Ebony Camera Going Out of Business? - Confirmed

[Tim Meisburger]

I have a 45s which I expect to die with. It really is a pleasure to use. When I was shopping for it (I bought it used) I couldn't decide between the non-folding 45s in ebony and the folding SV45 in mahogany. I got the ebony, but I still wonder... Sad to see them go.

[Tim Meisburger]

Sakanashi-san's age may be a factor and there maybe no one to carry on the business.

Kumar

Kumar or Oren - Could one of you contact him and see if his parts supplier is up for selling parts kits? It would be great if those are made by someone else and could continue to be available for the DIY crowd.

[Sal Santamaura]

Sakanashi-san's age may be a factor and there maybe no one to carry on the business...

My old View Camera magazines aren't readily accessible right now, but I seem to remember a short article around a dozen or more years ago which profiled Hiromi and mentioned that his daughter was going to take over the business.

The most likely explanation is that Chinese competition and humanity's "Walmart" attitude did in Ebony on price. That combined with the decline in view camera use since digital photography essentially replaced film for commercial applications, which is how most large format cameras were used in "the good old days."

[Two23]

The most likely explanation is that Chinese competition and humanity's "Walmart" attitude did in Ebony on price. That combined with the decline in view camera use since digital photography essentially replaced film for commercial applications, which is how most large format cameras were used in "the good old days."

Yeah, but I have to wonder how many people running a business would buy a high end field camera rather than a plain jane Sinar or Cambo monorail if all they wanted was something utilitarian. The Ebony appeals to the "Leica" end of LF users, I think. There is some status involved. I think that while the number of people using LF has obviously decreased since the 1990s, it was under assault even then with cameras such as Fuji 680 and Hassleblad Flex. The people using LF commercially generally did so in a studio, and monorails reigned supreme. If anything, we are now in the age of field cameras with serious hobbyists looking for cameras that are portable, "sexy", and a good value (in that they aren't likely to be earning $$ with it.) My walnut and titanium Chamonix does all that for me at a fraction of the cost. Ebony could most likely have cut costs by moving production to China or somewhere, but must not have wanted to do that. At $1,500 I would have been a buyer of a 4x5.


Kent in SD

[Sal Santamaura]

Yeah, but I have to wonder how many people running a business would buy a high end field camera rather than a plain jane Sinar or Cambo monorail if all they wanted was something utilitarian...

Back in "the good old days," a Sinar was probably more expensive than an Ebony. Cambo had some high-priced models too. Ebony was largely sold to professionals then, particularly in Japan.

...Ebony could most likely have cut costs by moving production to China or somewhere, but must not have wanted to do that...

I should say not. It wouldn't be an Ebony, and the bellows would likely stink rather than exuding the pleasant leather aroma they do.

...At $1,500 I would have been a buyer of a 4x5...

Then you are probably happy with all the Chinese options available at that level.

Personally, I'm perfectly content with my SV57 and SV Wholeplate. I've occasionally pondered adding an SV45Ti, but my 4x5 Phillips (from Dick's last production) will have to do now.

[Oren Grad]

Kumar or Oren - Could one of you contact him and see if his parts supplier is up for selling parts kits? It would be great if those are made by someone else and could continue to be available for the DIY crowd.

That's probably best done by somebody who can offer some combination of 1) having an existing relationship, 2) being fluent in Japanese, 3) being local. Afraid I'm zero for three.

[B.S.Kumar]

That's probably best done by somebody who can offer some combination of 1) having an existing relationship, 2) being fluent in Japanese, 3) being local. Afraid I'm zero for three.

I'm local, but I don't have an Ebony, and can barely get by in Japanese.

Kumar

[Theodoros]

Yeah, but I have to wonder how many people running a business would buy a high end field camera rather than a plain jane Sinar or Cambo monorail if all they wanted was something utilitarian. The Ebony appeals to the "Leica" end of LF users, I think. There is some status involved. I think that while the number of people using LF has obviously decreased since the 1990s, it was under assault even then with cameras such as Fuji 680 and Hassleblad Flex. The people using LF commercially generally did so in a studio, and monorails reigned supreme. If anything, we are now in the age of field cameras with serious hobbyists looking for cameras that are portable, "sexy", and a good value (in that they aren't likely to be earning $$ with it.) My walnut and titanium Chamonix does all that for me at a fraction of the cost. Ebony could most likely have cut costs by moving production to China or somewhere, but must not have wanted to do that. At $1,500 I would have been a buyer of a 4x5.


Kent in SD

The number of people using LF might have decreased, but I don't think that the number of people using view cameras have decreased at all... IMO, view cameras are by nature a kind of camera that offers little reasons for one to upgrade and that affects negatively demand for new products... That said, I think what affects more companies like Ebony is the adaptability they have with respect to image area size/evolution... IMO, no view camera maker will be able to survive in the future unless if the products are able to cope well with image areas down to 35mm film size... Sinar, Arca & Cambo have understand that and thus they offer an upgrade path where a pro can start by using a cheap (Sony a7) mirrorless for image area and use old (but still very capable - with enough image circle) lenses keeping the costs (and the size of equipment) to a minimum, yet sacrificing very little (if any) in quality and then follow a step by step upgrade path (on the same system) up to whatever image area he is after....

One can't blame a young pro (that has perhaps just finished his photography course) for choosing this path... It is sensible and reasonable to do so and thus he will avoid investing on a system that asks him to start with a significantly higher investment that requires larger (and much more costly) image areas and larger image circle lenses.

[Bob Salomon]

The number of people using LF might have decreased, but I don't think that the number of people using view cameras have decreased at all... IMO, view cameras are by nature a kind of camera that offers little reasons for one to upgrade and that affects negatively demand for new products... That said, I think what affects more companies like Ebony is the adaptability they have with respect to image area size/evolution... IMO, no view camera maker will be able to survive in the future unless if the products are able to cope well with image areas down to 35mm film size... Sinar, Arca & Cambo have understand that and thus they offer an upgrade path where a pro can start by using a cheap (Sony a7) mirrorless for image area and use old (but still very capable - with enough image circle) lenses keeping the costs (and the size of equipment) to a minimum, yet sacrificing very little (if any) in quality and then follow a step by step upgrade path (on the same system) up to whatever image area he is after....

One can't blame a young pro (that has perhaps just finished his photography course) for choosing this path... It is sensible and reasonable to do so and thus he will avoid investing on a system that asks him to start with a significantly higher investment that requires larger (and much more costly) image areas and larger image circle lenses.

Except that path will not delver the results that a modern digital view camera equipped with digital lenses can provide. Thus that new pro will start off behind other well equipped pros. And to get that well equipped will cost about the same as a new car. So maybe the better approach is to start out with a lesser car and become well equipped to compete in their profession.

[Kirk Gittings]

Except that path will not delver the results that a modern digital view camera equipped with digital lenses can provide. Thus that new pro will start off behind other well equipped pros. And to get that well equipped will cost about the same as a new car. So maybe the better approach is to start out with a lesser car and become well equipped to compete in their profession.

Agreed. Though he didn't specify what he meant by "young pro" I assume he is talking about commercial work. In the commercial field virtually all deliverable products are digital no matter what you start with. With film you start at a distinct disadvantage in terms of workflow and little if any advantage in the final product. Film can work as a nice niche marketing hook that is attractive to the odd client and give a distinctive look to a final product but not a "better" final product. As well established as i am, I would starve shooting film commercially, if nothing else because of the hugely extended processing times.

In terms of cost, most pros I know (and I know top pros in many genres across the country) almost everyone is primarily shooting DSLRs. A good DSLR with good lenses far exceeds the quality needed by most client applications.