4x5 Cameras - which ones?

[Robin Campbell]

Hi

I currently have a Mamaya 7 11 but i want to move to LF because i want to use the tilts, swings, etc because i want all of the foreground and background in focus taking photographs in Landscape and buildings, and also wanted 4 x 5 for reportage. The Linhof Master Technika has been suggested it can be used handheld but also offers the movements i need. Others have suggested that it is not sustainable HH and that i should use something like a Ebony 45su and forget the HH keeping my Mamiya for that ( it does have some focusing and distance issues for 1 - 3 feet).. It has also been suggested that ALPA 12 swa 6 x 9 compares to 4 x 5 and they are bringing out a new system which will allow shifts and swings. All very confusing to the uninitiatied. Please help.

Robin

[lenser]

Hi, Robin.

Unquestionably, the Linhoff is a fine camera, but when you are talking about extreme depth of focus, you are talking about not only the swings and tilts, but also stopping the lens down substantially for all of your depth of field. That implies that you will need slow shutter speeds which totally rules out hand holding anything above a 35mm, if that.

You might be better off to look at a good field camera and a very solid tripod.

I happen to use a Zone VI and love it, but many other members use a variety of great cameras and optics and each of us seem to love the systems we have become comfortable with.

Good luck.

Tim

[Walter Calahan]

All of them and more will work, but will they work for you.

Do your homework. See if any are available for rental to try them out. Or at least find a camera store where you can have a hands on experience before buying.

There is no one camera that can do it all. They all have strengths and weaknesses.

4x5 for reportage is not the same camera for landscapes and architecture.

[Ralph Barker]

I tend to think of the Technikas as hybrids between press and field cameras, with the Crown and Speed Graphics being the most common examples of press cameras. As mentioned, for hand-held reportage, you won't be using movements, but the Technika's rangefinder and optional viewfinder allow convenient handheld operation at reasonably fast shutter speeds (assuming you're strong enough to hold it steady). Plus, it can be used as a reasonably full-featured field camera on a tripod for landscapes, some architectural work, etc.

It's a Mercedes (since it's German, Rolls Royce doesn't seem appropriate) solution. Separate cameras (a press plus a field) may be more economical, however.

[Tom Perkins]

There is a lot of information on the home page, largeformatphotography.info, including reviews of different kinds of cameras. There is also a very nice Linhof for sale today in the For Sale section of this forum.

[Ernest Purdum]

Your intent to use movements in photographing buildings suggests a monorail might be a good choice if you don't intend to get too far from your car.

[David Karp]

For what it is worth, I think it is a good idea to learn LF photography with an inexpensive used monorail. A decent monorail should have all the movements possible. By playing with it you will learn which movements you use most for the type of photography you do. Then, if you want to upgrade, switch to a field, press, or technical camera, you will have a much better idea of what to buy.

Typically, people who specialize in architecture use monorails. Those who do reportage and landscapes use different types of cameras. Many photographers use Technikas for landscapes, but the Technika's back movements are not the easiest to use for architecture.

Can you take reportage style photos with a Technika (even though it is heavy)? Sure. You can see some hand held photos in the reportage style taken with a Technika if you search this forum for the name Ed Richards.

[John Kasaian]

A technika sounds like a fine choice, but for the same (maybe even less loot) you can get a top rf crown graphic for handheld and a Calumet 400 series mono for architecture (I forgot which "400" is the "architecture" model but I had one once and it is an excellent very capable camera. That way you can save your bucks for the glass.

[Alan Davenport]

I'm a relative newcomer (5 years) to LF photography. When I decided to take the plunge, I chose a monorail camera for exactly the reason David suggests: I wanted a camera that would offer every possible movement so I could learn to use them. I ended up buying a fairly recent Calumet 540. That reason for buying a monorail was not unjustified, but after about a year, and after learning how to get it into a Lowe pack and schlepping it around various places including Yellowstone, I decided a lighter field camera was called for.

I bought a Tachihara and it instantly became my favorite platform. After being insulted by the offers on fleabay for the monorail and case, I decided I'd rather keep the camera than keep trying to sell it, so now I have two.

While the field camera is my favorite, and the only one I bother carrying on my back, I use the monorail for closeup work and sometimes when I know I won't be violating the Weston Rule.

That's my story. Here are my thoughts on getting started:

1. Don't bother with press cameras unless you are very sure they will offer sufficient movements for what you want to do. Most press cameras have a very limited set of movements and usually require dropping the bed and other bothersome machinations to use wide angles and/or to obtain forward tilt. I've got a buddy who uses a Speed Graphic and he is often frustrated.

2. Although I don't regret my initial purchase of the monorail, and I enjoy the versatility of having a choice, don't go that route unless you never violate the Weston Rule.

3. Unless you know you'll be happy with a press camera, or need the extra flexibility of a monorail, buy a field camera. The lightweight wooden field cameras, including the Tachihara and Shen Hao, may be all the camera you ever want or need, but there are many choices that cover a large range of features. (IMO, the most distinguishing feature between low-end field cameras and the top tier is price, and there are few cameras on the market that won't do most jobs, and do them well. My assessment of the top tier is not shared by all, esp. those who have paid to own them.)

[thetooth]

i have just upgraded from a graflex to a wisner technical and am very pleased with it , not the best camera for lenses wider than 90mm but tons of movement great bellows draw and nicely made .

i purchases off *bay for $800.00 . i only mention the price because i think this is toward the lower end of wood 4x5 camera . i initially was leaning toward a shen hao , but i did not want to limit my self with the bellows draw . i enjoy macro work .

the nice thing about any of these camera at the lower end is if it doesn't work out you can flip it with out losing to much money .

hope this helps

tim