LF 4x5 - What to buy?

[Oren Grad]

First, although there is a jump in quality from medium-format to 4x5, that shouldn't be the reason you choose for moving up to a 4x5 view camera. View cameras, by their nature, offer many more possibilities for processing control (single sheets instead of roll film) and image control (camera movements). Having a real desire to take advantage of one or both of these advantages should be your real motivation to move up to a view camera.

I disagree, strongly. I mostly use a standardized development time and I use movements sparingly and could happily live without them. (Some of my LF cameras - Graflexes, Gowlandflex, wide-angle and pinhole box cameras - have no movements at all.) For me the magic of big negatives is in the contact prints they allow me to make. Each film format and corresponding print size has its charms. The large format shooting experience can be distinctive, too, and sometimes I'm especially in the mood for that.

We can't know what, if anything, Marcia might enjoy about LF; she's entitled to decide that for herself. Best for Marcia just to get started with equipment she can reasonably afford, try different ways of using the camera and making prints, and discover what resonates for her and what additional features or capabilities, if any, she needs to add to pursue that further.

Marcia: good luck and enjoy, wherever your explorations may lead!

[Ivan J. Eberle]

The subject matter you're interested in photographing will determine what the appropriate lens choices are, and then large format camera-type choice becomes secondary to that. For instance, if landscapes are what you shoot, and very wide-angle lenses are needed, there are a couple of specific camera types that work well with that, and several that don't. If portraiture is your thing, there are specific lens sets that might eliminate some cameras from consideration, etc.
The months-long learning curve to getting proficient with LF gear means that getting it right out of the starting blocks is probably wisest. But if you don't splash out on new gear, as mentioned above, you can probably get close to what was invested carefully in used gear back out of it should you find you want or need something else.

The best part of LF today (at least to me) is that there's a superabundance of used professional gear that got dumped in the marketplace a decade or more ago that is still often perfectly functional and that sells for dimes to the dollar/pennies to the pound. The bigger cost over time will almost certainly be the expense of film and developing, and your time.

[IanG]

I second Ian's recommendation of a later model MPP Micro-Technical camera. It may be slightly less versatile than a full-feature view camera and heavier than some press cameras, but is a well engineered and built camera. As Tobias suggests, experience with your first LF camera will enable you to choose your ultimate LF camera based on your own preferences, not on what others like. Feel free to ask questions here about any camera you become interested in.

I'm not specifically suggesting an MPP, my main 5x4 camera ia Wista 45DC (wood/brass field camera) which I've used for about 30 years more than enough movements. I had a couple of monorails but they are less practical for landscapes and as they weren't used I sold them.

A few years ago I picked up a bargain Super Graphic from a Forum member in London this has less movements compared to my Wista but still enough for my landscape work, and more importantly I can use it hand held.

If I had to criticise the Intrepid it doesn't fold up, I like a camera that folds with a lens into a backpack. In that respect the Wista is OK but the Super Graphic and MPPs are more robust.

Ian

[R.K]

Large format photography much different from Digital SLR. Before you start collecting staff and equipment get some understanding about the field of photography you are going to enter. Look for some books like How to use and operate large format camera or similar. Probably you can find them in libraries or on the internet used books market. By reading this you will get some fillings about the cameras their design and what can they do, a lot of reading available on the internet to, check YouTube for the videos. Also what is important you will understand better what camera you need, because you probably already know what kind of photographs you want to create. For example if you planning to do portraits in the studio the weight and size of the camera less important and it can be a wooden portrait camera with not many movements or monorail camera, if you will be doing field photography the weight of the camera is a big issue and you probably need some wooden folding camera with a lot of movements and enough of bellows draw, if you will photographing flowers in your backyard the monorail camera with long bellows will be the best. In the same time from the book you will find some information on lenses and understand what kind of lens you need for the beginning. Also very important to get some understanding in the film developing proses. How to do this and what equipment you will need. Today not so easy to find places where large format film can be developed, and if you wouldn’t find that kind of place it will be necessary for you to do developing by yourself. And the easiest way to start learn developing from B&W negative film. And about tripods. The main purpose of the tripod to be strong enough to support the weight of you camera. Each tripod and tripod head designed for some particular maximum camera weight. Depends on the camera you will finally purchase you will figure out if you tripod are strong enough to support that particular camera.

[Tin Can]

The Intrepid DOES fold up and is the lightest well-made camera I have seen.

Fact

I'm not specifically suggesting an MPP, my main 5x4 camera ia Wista 45DC (wood/brass field camera) which I've used for about 30 years more than enough movements. I had a couple of monorails but they are less practical for landscapes and as they weren't used I sold them.

A few years ago I picked up a bargain Super Graphic from a Forum member in London this has less movements compared to my Wista but still enough for my landscape work, and more importantly I can use it hand held.

If I had to criticise the Intrepid it doesn't fold up, I like a camera that folds with a lens into a backpack. In that respect the Wista is OK but the Super Graphic and MPPs are more robust.

Ian

[IanG]

The Intrepid DOES fold up and is the lightest well-made camera I have seen.

Fact

If I had to criticise the Intrepid it doesn't fold up, I like a camera that folds with a lens into a backpack. In that respect the Wista is OK but the Super Graphic and MPPs are more robust.

I did qualify that by saying folding up with a lens fitted I also like the fact that the focus hood on the Super Graphic and my MPP's acts as a screen protector.

Ian

[Alan Gales]

The Intrepid is new. I'm not familiar with it but I trust Randy's judgement. He knows his stuff. The price is right and it will be small and lightweight for backpacking. It will be great for general photography if you want to get out in the world. If you do serious architecture or are always in a studio, I would buy a monorail instead.

Whatever you buy for your first camera you may end up selling and buying something else later after you learn what you like. I didn't keep my first camera and a lot of us don't. It is important that you do buy something and start shooting film and not fret too much over which camera to buy.

For a lens it's a good idea to get a "normal" focal length for your first lens. Normal is considered 135mm to 180mm. Some add 210mm to the mix because it was such a popular focal length for monorails. Get something from Rodenstock, Schneider, Nikon or Fuji in a modern Copal shutter. Don't worry about brand but let price and condition be your guide.

A nice two lens kit could be a 135mm and a 210mm. A nice three lens kit could be a 90mm, 150mm, and a 210mm. Of course this is a general opinion. Lens choice is a very personal choice.

Have fun and don't get overwhelmed. There is a lot of information out there and a lot of good people on this forum who are willing to help you.

[IanG]

You seem anti-Intrepid...

Not really, they are a slight improvement on the Bulldog cameras, I just think you can buy a far better second hand camera with a lens for the same price (here in the UK).

Ian

[Luis-F-S]

Whatever you buy don't spend much because you'll want something different within a year!

[IanG]

Whatever you buy don't spend much because you'll want something different within a year!

I'm not sure that's true. In my own case I used my first LF camera a very heavy De Vere monorail for quite a few years, supplementing it with a Wista 45DX a decade later. Everyone I know used their original LF cameras for years only a few upgrading after heavy use.

That might well be true though if you start with a Speed/Crown Graphic because their movements are so poor and limiting, I do use them so that's from experience. Luckily they are expensive in the UK now and exchange rates aren't in our favour plus import taxes on a camera and shipping will add at least a third more in costs.

It's why I always suggest trying before buying, finding loacl LF users.

Ian