Help me choose 4x5 camera to buy in 2022

[Scott Davis]

I'll put in another dissenting vote for a Canham, if you want something to take into the field, but can also be used in the studio. I have one of the Canham wood field 5x7s (works as a 4x5 with a reducing back). I like Keith's wood field cameras so much I have four (5x7, 5x12, 8x10 and 14x17). I've not used one of the DLC all-metal models, but everyone who has one seems to love it.

If you want to shoot stuff in the studio, a Sinar Norma is a thing of beauty. Just so precisely machined, everything (at least on a well-maintained one) just glides into place with just the right amount of tension. And they're expandable/configurable - want to go up in size? easy. Need a longer bellows for macro work? easy. Want to use exotic antique lenses that don't have a shutter? easy. The only thing they're not is lightweight.

[Jeff Keller]

If you go down the Linhof path and you like taking really wide-angle photos, check out the specifications for camera you are considering. Some Technikas aren't the most wide-angle friendly nor do they handle really long focal lengths.

The Canham cameras have a very nice bellows. The camera can be used for a very wide range of lenses using only the standard bellows. The cameras are also relatively light, making them a good choice if you carry the camera around a lot. The company is still in business and is great to do business with. If you need something repaired, you can talk to the designer/builder and get first class work.

jeff

[xkaes]

One silly question — what is the most desirable camera in the LF world? I'd like to look at those cameras, as there is usually a reason for that..

It's silly only because you will get a million and one answers -- just like you will if you are asking about any other film format. And don't forget LARGE FORMAT has LOTS of different formats.

[Scott Davis]

It's silly only because you will get a million and one answers -- just like you will if you are asking about any other film format. And don't forget LARGE FORMAT has LOTS of different formats.

And it changes over time, too... I remember when I was just getting in to large format, the Carbon Infinity was the Rolls Royce/Ferrari of 4x5, but you almost never hear them mentioned any more. Phillips cameras were also quite the hot thing while he was making them, and they still command interest and respect, but after Chamonix basically stole his design, they (Chamonix) have been very popular and the Phillips are left to the cognoscenti. Wehman 8x10s were all the rage for a hot minute because they were one of the lightest 8x10s out there. But you almost never see them on Ebay any more.

At this point, given the OP is starting out in LF from scratch, my strongest recommendation would be to get something that is part of a large, well-supported system, so that if you need parts or service or just want some fancy accessory, you don't have to have a whole bunch of creative searches saved on Ebay and wait for three years to find one.

[xkaes]

At this point, given the OP is starting out in LF from scratch, my strongest recommendation would be to get something that is part of a large, well-supported system, so that if you need parts or service or just want some fancy accessory, you don't have to have a whole bunch of creative searches saved on Ebay and wait for three years to find one.

Another approach -- that makes sense to me -- if the OP is simply interested in "testing the waters" to see it LF is the way to go, just get a simple set-up with a basic lens -- so that the fundamentals can be learned, and obstacles understood. Very usable studio 4x5" cameras and lenses sell on EBAY all the time for under $200 each -- sometimes MUCH less. It's much better -- and easier -- to unload an inexpensive setup than to sell something expensive or esoteric, if need be. And if large format proves to be "the right stuff", the OP can quickly upgrade knowing exactly what's needed.

How many of us are using the same gear we started with? I know I'm not.

[Scott Davis]

Another approach -- that makes sense to me -- if the OP is simply interested in "testing the waters" to see it LF is the way to go, just get a simple set-up with a basic lens -- so that the fundamentals can be learned, and obstacles understood. Very usable studio 4x5" cameras and lenses sell on EBAY all the time for under $200 each -- sometimes MUCH less. It's much better -- and easier -- to unload an inexpensive setup than to sell something expensive or esoteric, if need be. And if large format proves to be "the right stuff", the OP can quickly upgrade knowing exactly what's needed.

How many of us are using the same gear we started with? I know I'm not.

Oh, absolutely, I agree. I've bounced around a LOT in LF, and now have multiple cameras to solve different problems. Just given the OP's expressed interest in "the best", and his past camera choices in smaller formats (Leica, Rollei), I suspect he will not be happy with a $200 Calumet CC-401 with an Optar 135.

[Peter De Smidt]

Yeah, don't get a CC-401. There are ton of better cameras, from Linhof, Toyo, Horseman, Cambo, Sinar.......that aren't expensive at all. Keh, for example, has a Sinar F1 for $170, a toyo G for $270....

[paulbarden]

One silly question — what is the most desirable camera in the LF world?

The answer(s) to that question will have very little to do with making good photographs.

[xkaes]

Just given the OP's expressed interest in "the best", and his past camera choices in smaller formats (Leica, Rollei), I suspect he will not be happy with a $200 Calumet CC-401 with an Optar 135.

The OP can easily get a very expensive LF "Leica" -- only to discover that LF is not the way to go. That can be determined just as easily "with a $200 Calumet CC-401 with an Optar 135".

[Bernice Loui]

IMO and base on decades long observation of foto folks -vs- artist/creative image makers..

This idea-belief of the "best camera" or best anyting for that concept comes out of the belief the best camera or similar techno widget WILL produce the "best" images... as the tech or device can and will do it ALL for "you"...

Ponder and consider the results of a beginning violin student playing a Stradivarius or Guarneri violin.. will the Stradivarius or Guarneri violin "make" beautiful music all on their own or _?_

This brings up a very real aspect of this foto image making stuff that permeated across all forms of this foto stuff, those who are into "gear & process" -vs- those who are focused on creative image making with little care about the "gear or process".. while there is overlap between these two, at it's essence the division is very real in very real ways..

~Too many times posted, FAR too much focus is put and placed on the camera... with all of the other creative image making factors often ignored.. All this camera/lens/film/digits/print maing and ... are and always be mere tools and means to and end.. with the harsh reality of the tools and means never being the producer of any creative/expressive image.

What folks new to this LF view camera stuff is often completely un-aware of.. how vastly differnt this LF view camera image making universe really is..
and it has a extremely steep learning curve. For those starting out on this LF journey, it often involved acquiring some variant of view camera, then lens, then learning how to operate the newly owned camera.. then loading film, viewing, composing, focusing that upside down/backwards image on the ground glass, processing film and... more than enough to overwhelm any image maker new to this view camera stuff.. Just learning how to be competent at these basic view camera fundamentals takes time, practice and much more... Not even begun to apperciate or greatly apply camera movements in all their possible ways yet.. or explore the vast range of lens personalities and how they can be best used for any given image goal..

All mentined above places little if any demands on the view camera.. Most any basic view camera in good mechanical/working condtion can easily meet these requirements and needs.

We move on to the current crop of image makers doing this view camera stuff. IMO, the majority have come from digital cameras-image making or 35mm roll film then 120 roll film with a strong enough curiosity/interest in this view camera stuff.. with all their previous image making/camera habits fully intact which is often projected on to this LF view camera stuff.. Except not a lot of these habits/camera habits do not apply to this LF view camera stuff.. Which the newly minted LF view camera image maker.. with consequences and possible lessons learned.. and if the lessons that needs to be learned are not learned, the cycle will be repeated until the lesson is learned..

Second expectation/requirement of the newly curious LF view camera image maker, camera MUST be Lowest Possible Weight.. as "Im" going to take this camera out and about and do Not Want to be Lugging around A Big-Heavy camera.. But, want Big Sheets of Film.... Well, this is a trade-off at best.

On the plus side, landscape images most often do not need extensive camera movements or a camera that has extreme precision/accuracy. This is rooted in the way and very nature of these images. Majority are often at infinity focus or close up with limited need for extensive camera movements. Folks that design/build light weight fielf folder cameras are extrmely aware of this and how this group of image makers will use these light weight field folder cameras.. They design, build offer cameras that meet these speficic market/customer/image maker needs.

~This is the current majority of the LF view camera market and user-base. This also drives on-line (web) and social media opinions on what a view camera must be.

What has essentially died and become a view camera of the past are monorail view cameras as a group. Too heavy, Too bulky, Too clunky, Too complex to use, Too much metal, Too much.... (fil in the blank).. Yet, during the prime hey-day of LF view camera image making when busy studios would burn hundreds of sheets ot film daily the high quality monorail view camera was it.. and the majority of view camera brands focused their best efforts at offering the best possible monorail as their user/customer base was often extremly demanding and knew precisely what was needed. A lesser monorail failed in sales then died.
Light weight field folders were a niche market during this time/era.

All this text to basically say, no such thing as the "best" view camera.. just a long list of trade-offs to meet specific image making needs and why any view camera will always be a servant to the lenses to be used and the image maker's goals..

Give up on the idea/belief of the "best view camera" as it does not exist or can every make creative/expressive images on it's own for the image makers fantasy.

Bernice