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The Fujinon 240/9 is a very nice lens, but its 336mm image circle is only slightly larger than an 8x10 negative,
meaning that you would have virtually no movements available.
For comparison, the Rodenstock 240/5.6 Apo-Sironar-S, which I have, has a 372mm IC,
which permits movements in the range of 30-35mm.
- Leigh
If you believe you can, or you believe you can't... you're right.
I've never had stains on any parts of my cameras after hundreds of wet plates either. I convert standard film holders to plate holders, but the largest one could get in an 8x10 would be about whole plate (6.5x8.5). You could also build a dedicated wet plate back, either is perfectly workable.
For the camera, just look at price, condition, and how sturdy it is. If you'll be hiking much, of course look at weight. If doing architecture, you'll want front movements. Other than that, it's pretty much personal preference. If you're doing strictly studio work, old studio cameras are impressive to look at and wonderful to use, but too big and heavy to take out of the studio very often.
For wet plate, I'd suggest a lens of f/4.5 or faster. Modern coated lenses work just as well as the old ones, and have a little more contrast (which may help in the early stages), but a lot of people like using older period lenses. Again, personal preference.
"I love my Verito lens, but I always have to sharpen everything in Photoshop..."
See E. von Hoegh first reply
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Try not to be myopic. After people made tools out of wood, a few thousand years ago they moved to metal. Metal is really a great material for cameras.
1. 8x10 metal monorail in order of weight: Sinar F2; Toyo G; Cambo. The more it weighs, the less it costs. $800 to $400 on eBay. Be patient and wait for a Sinar Norma if you can.
2. Being metal and easy to disassemble, they are very easy to clean up.
3. A modern 300mm/5.6 Schneider Symmar-S or Rodenstock Sironar-N lens in a modern black Copal 3 shutter will be sharper than anything else and the shutter will reliably allow you to shoot at higher speeds. No worries other than they are larger than the slower alternatives. About $600 will get you a perfect one, or be patient and get a fine one for $400.
Sure you can get an older lens but the shutter might only go to 1/40th of second, or it will have haze, or something will be funky. Why not save that adventure for your second lens and start with something that you know will work well right from the get-go?
Get a really good, large and heavy tripod like a Majestic or Gitzo #5. Accept the fact that you aren't taking the beast backpacking so what does a few extra pounds matter? Is it really worth saving a couple bucks or getting all gushy about a 60-year-old wobbly wooden camera with limited movements when for the same or less money you can use a precision instrument that won't shudder in the wind or require incantations to work properly?
What do you think professional photographers - the working ones - used? Vintage Kodaks and Anscos or metal monorails with unlimited, full movements, precise and secure locks, and systematic designs that allow expansion or replacement of reasonably priced parts and accessories?
People offer nearly indestructible Cambo 8x10 for peanuts but people will futz around with some ancient pre-WW2 contraption with dried out wood, a decaying bellows, missing gear teeth, etc. - all that does is prevent photography from actually happening. Seriously if you can watch eBay for a month you should be able to do everything with excellent, modern 1980s-1990s professional gear for less than a grand.
Whenever I see some group of large format hobbyists, they spend most of their time dicking around with little toy toothpick cameras instead of shooting. Get on with it!
In terms of priority of where to spend your money, spend the most on the tripod, the second on the lens. The camera, if you are prudent, should be the third most expensive thing. Most people do the opposite and get an Ebony, hang a $200 lens on it, and try to make it work with a Chinese tripod made for DSLRs. Smart!
Petronio cracks me up like no other. Get on with it, already!
I have one of those fiddly toothpick cameras and i love it. I also dick around a lot though!
I bought an 8x10 Kodak Century Universal in a package deal that cost me roughly $500. It's wood. I get on with it quite well - it's very rigid and can use any of my lenses from 120mm to 700mm. Highly recommended.
There's a Calumet metal 8x10 that's green and is constructed of light weight magnesium. Make sure it has a good bellows.
Also make sure it's the magnesium one. Some of the heavier, aluminum ones were painted green. A magnesium one should weigh around 15 lbs.
Last edited by neil poulsen; 20-May-2012 at 09:59.
Shen Hao FCL 810 A
I think it's the best (brand new) camera you can buy for that money. It's a bit over 2k...
Lightweight, sturdy, lenses from 90 to 680mm, sinar and linhof Lensboards, lots of movements...
https://www.badgergraphic.com/store/...t_detail&p=925
A little cheaper, lighter, non foldable, also accepting Sinar and Linhof lensboards, alowing lenses from 90 to 450mm, the Shen Hao TFC 810 A it's a great camera, too. I saw a video of Clyde Butcher using one of those.
https://www.badgergraphic.com/store/..._detail&p=3146
I have a SHen Hao HZX 45 IIA for about 5 years, I shoot a lot during winter, at the beach. The weather conditions are very hard, with a lot of salt water in the atmosphere, although, 5 years passed and my SH is still in great condition.
The only camera I would trade for my SH would be a Ebony or another SH. I had a Wista 45 DXII and a Linhof Technika IV, I sold both when I bought the SH. Some guys told me I was crazy, at that time but, now, some of them purchased Shen Hao cameras for themselves.
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