Or keep the Tachi since it's resale value is less than a Chamonix. And pick up one of the $250 metal monorails with unlimited movements and infinite bellows for your studio work and extreme lenses. The total investment would be about the same as a Chamonix but you'd have a better studio camera and a really fine, light field camera.
What Frank says.
I got a Sinar P for less than the price of a Chamonix or any other field camera for that matter, and now wouldn't dream of using a field camera in the studio or close work, except in a pinch: they are just too limiting and awkward when compared to a camera with smooth geared movements in all directions, both front and rear.
If studio work is your primary reason for considering a different field camera, then swapping one field camera for another may not bring joy.
Bonjour Luc,Originally Posted by lbenac
I use a 300mm Nikkor M on my Wista DX all the time with a top-hat (extended) lensboard. I made mine myself, but you can find them easily. Mine has about 50mm of extension and lets me focus down to about 3m or less with the 300mm.
I have a Zone VI that takes up to 450mm, but carry my DX most of the time for the reasons you mentioned; lightweight, compact and a small lens will fold up inside it.
Best,
Doremus
Hello Doremus,
That is good to know - thanks.
My Dx has some mileage and might have lost some of its rigidity during the years (it is a KEH bargain - really a bargain at $380 :-) ) but I will consider this next year when I go back to France.
Cheers,
Luc
Field # ShenHao XPO45 - Monorail # Sinar P, F2[CENTER]6x6 # Minolta 1965 Autocord, 6x9 # Kodak 1946 Medalist II
Just how much of a limitation has it been? There is such thing as a "top-hat" lens board that will give you about 1.5" extra extension.
It's a big limitation. The bellows are under 300mm. I had a monorail for years and sold it because I never used it. For personal preference reasons, I want 1. I know I'll have a limitation somewhere, but I don't need any more movements than the Chamonix (or the tachi really) I just need more bellows. I've made up my mind to buy a Chamonix before Christmas and give it a good, through working over a few months then decide what to do. I appreciate everyone's feedback.
-Bill
FWIW, I used a Tachi for many years, like 15-20 back in the day, for both my personal and commercial work. I have not owned a Chamonix but have used one and I do own a Phillips which the Chamonix design is based on. I actually would prefer the Chamonix as a workhorse camera hands down. Primarily it is much more versatile with interchangeable bellows etc. and most importantly it is dramatically more rigid.
Thanks,
Kirk
at age 73:
"The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep"
It's a big limitation. The bellows are under 300mm.
Perhaps I'm confused about which camera you're discussing, but the bellows draw on the Tachihara Field Camera is 330mm.
I regularly use a 300mm lens (at infinity or a bit closer), and can get down to 1:1 with a 150mm lens (or shorter).
No one has mentioned that the Chamonix has a Graflok back, which most Tachiharas (Tachiharae?) did not. May or may not matter.
Size and weight issue between the two is insignificant. Interchangeable bellows, longer (universal) bellows and better build quality (hang on, I'll get my asbestos suit) of the Chamonix would be the deciding factor for me. Difference in set up speed is really a small matter that wouldn't matter to me, but may to you.
JD
Graflok on a Tachi is easy. I milled (rather planed) the ribs off the back of a Tachihara film back and mounted a Graflex Graflok back with the hood door. I left the corners exposed on the wood back and it turns portrait for landscape as do most wood field cameras. Cost... labor and $85 for a Graflex Graflok back from eBay.
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