A fair question. Inside the sleeve there will be a door/flap. I'll put my hand in the sleeve, reach in and open the door, put my hand through, do my work, close the door, and remove my hand from the sleeve. Voila'!
I know this camera is ludicrous, but I'm actually warming up to the potential of big box cameras. The box doesn't need to be industrial strength, ie weigh as much as a substantial chest of drawers to function.If it was made of polystyrene panels, for instance, it would work just as well and weigh a fraction of my behemoth. Taken further, a camera could be made much more like an actual changing tent, and fold up to manageable dimensions. I'm not saying a reach-in box camera will challenge the field camera for dominance, but it could allow people who work for a living to make really big negatives.
Last time I was home, Julia and I went out and put a roll of film through an old Ansco Shur Shot 6x9 format box camera. It was a lot of fun, and the resulting negatives were surprisingly good. What occurred to me while using the box camera, and later when examining the negatives and trying to explain to Julia why I waste my time with more complex and expensive cameras, is that these simple cameras are capable when used within their narrow range of capabilities. In other words, complex cameras are adjustable to a wide variety of conditions and applications, and employ a sometimes bewildering array of adjustments designed to configure the camera to almost any conditions. These adjustments are what confuse beginners, who often opt for cameras that make most of the adjustments automatically, or scare them away from photography altogether. A box camera permits very few adjustments, and so conditions must favor their use to a much larger extent than is true for a more adjustable camera. The simplest box cameras have fixed focus, aperture, and shutter speed. The only adjustments left for the operator are film choice and where to point the camera. But when conditions are favorable to the limitations of the camera, the potential for quality images is limited only by the quality of the lens, the light-proof-ness of the body, and the flatness of the film plane, and the larger the format, the less critical is the quality of the lens. Light-proofing and plane-flattening are manageable tasks, even for the less than master artisan.
So, a big box camera makes a certain kind of sense, if one wants to make really big negatives without spending really big $$$. All one needs is a lens capable of covering the format, and film. I'm using the 25" element from my Turner triple convertible- not an expensive piece of glass by any means, but it does have a reliable shutter, which is quite convenient, though not strictly necessary. And I'll be using X-ray film, which is not terribly expensive, unlike "real" film. Just about anything will work for the box, and no film holders, ground glass, loupe, or dark cloth are required. I might be singing a different tune after I try to use my big box, but for now, I'm optimistic. Sorry for the ramble!
Hi Nana.
yes the design Idea was from the Cambo wide, it is made from sheets of 3mm alloy bolted together, it was individually cut with a gig saw with metal blade, the paint is spray can,Satin Black 1st coat normal, then next coats sprayed at a distance so the paint is drying as it hits the surface (best done on a hot day in the sun).
It has a Cambo Revolving back and 15mm up & down shift. 47mm XL & 58mm XL lens,
the handle was made from 2 pieces of laminated ply glued together the shaped.
the one I am making now (my last one) is machined from a 20mm piece of alloy, so I have a lot of machining to do.
Cheers Brian
No
I'm using a Industrial Milling Machine at the local Mens Shed, We have laths, Mills and all sorts of other gear, Its a place for men to go and do Projects, sponsored by the Government.
keeps us of the streets (for retired men)
Cheers and thanks all for the comments.
Brian, I never thought I'd hear myself say this, but I could use a men's shed...
Very purposeful looking camera, looks great-
Jay, I've been following your big box, what you say makes a lot of sense-
As always, it's possible to keep pushing these things, one thing leads to another, particularly when dealing with the larger sizes-
I did have an idea for a large camera like yours-
but it's been shelved (a large shelf) at least temporarily-
However, pushing it just a little further-
At the size you mention, it should be possible to get your head inside, or at least a pair of magnifying goggles- meaning that perhaps it doesn't have to be completely fixed (or zone) focused at all- you might be able to see the image formed at the focal plane by viewing it from a position beside the lens.
So, you've already eliminated, or simplified three of the more complicated components in a camera- the focusing screen, the registration system for the film holder, and the film holder itself-
I think the big wooden box is a good place to find the inspiration, but might prefer to see this go on in some of the lighter materials you mentioned-
Good stuff all round, your one as well Steve, the Ebony looks great...
Hi, everyone.
My name is Frederich Holtier and I am new to this forum. I rediscovered the black and white photography a few years ago and I am also interested in large format cameras. I have a few projects of 4x5 cameras in process and also I just started a 8x10 one. This is the back. I found a original Deardorff focusing glas and springs, everything else is home made. It might look like the original back but is not. Since I never had one in my hands, I had to redesign everything, makin sure that the film hoder will fit. The wood is mahagony died black and finished with satin tung oil. I hope I could make some progress and post a few more pics.
Frederich,
That's a beautiful back! I look forward to seeing the rest of the camera. If it's as nice as the back, you'll have an excellent camera. Welcome to the forum.
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