. with the Pentac (relatively light for it's speed). If I was to do it again, I'd probably seek out a Fuji GX680 prism, as it should cover more of the frame, and they are cheap enough. I used the RZ prism since i had it on hand.

Here's pics:

http://www.largeformatphotography.in...=1#post1058026

-Ed

---

you might have been able to use the cambo reflex finder as well

thing about your rig.. which is the thing about RB Graphics and super d's..is flash sync

there basically is none

with my cambo tlr.... flash sync is not a problem..it's not a single lens reflex...but it does have parallax correction

Yes, no flash sync is a killer for me...

Quote:

---

Originally Posted by Randy

I got mine a year or so ago. I enjoy shooting with it. Did some modifications - take a look - http://www.pbase.com/rsweatt/rb_mods

---

How did you put the dowels into/onto the camera sides to hold the guitar strap?

Quote:

---

Originally Posted by Randy

I got mine a year or so ago. I enjoy shooting with it. Did some modifications - take a look - http://www.pbase.com/rsweatt/rb_mods

---

Nice mods and images!

Quote:

---

Originally Posted by DrTang

or

one of these:


Attachment 123612


4x5 twin lens reflex - with parallax correction

---

How is parallax correction done?

With careful preset aiming of both lenses on a certain point?

I love working with my Graflex RB 4x5. I have had mine modified to take the newer holders, Graflex I believe? I use Grafmatics with no trouble.

The rotating back means horizontal and vertical shots can easily be accommodated just by pulling a small pin and rotating the back.

I carry mine around by hand but I have also shot it from a tripod. I have an old metal beastie with a Majestic geared head that I don't think even feels the weight.

Using bifocals can be done but it is a lot easier to use reading glasses to focus.

I have no real trouble with focus. I focus wide open and then set my aperture and shutter when I'm ready to take the photograph.

I did have mine professionally serviced and cleaned a few years back but I have never had any trouble with dust on my negatives, at least no more than normal for any of my LF cameras.

It is really like buying and using anything else this old. Condition is important. Either buy from someone who you trust or be prepared to spend the money to clean it up and overhaul it.

There are lots easier ways to shoot large format. The Crown or Speed Graphic are excellent cameras to get started. It takes dedication to work with a Graflex LF SLR, but I love using them.

(That neckstrap sure does look nice though! :))

A couple of notes about the RB.. First, the 178mm f2.5 Aero Ektar will NOT fit the 4x5. The rear of the lens intrudes and hits the mirror.
I bought a Super D planning to use an Aero Ektar (back when you could get one for $50). However, it will fit on a 3x4 RB. I dont know what other mods are required.

2nd, there is an issue of longer lenses, where the mirror bumper on the bottom of the box will cause a vingiette ( on the top of the image). This is more pronounced in portrait format.

3rd, the Super D actually has fairly small lens boards. A large lens like the Aero Ektar may not fit at all without a modification. The older RB i think takes more standard 4x4 lensboards, but you should ask before buying.

All that said, the RB in any form is a lot of fun. It is bulky, but not really heavy. I had a heavy duty monopod (center column from a Tiltall) that really made it nice to use.

There are some roll backs made for the graflex cameras in their various sizes. Many fast lenses will fit as well, and petzval style fast glass makes a good home.

The slotted holders are expensive since people know they are hard to find.

Quote:

---

Originally Posted by Randy

I got mine a year or so ago. I enjoy shooting with it. Did some modifications - take a look - http://www.pbase.com/rsweatt/rb_mods

---

I especially love that eyepiece. I've been thinking how to make something like that but I was thinking binocs. That's the most frustrating part of using my RB model D, focusing with my glasses. Thanks for the great idea and the pics.

Quote:

---

Originally Posted by Randy Moe

How is parallax correction done?

With careful preset aiming of both lenses on a certain point?

---

IIRC a sliding mask coupled to the focus rack, so that is restricted to the standard focal length. The Cambo was marketed as a mug shot camera (used ones generally are from Dutch, German or French police surplus auctions).

Quote:

---

Originally Posted by Randy Moe

How is parallax correction done?

With careful preset aiming of both lenses on a certain point?

---

there is a cam that moves both lensboards closer or farther apart... I have the 150's on mine..but they also made cams/lens sets in 240 and 270

I replaced the 150 xenar it came with ..with a 150 heliar I had.. I need to test it out to make sure the focus still good

I am scouring the globe looking for a set of 240mm lenses with cam right now

I did find my camera in Denmark, btw


also..one can mount the unit on it's side for verticals - it's a bit awkward..but it'll work

only downside is that my polaroid/fuji 405 pack film holder will not work with it.. I could use the polaroid 545 holder..were I to have any film though

Quote:

---

Originally Posted by Bill_1856

How did you put the dowels into/onto the camera sides to hold the guitar strap?

---

They are strap lugs that I got at the music store, designed for the guitar strap - I drilled through the body and bolted them on.

I have 2 late model super d-s . One 3x4 and one 4x5 .They both have two prong flash sync off the shutter curtain. I do not know the speed of the sync as I have never used it, easy to find out on line. The 4x5 has nice large strap luges and a standard film back. I think the back was a option at the time. These cameras had a long production run the latest having the better options. Both cameras have the small lens boards that are interchangeable between the two but will not fit the pacemaker or the crown.

Quote:

---

Originally Posted by DrTang

there is a cam that moves both lensboards closer or farther apart... I have the 150's on mine..but they also made cams/lens sets in 240 and 270

I replaced the 150 xenar it came with ..with a 150 heliar I had.. I need to test it out to make sure the focus still good

I am scouring the globe looking for a set of 240mm lenses with cam right now

I did find my camera in Denmark, btw


also..one can mount the unit on it's side for verticals - it's a bit awkward..but it'll work

only downside is that my polaroid/fuji 405 pack film holder will not work with it.. I could use the polaroid 545 holder..were I to have any film though

---

Thank you. I imagine a GowlandFlex is different?

Gowland tlr also uses a cam for parallax.

DrTang, if you or anyone ever wants to sell a Cambo TWR, I would be interested!

Quote:

---

Originally Posted by EdSawyer

Gowland tlr also uses a cam for parallax.

---

Later ones only.

Cambo TLRs occasionally show up on eBay Germany and other continental auction sites, often missing the lenses and very affordable. Finding a accurately matched lens pair may be difficult, though. I sold off mine after I discovered that there was around 3mm between the focal lengths of the two 150mm Symmars I had at hand, and a third one I bought because of that was off in yet another direction.