First and second lenses for new 4x5 shooter

[Alan Klein]

Plenty available for less...
...

Put out a WTB ad here.

Bryan, Thanks for your input. I decided on the more expensive unit because the lens looked cleaner in the pictures and the Japanese seller was rated at 100% on eBay regarding no complaints. Also, he wouldn't budge like the other sellers to lower his price when I offered to pay less. The other's lowered theirs. So either he's a better poker player and bluffs better than me or he believe his prices are very fair and can't reduce his prices. I like to think it's the latter and that I made a fair deal at the right price.

[Alan Klein]

35mm is a long, narrow format. 45 is short and squat.

Use the horizontal angle of coverage to compare equivalent focal lengths.

Lenses wider then 75mm from major manufacturers do not distort.
The angle of the camera back to the subject is used to correct keystoning which is more apparent with wider lenses.

Thanks Bob, Yes that's what I meant. Not distort. Keystoning. It can't be corrected with my medium format roll camera. But you're telling me that I'll be able to correct it with the new 4x5. That's great. So I might select a wider angle than before. No rush. Let me get use to shooting with the 150. I'll decide on other lenses later. For me, the angele of coverage horizontally in degrees is a better guideline. Where could I find comparisons between 35mm, MF and 4x5?

[Bob Salomon]

Thanks Bob, Yes that's what I meant. Not distort. Keystoning. It can't be corrected with my medium format roll camera. But you're telling me that I'll be able to correct it with the new 4x5. That's great. So I might select a wider angle than before. No rush. Let me get use to shooting with the 150. I'll decide on other lenses later. For me, the angele of coverage horizontally in degrees is a better guideline. Where could I find comparisons between 35mm, MF and 4x5?

As long as your camera has back movements you can correct or create the effect. Back movements control the shape of the subject as well as doing Scheimpflug control. Front movements can not correct subject shape.

[Corran]

As long as your camera has back movements you can correct or create the effect. Back movements control the shape of the subject as well as doing Scheimpflug control. Front movements can not correct subject shape.

One does not need back movements to correct keystoning...merely front rise/fall to change the composition as needed w/o tilting the camera from parallel!

And, if one wanted to induce this instead of correct, simply leaning the camera backward/foreward and using front tilt to "correct" the tilt and/or get focus correct is just as valid as rear movements...in fact rear movements are no different than front movements, given that you can simply tilt the camera and get the same back/front standard relationships.

[Two23]

One does not need back movements to correct keystoning...merely front rise/fall to change the composition as needed w/o tilting the camera from parallel!

Yes. I do this all-the-time. It's why I bought into 4x5 in the first place, and have the Nikon 24mm PC-E for my Nikon D850. Front rise is easily my most used movement. As for very wide angle lenses (wider than 90mm) it's generally suggested you get a center filter (expensive) to even out exposure. I have a 75mm but simply get rid of the vignetting using PS after scanning. Lenses wider than 90mm are a different beast and take some practice.


Kent in SD

[Two23]

Where could I find comparisons between 35mm, MF and 4x5?

Roughly compared to a Nikon 35mm camera, for medium format (645) add ~50% to the 35mm lens (e.g. Nikon 50mm is rough equivalent to a 75mm MF.) For 4x5 you triple the 35mm focal length (e.g. Nikon 50mm is rough equivalent to 150mm Rodenstock etc.) Here's a chart that works backwards: https://lensn2shutter.com/35mmchart.html. Here's another: http://www.toyoview.com/LensSelection/lensselect.html, and https://www.timlaytonfineart.com/lar...onversions.pdf.


Kent in SD

[Tobias Key]

One of things nobody has mentioned is lens choice in large format is partly dictated by the fact that lenses longer than 210mm and wider than 90mm are somewhat more difficult to use. 90mm lenses have decent coverage, don't compress the bellows too much and the ground glass image is still quite bright. I have a 75mm late model super angulon. It has much less coverage than a 90mm, it either needs a recessed board (horrible to use) or a bag bellows (can't close focus my 210mm if I use them). The image on the ground glass is very dim in the corners making composition difficult. There are also disadvantages to going longer than 210mm. Most bright lenses 240mm and up use a big No.3 shutter, so you are limited to a 1/125 top speed, they are a tight fit on smaller boards, and their size and weight puts a strain on the front standard of a lightweight field camera. So if you want (in relative terms) an easy to use 4x5 kit then 90mm is your wide lens and 210mm your long lens. On that basis 150mm fits bang in the middle so is the logical choice for a standard lens in a 3 lens kit. If you want a two lens kit then a 120,125 or 135 with a 210 might make more sense.

[Corran]

On the flip-side, the Chamonix cameras are very capable of handling most lenses you would want to use in the field. I have used a 47mm XL up to 720mm telephoto on my Chamonix.

[Alan Klein]

Regarding heavy lenses with the Chamonix 45H-1 that I just ordered, here's what they say:
A few pointers regarding the use of 45H cameras with heavy lenses:

1. Our 45H-1 and 45Hs-1 cameras are designed differently than our 45N-2 and 45F1 cameras. To increase the precision of the camera, we have used a linear focus track. A side effect of this feature is low friction in the camera bed, especially when the camera is tilted with a heavy lens.

2. You may consider using the following two steps to focus when your camera is not in a level position.

The first step: Loosen all the knob locks and use only your eyes (without a loupe) for the initial composition and focusing, then tighten the focus knob locks half way gradually.

The second step: Keep the locks half tightened as it is the only way the focus knobs maintain enough friction. Then use a loupe for fine focus and completely tighten the focus locks after the focus process is finished. Please remember to use one hand to hold the focus knob while the other hand is used to tighten the focus locks, otherwise slight focus shift will occur due to the worm effect of the screw-focus feature.

http://www.chamonixviewcamera.com/cameras/45h1

[Alan Klein]

Hugo Zhang from Chamonix provided this guideline to me for longer lenses in my question regarding whether to choose the H1 or F2.

"...45F2 if you plan to use your 450mm lens and 45h1 for fast setup if your longest lens is not over 350mm. "