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

[arca andy]

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

[IanG]

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

[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...

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.

[Jim C.]

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.

[jcoldslabs]

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...

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

[mdarnton]

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:



Train by michael.darnton, on Flickr

[arca andy]

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!

[mdarnton]

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

[Mark Sawyer]

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...

[Oren Grad]

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.