Picking a monorail camera.

[Hailu Shack]

I am going to echo the suggestion that you get a widely available, well supported by manufacturer, camera -- like the Calumet/Cambo 45N or NX models. These are modular, basic, and well supported by the manufacturer. Accessories and additional equipment is readily available in the used market (see Ebay especially).

As you should know by now, a monorail camera is, elementally, a simple device. However, there is a terrible amount of product literature, and some postings, that give the impression that one should really have, and need, all sorts of bells, whistles, and high levels of exactitude and precision. Do not believe the hype! -- it is meant to sell.

You might even consider getting a Calumet CC-400 series Wide model. This was made specifically for architectural/interior work, has a short bellows and basic movements - except rear standard rise/fall. Glamorous, slick, light weight and smell new? No. Do they work? Yes.

A solid, functioning, dependable camera with the best lens, or lenes, that you can afford at the moment - patience and persistance - willingness to learn from mistakes = YOU will get good pictures; not the camera!

Just a thought.

[Ellis Vener]

Sinar makes a great camera: the Sinar P2 (or the simplified (no interchangable formats) Sinar X. Spiffing great cameras, the sine qua non of modern large format view cameras.

Then they make a good camera: the Sinar F2.

Then they make an okay camera with some serious faults (the Sinar F1

...and then there is the Alpina or A1 cameras.

if you don't mind an older modularcamera that doesn't have all ofthe bells and whistles of a modern camera look for a Sinar Norma. About the only thing this camera lacks is yaw free tilts and swings and if you are not doing product or catalog studio photography where speed counts because time really ismoney, than you might not miss being yaw free.

[kthompson]

Wayne, we use an ancient Omega 45D and a newer Toyo 45GII at work, and do a little of everything. Alot of studio & tabletop work, and occasional architectural work. I've never found the lack of a yaw-free design to limiting, sometimes it gets to be a hassle, but there's always a way around it. After alot of consideration, I decided to get myself a new view camera, and opted for a Calumet 45NX. The price has dropped about $200 on these recently, you can get one new for $750. I was thinking of getting a Toyo, since I have alot of experience with them, but I also have had experience with backordered parts etc. for Toyos as well. When our Omega needed a new bellows, the factory replacement was b.o.'d for over 6 mos. We had to get one made from a vendor, but it was a good deal cheaper as well. Same goes for the price of extension rails and bellows for the GII. That's another thing that I liked about the Cambo/Calumet cameras, their accesories, like bag bellows, extension rails, fresnel lenses, hoods, boards etc. are all reasonably priced. I've only had mine for a week, and already love it...if you're going to be doing architectural stuff, make sure you get a camera with an interchangeable bellows, and a short rail.

[Wayne Crider]

Well untill I just read Ellis's comment I had basically whittled the choice down to the following. The Calumet NX, a used Sinar F1 , or an Arca Swiss Discovery. The problem with the Arca is the availability of used parts or a camera for that matter, so I'd have to buy a new one and all new parts; Ouch. The Sinar F1 seems to be loved or hated, but does have plenty of used parts available and has some neat trick stuff like the DOF gizmo. The NX seems to be the middle of the road with some parts available but at no real savings over any other camera. Basic Chevy type of camera. I'd be interested in the Kardan M, but for available used parts, which most seem are for their flatbeds which are more popular.

Now that being said, I read a recent thread on architectural photography and see statements like, not all movements are necessary and that it's mostly hype. ?? Of course I want to do primarily interior photography with some product thrown in the mix. I guess that's where the differences lies. Question is, what kind of movements are really necessary, and does getting a camera with every movement extreme really compromise integrity and stability?

[kthompson]

From what you're describing, I'd say having all movemements--front & back would be important. If you want to do interiors, you need to think about getting some nice, modern lenses as well. When you get into the heavier monorails, and beefy tripods/heads, stability won't be an issue.

We've used our GII for the past 6+ yrs. or so both on location & in the studio, and it's been a good camera for this. It's solid, and has nice rack & pinion controls. We use everything from the bag bellows & short rail, to a 30" rail with it. The Toyos aren't quite as "exotic" as some of the other cameras, but they're a good deal .

For architectural work, interiors especially, the camera may be the least of your worries compared to the lenses, and lighting gear you may need...

[adam friedberg]

i think your best bet is to get a sinar f2 or norma. i say this only because the sinar system is the most extensive, most available (new, used and rental) and best supported in this country. the f2 isn't better than other cameras - the discovery is a better camera - but it's good for what you need. the norma is a beautiful,solid camera (more so than the f2) if you can find a good one. the a1, f or f1 aren't very good. for about the same price as a good used f2 you might find a p which would be much better in all respects except for its bulk. my second choice would be a toyo g.

[Wayne Crider]

I have a headache.