I own a wooden 4x5 Tachihara and a metal 4x5 Sinar P. Comparing a wooden field camera to a metal monorail is like comparing apples to oranges. Before spending big bucks on an Arca Swiss I would buy a $200.00 Sinar F off of ebay and try it out for awhile. If the monorail seems right for you then sell the Sinar for around what you paid for it and then buy the Arca. Just a suggestion.
Graphic View examples aren't hard to come by; they're an all metal monorail camera with both front and back focusing and full movements on front and back; the Graphic View II has centered pivots for tilts, so you don't change focus when you change tilt, and an international type back (nice for roll film backs, Polaroid/Fujiroid holders, and such). If you get one, be sure it includes the rail tilt mechanism, which is also the only way to mount the camera to your tripod, and check the condition of the gears that drive the front and rear standards on the rail, as well as the usual bellows check for any older camera.
BTW, a Graphic View uses the same 4x4 lens board as 1940s vintage Speed Graphics, which makes things nice if you have one of those also...
If a contact print at arm's length is too small to see, you need a bigger camera. :D
Stefan, have you looked at the Toyo VX125? Not cheap at all, but basically a collapsible monorail design made specifically for the superwide-300mm lens range. I considered it before deciding on the Technikardan. The Toyo is hard to find second hand, but shows up from time to time. You can see a photo of the kit here:
http://www.flickr.com/photos/charlie...in/photostream
Fully geared monorail that collapses down to the tiny monorail you see on the left in the photo. Regarding the Technikardan, it of course doesn't set up as quickly as a Technika, but as soon as you get familiar with it, it takes somewhere between 10-20 seconds. Using the bag bellow, you have full movements up to 150mm.
There is also the Toho's (not Toyo). Check Kerry Thalmann's review of them. Badger sells them. And don't forget the late Linhof Color with back rise:
http://www.ebay.de/itm/LINHOF-COLOR-...ht_5051wt_1398
(you can get shorter rails than this ad)
Whereas the Technikardan is the brain child of the Technika and Kardan, the Color looks more like the limp stepson - but they work surprisingly well and only weighs around 2.6 kg.
I had a chamonix to begin with, and although I liked the camera in many ways, there was a few things with it that bugged me EVERY time I used it: no zero detents on front swing and too sloppy geared focusing. My point being, that although some of the chinese cameras have really great designs (not least the Shen-Hao XPO), they might fail a little in some of the critical areas - and thats where you can trust a Linhof/Arca/Sinar fully. For me, the built quality and rigidity comes before a design that does everything and weighs like a feather.
I think this is a conscious choice from the camera builders. How could they keep selling me "almosts" if they'd build my ideal camera?Originally Posted by Frank Petronio
Concerning monorails (Sinar F, Graphic View etc), yes I'm keeping an eye out for one, but the market around here is somewhat limited. I'd like to find something rather compact that can then be put on a very short rail, which should make for a decent instant-setup camera, although it will still be rather bulky compared to Ebony-style non-folders.
Mortensen, yes I've looked at the VX125. Seems like a brilliant camera, but also right up there with Arca in price, and equally rare on the used market.
The Linhof color seems like it would be limited with wide lenses, no bag bellows right?
Regarding the Chamonix, I presume you had the 045N-1? I have the 045N-2 which has very smooth focusing. Your other point about lack of zero detent on the front swing is probably my biggest issue with the camera. Since the front comes off for folding, the front can not be left in the zero position either.
You also mentioned the Shen Hao XPO. I've been looking at these, they are pretty much exactly what I'm looking for, except with another material choice...
The Walker has 36mm of front fall, according to the website, so that may offset the lack of rear rise...depending on how much you need of course. I think it's a very interesting design. I do sort of wish someone would make the same thing in metal.
The more urban work I shoot, the more I realize that I don't need as much movement as I thought I would. Front fall/rear rise is a very nice thing to have, but generally I use it when shooting from elevated positions. So when I'm shooting from up high I just mount my Technika upside-down. It's a bit of a hassle, but to me it's worth it to be able to work with such a small and solid camera. I've also realized that sometimes slightly longer lenses are nicer, they flatten out the perspective a bit.
The Technika can do pretty well with 115mm and 90mm lenses. I don't have a 75mm yet but it seems like it will still get good movements with a 75mm, since the 75's don't have huge image circles anyway. If you use a 72XL, of course a Technika is not the right choice as you won't be able to take advantage of the capabilities of the lens. And movements with ultrawide lenses will be difficult, but again, some ultrawides don't offer much coverage anyway.
I thought the TK45S would be a do-it-all camera. And if I could only have one camera, that would be it. (Or maybe an Arca). But I'm realizing that having two cameras isn't such a bad thing. You might want to get a metal field camera for fast setup, traveling light and durability. And then you could get an inexpensive monorail with a short rail for when you need more movements.
It seems that your requirements are very demanding but you haven't had much experience actually photographing with any of these large format cameras mentioned, even though we've pretty much covered all the high quality models in common use.... If you go out and make some pictures then many of your concerns will be eliminated and the remaining issues can be targeted and solved. I doubt anyone can purchase the perfect camera for themselves without having used several different models and kinds beforehand.
Nothing beats practical experience.
My advice has evolved to become: Start out with a simple, limited movement, inexpensive Crown Graphic with a normal 135mm press lens and get used to handling large format film and the workflow. Become comfortable with the Crown first. Then get an inexpensive but professional grade metal monorail with a full range of movements, interchangeable bellows, and a large lensboard - something like a Sinar Norma, F2, various Linhof Kardans, Toyo G, mid-to-upper level Cambos.
Invest in a solid tripod and a good normal lens like a 210/5.6 that allows plenty of movements. If you tend to like architecture, get a 90/4.5 or 90/5.6 lens with a large, bright image circle. Get a Harrison changing tent (or a darkroom), 10+ holders, and a lot of film. Shoot a lot. Make prints so you can see your progress.
Keep the Crown for bad weather, travel, and fast operation. Use the monorail for exacting work. Both compliment each other.
All of this gear can be had for $1000 USd, maybe $1500 USd if you are impatient.
The pictures you make with this gear have the potential to be state-of-the-art, just as good as anybody else's, better than Gursky's, Adams', or Weston's.
Forsake college classes and only use the text books for reference.
Do this for a year and you will be more of an expert than 98% of this forum ;-p
Then you can fuss about camera design or spend $5000 on some silly Ebony or whatever....
I love playing with camera gear too but I fear it is really a hobby unto itself, unrelated to making pictures.
I like your advice, Frank - should be posted as a separate article on the main site!
It seems that Stefan has some experience already, though (not that I should really talk here - I've only been in the game for two years, but through three cameras already).
A two-camera setup seems like a really nice idea. But stefan, if the XPO is what you are looking for - in the wrong material that is - why not give it a chance and let the material be the compromise rather than movements/weight/compactness/whatever. If it wasn't for customs issues, I had bought an XPO when I had my chamonix stolen in India (was in contact with mr. Zhang and he was ready to ship). As long as it has rack and pinion focusing and the standards are squared natively upon setup, you can probably trust a woodie, right?
btw, when the arcas and toyos occationally comes up for sale, prices are often good. Check Igor for arcas - he has an F-line metric.
Or, you could start out with one of the older generation pre F-Line ARCAs. They aren't fully compatible with the F-Line generation (the bellows are not compatible, but the rails are, for example), but they will introduce you to the ARCA-SWISS modular design concept.
Kerry
I do a lot of urban photography, and have used several 4x5 cameras ranging from folding woodies to a Sinar Norma. After quite a few years of doing this I think that the camera is not the deciding factor, they all work well, just differently, and all involve compromises. The important thing is to expose a lot of film and learn what you want to do and how to do it—which only comes through practice and experience. I think Frank's advice is very good and worth heeding.
Mortensen is right. Frank, you should put this on the main website. Excellent, practical advice!
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