My First 4x5 Camera Search Continues...

[Steve Barber]

Unlike the owner of the Ebony RSW45 who mainly photographs landscapes, I like to photograph a wider variety of subjects including...

• Architecture (External and Internal)
• Landscapes
• Seascapes
• Still Life

I am just not quite sure whether not having any Rear movements or front swing would limit me in what I like to photograph.

Thoughts...

i have a Wide45, and a SV45U2, the Wide45 used for shorter lenses, up to 210mm, but not for still life. However, the RSW45, a specialty camers built for and sold by Robert White, would have been my choice if i had not found the Wide45. For architecture, landscapes and seascapes, the RSW45 should be every bit as good as my Wide45. The problem would be with the still life.

Howeverc, there are plenty of monorails about and one of those along with the RSW45 would be a formidable combination for what you are interested in. You would have, basically, unlimited bellows length and no limitation on movements. The total cost would be very reasonable and the camera you would be, most likely, using in the field would be very convenient and easy to carry.

[IanBarber]

In your opinion Steve, would the RSW45 have any limitations for architecture with it having a fixed back

[IanG]

Read the spec it's about as limiting as a Crown/Speed Graphic, perhaps more so in some ways, max 180mm lens only front rise/fall and tilt. Great as a landscape camera but useless for architecture. Only advantage over a Crown/Speed Graphic is better front tilt.

Steve's suggesting you get two cameras

Ian

[Luis-F-S]

In your opinion Steve, would the RSW45 have any limitations for architecture with it having a fixed back

For Architecture I used an F2. The fixed back should make little difference as long as it can handle short lenses, I used as short as 47mm. I used front rise more for architecture. L

[IanG]

For Architecture I used an F2. The fixed back should make little difference as long as it can handle short lenses, I used as short as 47mm. I used front rise more for architecture. L

A fixed back is fine as long as there's a lot of front swing and shift for architecture, the RSW45 has no swing or shift at all according to the spec page. It seems to be a cut and paste then edit from another camera spec sheet and they've forgotten to take out the great for architecture bit.

Ian

[M.B.]

Hi,
if I wont to buy a 4x5 and I had enough money, I would buy a Linhof Technikardan S.
A very light camera for a monorail, and lot of movements.

Markus

[Bob Salomon]

Hi,
if I wont to buy a 4x5 and I had enough money, I would buy a Linhof Technikardan S.
A very light camera for a monorail, and lot of movements.

Markus

+1

[AuditorOne]

I think that a newbie, just getting into large format, should really consider buying a Cambo SC 4x5 monorail. It is the best teaching camera I own. If I am not too sure how to accomplish something I grab the Cambo and fiddle until I figure it out or I decide it is too much hassle. For very little money you can buy the camera, lens boards, compendium lens shades, bag bellows, and on and on.

Once you have learned whether you like large format or not, and have taught yourself what the format can do, then you can make some informed decisions of what you want and need. Field cameras are neat but there is nothing like a monorail to teach you all the movements, how to use them, and why. Once you have learned that you will know what you want in a field camera because most of them do not include all the movement you may need.

You can even pack one into the back country if you want. The camera comes apart very quickly and can easily be packed as separate pieces into a back pack, along with quite a bit of film.

[barnacle]

I have to admit that although I have a couple of wooden field cameras - one self made - and a press camera (which is like a field camera but usually with restricted movements, and made of something like cast iron from the weight of it!) I'm tempted by a cheap and cheerful rail camera...

That said, I'm not sure if it's something I'd recommend to start with. It does rather depend on your previous experiences, and a lot on what it is you're planning on photographing, but it's possible that the wealth of movements available on a rail camera might simply add to the confusion you will inevitably suffer from when you start. Portraiture, architecture, landscapes, and even some action shots can all be done with a press camera - say MPP or Speed Graphic - or, as mentioned up thread, the slightly more complex MPP MkVII (which is another camera I have my eye on).

The point is, you might buy a camera and never use half the things it can do simply because you never need to. Or you might buy your first camera, and play with it until you find the things it *can't* do but that you want to, and then sell it to fund a camera that fits your work flow.

Neil

[Steve Barber]

In your opinion Steve, would the RSW45 have any limitations for architecture with it having a fixed back

I think of my WIDE45 as an "urban landscape" camera and it handles most exterior shots of buildings without using any of its front shift or swing. Like the RSW45, it does not have any back movements (ignoring a slight amount of tilt and swing that its extension back will allow and that, normally, isn't used). For more complicated interior shots, the RSW45's lack of front swing and shift could be a problem.

Most of the time, what is needed is front rise and a lot of it. The RSW45 has the same 60mm of front rise that my WIDE45 has and that is enough to get full benefit from a 90mm Super Angulon XL. If you want to use that lens, you need to be sure that the camera frame does not interfere with the lens' rear element, preventing getting the maximum usable rise with it. I leave the 90mm SA XL in the car and do not get it out unless I need its extra coverage. Most of the time, 60mm of front rise is overkill. The Rodenstock 90mm f4.5 Grandagon-N is a lot more convenient to carry and, usually, has enough coverage for the rise that is needed.

In short, with cameras, everything is a compromise. Adding the monorail with a lens board adapter to take the Ebony lens boards won't add much to your total cost and will do anything the RSW45 won't. With a lens range of 47mm up to 210mm (using an extension tube) the RSW should do most of what you need without the inconvenience of carrying a monorail around.

Last, I am attempting to answer what you asked. I am not saying that the RSW45 is exactly what you need. However, I had the SV45U2 and added the WIDE45 to get a combination I liked better. I think the RSW45 and a monorail would provide a similar result for you.

Besides, everybody needs a monorail. :-)