Starting with Large Format

[strohscw]

Hi alltogether,
having many years experience with 24x36 (Canon DSLR) and 6x7 (Mamiy 7) I would like to enter Large Format to take the next, final, step on my long way in landscape and architecture photography.
Now I am looking for the right equipment and thought to get some advices in the right forum.
I own a Durst 1200 enlarger so I would like to stay with 4x5" as max format.
I read a lot in internet and with my requests for the camera (transportable, shift) I ended up with the Cambo wide as a possibility. Thought about the 580 with the possibility to have 4x5" negatives and with a 6x12 rolfilm back the possibility to use 120 film for big panoramas which can be processed in my darkroom.

So, you see there are my confuse thoughts, no LF camera at the moment.

What would you suggest in this case?
I would like to find a used analog equipment which is not too heavy, not to expensive but still a step up form my Mamiya 7.

thanks in advance!

[john biskupski]

Welcome to the world of LF! Just some words of advice. There's about a thread a week with the same question, which LF camera to start with, so do your research here and sift through to refine your quest. Secondly, just my thought, but is there really a 'final' step in photography, as our choices are likely to evolve as you evolve as a photographer. Also, a lot of photographers run with parallel systems, LF, digital and MF, either because they like to or they provide tools for different purposes. Lastly, be aware, you may find it hard to beat the resolution of the Mamiya 7 lenses with just 4x5 in most landscape situations where you don't use movements.

So, in terms of specific advice, for your purposes, you may want to look more at monorail or field cameras with good movements and bellows length rather than press cameras like the Crown Graphics. Search the threads and you'll find lots of good recommendations. I followed the same path as you, through 35mm film and digital, Mamiya 7, and then my first LF camera was the little metal Horseman 45FA, as I prioritised light weight and small tripod for trips. Later I realised that it was really quite limited for a number of reasons (limited bellows length, cumbersome rear movements, limited choice of lenses). Also tried the little Wista DX with better movements. But I got over my dislike of heavier weight cameras and tripods, and moved to larger formats. Quite a few cameras are built with 5x7 sized rear standards, or with monorails you can swap the standards, and with a 4x5 reducing back you have lots of choice with both format and lenses. Same thing with 8x10 plus a 4x5 reducing back, if you ever get tempted to try the larger format.

[Jim Jones]

Used entry level LF cameras are inexpensive. Don't worry too much about your first one. With experience, you will know better than any of us what your second one should be. A camera bought at the right price might be sold at no loss to finance a more suitable one. I tend to keep equipment, even though it largely duplicates newer gear in function. My monorail, field, and press cameras accumulated over many years each have their advantages.

It's easier to find information on lenses that applies to your own needs. Since lenses can be exchanged between most LF cameras, first buy one quality lens of moderate focal length. After using it, you'll know what other lenses you might add. Ideally, they will be mounted on boards that fit all the cameras you may eventually own.

[Drew Bedo]

John and Jim give good advice. Many of us started with some model of yhe Graphic press cameras. The important thing is to get into it and shoot some.

[strohscw]

Thanks for your tips.
I am also on the way to find a light 4x5" camera with some shifting possibilities like I have with my Canon TSE lenses.
According focal length I allway prefered wide angle lenses for landscape and architecture.
I thought to start with the 58mm XL it seems to be quite closet to my 17mm in 24x36 and the 43mm in 6x7 which I really like.
The thing I am not sure is the body itself.
Greetings from Austria.

[John Kasaian]

A monorail would be a good one ot start with---near unlimited shift if that is what you're after. Calumet 400s are very inexpensive. Add a lens with acres of coverage and you should have something to keep your interest for some time.

[Frank Petronio]

Many professional architectural photographers used 4x5 Sinar F2 cameras with bag bellows. A solid tripod with a Sinar Pan-Tilt head is very helpful. The Sinar is widely available, inexpensive on the used market, well-made, and versatile because it is systematic in that you can "build" it from components to suit each situation. In the basic F2 configuration it is fairly compact and light, although not as much as a good field camera. However it offers unlimited, and very secure and precise movements, unlike the more compact field cameras. Every choice involves a compromise.

Other high quality monorails with full movements and bag bellows are available, such as the Linhof Kardans, the Arca-Swiss F-line, the Toyo G, and Cambos.... each with their pluses and minuses.

The most popular lenses for architecture have usually been the faster, modern 90mms such as the Rodenstock 90/4.5 Grandagon or the Schneider 90/5.6 Super-Angulon (or the later XL series). Many photographers think they will use super-wide angles for architecture and while they are occasionally required by naive clients or special circumstances, you will do most of your shots with 90s or longer so I would spend the most on this key lens. A 58XL on 4x5 is very wide and personally I think they homogenize everything into looking generic.

I typically advocate starting with a Graflex Crown Graphic as they are very simple and inexpensive but if you want to do architecture, a good monorail is really the way to go. You may still want a Crown or a nice field camera too as a second or an introductory experiment.

[rdenney]

+1 to Frank's post. The cheapest entry to a camera good for architecture and which has all the wonders of system interchangeability is the Cambo SC, particularly when it is labeled Calumet 45N or 45NX. Linhof Kardans are also quite inexpensive, but not as system-oriented. The newer and more interchangeable Technikardans are much more expensive, and deservedly so. Arca-Swiss has devoted followers but those also tend to be more pricey--even the budget Discovery model.

For me, the sweet spot between price, system interchangeability, and quality is the Sinar F series. I prefer the F2, particularly for the front standard, but an older F in good condition is still a good choice. These were owned by pro studios in quantity, and are plentiful on the used market. That drives down the price. And there at any given time about six pages of Sinar stuff on ebay, making it easy to build a decent starter kit without having to wait months for the right deal to come along.

I would start with something offered on this forum, or for sale at KEH or Midwest Photo. Then, if you want some accessories or other goodies, ebay can be a source after you really know what you need.

Any of these choices will have an International (aka Graflok) back that will accommodate all the various 6x12 and other format roll-film holders. If you end up using a lot of roll-film in the view camera in order to benefit from movements, and if you want wide-angle lenses for those roll-film formats, then make sure your camera can conveniently handle those short lenses. I switched from my Cambo/Calumet to Sinar so that I could conveniently work with 47mm and 65mm lenses for 6x9 and 6x12 formats. I use the 65 with 4x5, but I agree with Frank that the standard wide for 4x5 architectural work is the 90, which all these cameras can handle easily.

Given what you already probably own, you should be able to build a decent kit with a Sinar and a couple of lenses, including a good 90, for no more than a grand or so. After what you spend for your Mamiya 7 stuff (or considering what you might spend for a Cambo Wide with all the same lenses), this should be a relief.

Rick "with similar requirements" Denney

[Alan Gales]

For some reason monorails tend to "sit" on this forum. If you are patient you can get a really clean one for a very good price on here.

[E. von Hoegh]

+1 on the monorails.
Theres a short-rail Cambo, with special bellows especially for WA lenses. They show up here, there might be one in the FS section.