4x5 Field Camera Reviews

Dear Fellow Shooters,

 

I am a 25 year pro based in Dallas. My large format work is all done

on a Sinar P2. As you well knwo that limits landscape work to

something that can be shot within 10 feet of the car! I've been

thinking about a field camera (4x5) for awhile and have a question.

My heart tells me I'd love a cherrywood Wista that my grandchildren

could cherish with the images their Grandfather created on it. My

professional photographer instinct tells me a Toyo 45 with a rotating

back would be much more durable, relaible and precise over the years.

The cherrywood beauty would soon lose it's appeal if my images

weren't sharp due to warpage or any imprecise adjustments the brass

hardware might be subject to.

 

I'm sure there are a number of you guys that wrestled with this

quandry and made decisions both ways. I'd appreciate your insights.

 

Regards,

 

Jim Wilson

Jim, FWIW I have a woodie(let me rephrase that!) a wooden field camera thats much older than I am and I have had no problems with warpage or anything like that. Nor can I see the advantage of a rotating back for landscapes. Maybe some folks have had trouble with warpage---I haven't---probably the biggest difference you'll find with a wood camera is maintenance(I'm guessing): a yearly(or so) waxing and a little lubriplate is all it takes. Unless you're going to take pictures of abandoned lunar rovers I doubt if wood is all that inferior. OTOH, every day I look at the funkyness of the warped and cracked plastic dashboard and deteriorating interior plastic trim pieces in my circa 1979 240D and compared to my nicely patina-ed mahogany 'dorff thats two or three times older, well, I have to wonder about the supposed superiority of modern materials---Good Luck with whatever you decide!

I rotate the back of my Toyo 45 frequently while shooting landscapes. It's a rugged and easy to use camera.

The appeal of the wooden camera is there. Nice looking and a feel that is a pleasure to work with. My oldest is the 5x7 1926 vinatge Deardorff I use regularly. Works very well & still looks nice. A 50's vintage 8x10 is also a pleasure to use. Then again, a newer Linhof Technika in 4x5 is a pleasure to use, in a different way. Much more precise & locks like Fort Knox when needed. A beautiful camera though different than the Deardorffs.

With any wooden camera you are going to have a different feel as you shoot. Yet photographers from Weston to whomever have gotten great images from these 'imprecise' wooden wonders. Morley Baer shot for years with a camera described as 'decrepit' and 'held together by rubber bands and tape' that had to be 'wrapped in the darkcloth to prevent light leaks'. Look at the work he produced. Superb in every way.

Brett Weston worked with a tank... the metal Calumet. Others work with cameras from lightweight to heavy, all getting results as good as they are with most of the cameras 'limitations' being their own talent.

The Cherrywood Wista will take photos every bit as good as you are if you learn its character & get familiar with its feel. The technika will be more precise & might be even better for someone used to Sinar top of the line precision. Either will do the job well.

Instead of the Wista, consider a Tachihara. I have tried both. They are basically the same, but I liked the Tachihara better, and it costs half as much as the Wista.

All of these designs have their advantages and disadvantages. For a good selection of user reviews, check out largeformatphotography.info.

I have five wooden field cameras. One a Zone VI 4X5 (purchased new), three V8 8X10 Deardorffs, all purchased used (the oldest from the 1920-30 vintage), and a 12X20 Korona (purchased used) that was built 1918-30, I have had no problem with warpage. What John mentioned in his post is true of my experience as well. There is something about making a photograph that has character with a tool that has character. To me wood has character. However, good luck to you in whatever your decision is.

I went into a camera store (B&H in Manhattan, very friendly and helpful LF department) on the theory that a wooden camera would be cheaper, lighter, and about as rigid and precise as my Linhof Technika. While I have heard impressive claims made for Ebony, Wisner, and some others, the cameras I looked at (Horseman Woodman and Wista DX) seemed rickety in comparison to the Linhof, which is admittedly a very solid and heavy metal camera. On the other hand many people seem to get great results with the wooden cameras. Toyo has a "carbon" camera that is light and inexpensive, although inaesthetic. Precision wise, even the Linhof will be a comedown from the P2.

Wooden field cameras tend to be slightly less precise than metal cameras, but they are sufficiently precise for most field work. Some models of wooden field cameras are less convenient for extreme wide angles (short focal length) lenses. Some models are limited in their maximum extension, which limits the longest focal length that can be used, though the focal length can be extended by using a true telephoto lens.

 

If the cherrywood Wista is like the one that I had years ago, the main limitations are the maximum extension and the lack of interchangable bellows. Back then I didn't have any really wide lenses, so I can't say how well it would work with them.�

 

The quality wooden cameras will last if treated with reasonable care. They will probably incur more damage than a metal camera if immersed in water -- this would be abusive for any camera.

 

I don't think a rotating back adds much to a field camera compared to the cost in increased weight. Most field cameras use a two-position back, which is completely adequate.

 

If you browse the past postings in this forum, you will find many discussions of field cameras. You might want to consider other brands, but don't agonize too long. There are also some reviews at the Large Format Photography Home Page, http://www.largeformatphotography.info/

 

If taking personal photos with a wooden camera appeals to you, then buy a wooden camera.

From what I've seen of the Wista wooden cameras, they seem to lack rigidity. Their metal technical cameras are much better in this respect, although I found the necessity to use drop-bed even to fit a grad filter to be a pain in the wotsit. I imagine this is the same with the Toyo metal technical field. I had a brief play with one of these earlier in the year and it did feel very chunky and robust I have to say.

 

Take a look at an Ebony if you can. They are the nicest wooden cameras I've seen so far. I do miss the rotating back, although the reality is that the back on the Ebony can be removed and replaced in 2 or 3 seconds, so it's not much of an issue.

Dear Jim,

I have a Wista 4x5 DXII, that's cherrywood with no shift on the back. I have added the graflock back for roll film. I've used this camera for some 19 to 20 years with great success. I've even used it on location for some catalog work. I've used a Sinar P, so I know that the feel will be quite different. As precise as a P is with the micro-drives etc., you can be almost as precise with any wooden camera. The Sinar will be faster, but the use of a bubble level and/or angle finder can be useful in this regard. You get used to zero points for quick set up with a little practice and for more precision go to the bubble level or anglefinder. A little maintenance will keep the camera tight; all wooden cameras seem to need this(I have two others). There is this thing about wood, and wooden cameras. It is an emotional quality that just isn't there with metal. It's an artistic/creative thing that happens, a relationship you develop with your equipment. These wooden cameras have there own personalities. It could be compared to having friends. I have three different wooden cameras and three friends, each with there own personality. As photographic artists, it just seems as natural to react emotionally to the beauty of wood as it does to the photograph itself. Of course the photograph is the goal, but why not enjoy the journey there.

 

Good luck with your choice. Photo on!

For me wood, metal carbon fiber, plastic ... the marerials don't matter as much as the

feel, the precision, the ease of use and that will differ with each person.

 

Over the years I ahve used a wide variety of both wood and metal cameras. The only

wood field that ever really held me interms of ergonomically matiching my psyche is

the Phillips 4x5. OTOH I am no winto the 12th or 14th year shooting with my

Horseman FA.

Until recently a Toy 45AII was my primary camera - it was solid, and worked very well. I would advise you, however, that if you require front swing/shift, that this is not the camera for you. Rough front focus, shift and swing were all controlled with one lock. It made it very difficult (if not impossible) to apply multiple movements.

 

I came across a good deal on a Gandolfi Variant Level 3 camera (in walnut), and I love it. It's as rigid as the Toyo, has *tons* more movements, and much more bellows extension. It's also a bit bigger, and heavier. Since my primary focus appears to be structure, the additional movements are proving to be very beneficial.

 

It also looks better :-)

 

I was happy with the Toyo, I'm happier with the Gandolfi.

 

Cheers!

 

-klm.

" the main limitations are the maximum extension and the lack of interchangable bellows"

 

Not really. There are 5 Wista Cherry wood models. 2 have interchangeable bellows. 3 do

not. In addition there are also Wista Rosewood and Ebony models.

 

Wista wood and metal cameras also accept extension beds and extension lens boards. So

they start with a 12" extension but you can add a lot more extension.

Bob,

 

I knew Wista made a interchangeable bellows wood model, but I have yet to read of or see anyone using one. Do you sell many? Is it just the added price that keeps people from buying them? Also I'd think if someone needed more than 12" of bellows they would just buy a camera with more bellows and not use a add on extention that I would think, but could be wrong, might be somewhat of a pain to use in the field.

 

Thanks, Ed

Also, I have a Toyo AX (without the revolving back) and have been happy with it and didn't see any reason to pay $500 more for the revolving back that adds a 1/2 lb to the camera.

Dear Fellow Shooters,

 

Wow! Thank you for all the time y'all put into my question. What a great group of people! I'm so glad I stumbled on to this forum, hope I can contribute something in the future. Each one of you made really salient points. You guys who said it's all about the wood and how you feel about what you're shooting with, really pulled me over. Unless there is something really frustrating about a wood view camera, like ending up with shots that have soft sections or something, I know I would bond better with a beautiful wood view. It might be sentimental but I have this mental image of one of my grandchildren taking Papa's old wood 4x5 out and finding out he or she has "the gene". What I wouldn't give to have had a legacy like that.

 

Anyway, thanks guys! I look forward to communicating on a regular basis with you all. My living is made in commercial work, quite a bit of architecture and advertising. While I enjoy shooting for all my clients, aviation and landscapes are my real passion. Feel free to drop by www.Jimwilsonphotography.com .

 

Regards,

 

Jim

As you have <i>the</i> extreme metal studio camera, why not going to the other side of extreme weight-wise, while staying metal?<br>

For field use, you should really consider the Toho (not Toyo) FC45-X (available from Badger Graphics)? Aside from modularity (fixed bellows), it's a full metal monorail with 31cm bellows draw, even yaw-free - rigid, repeatable (where the latter quality is what I really miss from non-metal cameras, even including Ebony) capable of doing everything a monorail camera should do - and the camera body weighs under 1.5kg!<br>

Referring its sentimental value when passing it to your grand-children, I think that depends from their taste... I personally would like and admire a Linhof Technika III much more than any wooden camera (I only wish I really had a grandpa giving it to me :).

I tried the 8x10 Toho and was unhappy with it. It has two thumb screw locks for each movement, which means twice as much work to lock down a movement. The instructions said the double locks were to ensure that the movements would not slip. Guess what, no matter how tight I turned the two screws, some movements slipped, so much that my lens and the rear standard (which were supposedly locked) slammed down when focusing due to the pressure of the bellows.

" Do you sell many?"

 

That is a relative term.

 

We stock, sell and reorder all versions of the wood and metal Wista cameras.

"That is a relative term"

 

Of course it's a relative term. I was asking, relative to the non-interchangeable models do you sell many. I've never many people use the DX-DXIIs but I've yet to hear anyone that used the SWs. No big deal I was just wondering.

Jim,

I'm a new-to-4x5 photographer in the DFW area... Denton, actually. If you're wanting some company on a pleasure-photo outing let me know and I'll see if I can join you.

jeremy

Whatever you decide upon, consider and research it carefully as the used market appears especially soft right now making it tough to switch out of something if you decide it not suitable for you. Interestingly, there is a cherrywood 5 x 7, you know where, that can be had for about $50 which could sure get you started. All the best.

William, the Toho FC-45X has only one knob for locking each movement (but of course each movement has its own locking knob :).<br>

While it's true that tightening the knobs helps for ultimum stability and precision, I never experienced unexpected slip (have the camera for ca. 7 months now and used it quite a bit, although not in a professional context).<br>

As a matter of personal preference, I prefer metal over wood for technical instruments (so I'm a bit biased here), but I think in terms of rigidity and wobble-freeness there is really nothing to criticise with the FC45-X. Changing format orientation is slow, and for wide angle lenses you'll probably need the special shift adapter lensboard, but apart from that I really enjoy the camera. And as Kerry Thalmann states in his thorough <a href="http://www.thalmann.com/largeformat/toho.htm">review</a>, the low weight and small packing volume <b>is</b> a liberating experience (esp. after hauling an Arca Swiss F-line around for 2 years :)!<br>

(Sorry for the off-topic babble...)

Stefan,

 

I have not tried the 4x5 Toho, but I have tried the 8x10, as I said above. It was a new camera, and the movements would not lock down, so I returned it. I am not being picky. The front and rear standards kept flopping over. Maybe the 4x5 Toho is better made than the 8x10.