Some suggestions on how to choose your ULF camera format.

[angusparker]

Just finished a blog post on what you might consider while picking out your ULF view camera. Would be great if people could add their two cents and I'll edit the post. Thanks

Blog Post:
What is the ULF format for you?

The things I considered were:
(1) shape (square versus panoramic)
(2) Finished print size and your darkroom setup
(3) film availability and cost
(4) weight/portability - field versus studio
(5) whether you can use wide, normal or long lenses for the format given the bellows length
(6) camera cost and availability and
(7) lens cost and availability

Anything else you would add?

[Mark Sawyer]

Lens board size. Big cameras sometimes need big lenses.
Sturdiness of the front standard for those big lenses.
Film/plate holder availability/cost.
Movements. The current reproductions of early cameras often have none.

[Scott Davis]

What is your desired end-product? If you are looking to shoot film, one range of cameras will be appropriate. If you are looking to do ULF collodion, dry plate, or other in-camera original (daguerreotypes, other options?), you're looking at a different range of cameras. Subject matter is also a consideration - if I'm looking to shoot mainly landscapes, I want something light, portable, some movements, bellows draw may be less of a concern as I'm probably using wider-angle lenses that use less. If I'm doing studio portraits, movements can be minimal to nonexistent, I'll want as much bellows draw as I can get my hands on, and I'll want a big honkin' lensboard that can handle whatever massive fast-aperture glass I can throw on it.

[angusparker]

Lens board size. Big cameras sometimes need big lenses.
Sturdiness of the front standard for those big lenses.
Film/plate holder availability/cost.
Movements. The current reproductions of early cameras often have none.

Great points - I'm a film shooter myself - so I can go for slower more modern lenses. I'll incorporate this into the post - under (2) the finished product.

[angusparker]

What is your desired end-product? If you are looking to shoot film, one range of cameras will be appropriate. If you are looking to do ULF collodion, dry plate, or other in-camera original (daguerreotypes, other options?), you're looking at a different range of cameras. Subject matter is also a consideration - if I'm looking to shoot mainly landscapes, I want something light, portable, some movements, bellows draw may be less of a concern as I'm probably using wider-angle lenses that use less. If I'm doing studio portraits, movements can be minimal to nonexistent, I'll want as much bellows draw as I can get my hands on, and I'll want a big honkin' lensboard that can handle whatever massive fast-aperture glass I can throw on it.

What would be the best camera for ULF collodion, dry plate, in-camera originals as compared to film? Is it simply a beefier front standard and larger lensboards for faster barrels? Or is there something more? Thanks. Angus

[Scott Davis]

First and foremost it would be beefier standards and bigger lensboards to take the weight of the big glass. It's not so much an issue with smaller LF cameras, but once you get into the ULF sizes, the plate backs that go on the camera start getting HEAVY (massive wood frame to hold the glass plate, then the glass plate itself), so you need a rear standard that can take the weight. At those sizes, you're also more likely to want a ground glass focusing screen panel that can swing out of the way, instead of requiring you to lift the plate back over your head to slide it in between the ground glass and the rear frame.

[ic-racer]

I'd want to consider, how it focuses, does it have movements on the front standard, how or if it folds, does it come apart easily for repairs, how much if vibrates when you knock it, does it come with film holders, what kind of tripod mount and where it balances. There are a lot of contraptions out there in ULF land that only the mother/creator could love.

[angusparker]

I'd want to consider, how it focuses, does it have movements on the front standard, how or if it folds, does it come apart easily for repairs, how much if vibrates when you knock it, does it come with film holders, what kind of tripod mount and where it balances. There are a lot of contraptions out there in ULF land that only the mother/creator could love.

Ha, Ha - the Frankencameras are coming!

[Mark Sawyer]

What would be the best camera for ULF collodion, dry plate, in-camera originals as compared to film? Is it simply a beefier front standard and larger lensboards for faster barrels? Or is there something more? Thanks. Angus

For those doing landscapes, still lifes, or other work where exposure times don't matter so much, and who don't need a shallow depth of field or wide-open lens signature, smaller, slower lenses can be light and compact. Depends on what you're doing...

For some, the aesthetics are also important. A Civil War re-enactor wouldn't want to show up with an 11x14 Arca-Swiss monorail...

[angusparker]

For those doing landscapes, still lifes, or other work where exposure times don't matter so much, and who don't need a shallow depth of field or wide-open lens signature, smaller, slower lenses can be light and compact. Depends on what you're doing...

For some, the aesthetics are also important. A Civil War re-enactor wouldn't want to show up with an 11x14 Arca-Swiss monorail...

Too true!