new to large format - plea for advice!

<p>Hi all,</p>

<p>I'm a photographer based in Melbourne, Australia. I started off shooting 35mm film and then switched to DSLR's. Whilst I rely on digital for my work, I'm planning on moving back to film for my personal work and I want to invest in either a medium or large format system. I have no experience with either so I'd really appreciate any advice you may be able to offer on where to start - both with a suitable camera/lens setup and any good reading material where I can learn the ropes.<br>

The main reason I want to move back to film is that I love the colours, tonal depth and detail that can be achieved, especially with larger formats. I'd be using the camera mainly for landscapes, travel and documentary photography such as the work on my website - http://www.tomroephotography.com/personal - so I'm looking for something reasonably portable. I'm happy to carry a bit of extra weight if it offers greater tones and detail though.</p>

<p>Here are some links to work I admire as an example of the kind of colours/tones I'd love to acheive:</p>

<p><a href="https://www.google.co.uk/search?q=joel+sternfeld&biw=1564&bih=858&source=lnms&tbm=isch&sa=X&ei=2TThVLi_BYirPNG8gLgN&sqi=2&ved=0CAYQ_AUoAQ&dpr=1#tbm=isch&q=joel+sternfeld+american+prospects&revid=515785936&imgdii=_">joel sternfeld american prospects</a><br>

http://woutervandevoorde.com/hume-sunrise<br>

http://www.nadavkander.com/nadav_kander_small_screen.html</p>

<p>Any advice greatly appreciated,</p>

<p>Cheers</p>

<p>Tom</p>

<p>Lots of postings on PN dealing with this! Personally, my #1 observation would be that the future availability of color film is far from certain, so any purchases of LF gear would carry an element of risk. The good news, on the other hand, is that there is plenty of good secondhand LF gear around at good prices.<br>

… greater tones and detail … This is primarily a function of the type of film used and the lens - for a given lens and film, the results from all LF cameras are indistinguishable. The differences between these cameras lie in their complexity (more adjustments), bulk (folding camera much less bulky than monorails) and weight (big metal cameras of course heavier).<br>

Among the lightest and most compact cameras are baseboard camera like the Crown Graphic/Speed Graphic. They offer limited movement but essentially all the movements you're likely to need for landscape (mainly tilt front, followed by rising/cross front). Linhof baseboard cameras (Technika without rangefinder, Super Technika with) offer much many more movements but are much heavier. Monorails offer every conceivable movement but are very bulky and not at all aerodynamic, which means they need heavy tripods for use out of doors.<br>

Recommendation in a few words - a wooden field camera - here's a guide:<br>

http://www.largeformatphotography.info/roundup4x5.html<br>

and a 150 mm lens - although you might like a 180 or 210 better - plus a 90 if you can afford the money and weight. If you buy any LF gear and decide later it's not for you, you won’t lose very much when you sell it. "How to" books " - lots around, I like Stroebel's. The Kodak View Camera Guide is good, too, if you find a copy.</p>

<p>Regarding the choice between medium and large format - medium format was the choice of many professionals because of the larger negative than 35mm, but still a reasonably portable system with a large choice of film. As a result there is a lot of gear available that has been superceded by professionals, although much of this may have had a hard life - I was given a Hasselblad outfit, a Rolleiflex and some Nikon bodies by a pro who was switching - he reckoned that the Rollei had had 25,000 rolls through it!</p>

<p>In your case I would suggest the ability to use single shots, use movements if necessary and the ability to examine the focus/view would be more important than 'just' a larger negative size and so I personally should steer you towards LF. MY own LF cameras are a Speed and a Crown Graphic which are portable, but not the lightest on the market and have limitations in their movements - I sold a Calumet which was far more flexible, but did not have the simplicity of use and ability to hand hold that the Graphics have - but what suits me may not be your choice. </p>

<p>Two final points - you can always shoot medium format with a roll film holder on a LF camera and my own favourite accessory is a Grafmatic film holder that enables you to shoot 6 shots in LF and takes up far less space than 3 double dark slides.</p>

<p>Nick</p>

<p>Hope you're not planning to take an LF camera to Mongolia? Not only will your kit be heavy and bulky, esp. with the tripod you'll need, but I wouldn't take film through film scanners in the Former Soviet Union. If you want film--and I understand that--you might be best off with a Hasselblad or a Mamiya TLR. No batteries, very rugged.</p>

<p>Thanks for your responses. I'm leaning towards large format with either the crown graphic or a lighter wooden camera such as the Tachihara. Does anyone have an opinion on which would be best? </p>

<p>My decision may be swung by which has the best shift movements as I currently enjoy using canon tilt-shift lenses for my architectural work and would like to have good shifting options when shooting large format in urban environments. I can't seem to fins much info on this though as people mainly seem to talk about tilting for landscapes rather than shifting.</p>

<p>Thanks for your tips regarding film scanners in soviet areas Les, I'll certainly keep this in mind.</p>

<p>If a large amount of shift, particularly rising front, is important to you, the Tachihara is the clear favorite. I don't have one, but this kind of camera allows direct rising front (via the front standard alone) and indirect rising front (where you tilt the camera upwards and then tilt the front and back forward into a vertical position). A further problem with Speed/Crown Graphics is that with wide angle shots the front standard is inside the camera body, which limits the amount of rising front you can apply and forces you to move the front standard out to apply the movement and then back in to focus. Wooden cameras of course have virtually no swing movement but this is unlikely to be a problem - if the worst comes to the worst, a wooden camera is light enough to be rotated 90 degrees to one side, making its tilt movements into swings!</p>

<p>What is your budget overall for this?<br>

I have some experience shooting architectural shots with LF. I used to use a Toyo 4x5 C but would not recommend it for weight or portability. Actually if you want someday to expand from nature/landscapes on film to architectural I would recommend, if you can afford it, a used Toyo vx125. Have used these in the past and they break down to 125mm thick (hence the name) and expand quickly back up.<br>

Some people, in the past, have commented that the VX125 is a clone of the on the Arca-Swiss orbits 4x5 but they no longer, used, in the same price range. Never used the Arca-Swiss so I can't comment on that.</p>

<p>Landscape is one thing but I don't see large format as practical for travel, if only because of going through airports. You might still be able to get a hand inspection when you pull out rolls of 35mm or 120 that security can recognize as a roll of film. But I wouldn't want to be standing there with a box of sheetfilm that looks like any other box and they want to either scan it or open it to see what's inside.</p>

<p>Thanks Chris, I'll have a look at the toy's - no real budget but was hoping to get all set up with everything for under $2000.<br>

Cheers Craig, I was of the impression that modern airport scanning machines were OK with film and that it's only the old scanners in less developed countries that would be a problem? I could be wrong though?</p>

<p>You'll get a lot of opinions on X-ray. You are correct that today's machines aren't as bad as older ones, but it is inherent that they are giving the film some exposure. The question is how much and at what point does it make a difference. If you're talking film up to maybe 400 ISO and only a few passes through the machine -- one of two on the way and one or two on the way back -- you're most likely OK. But X-ray exposure is cumulative, and there is potential trouble when you get into multiple passes. Last summer I did a trip to Santorini in Greece, which involved three flights each way, therefore six passes at the airport. There are some airports where you have to go through security twice (leaving Aruba comes to mind) so that can add another pass. And many museums and public buildings today have X-ray machines, which are not necessarily regulated the same as those at the airport.<br /><br /></p>

<p>Hi Tom, ...my first post to PNet<br>

I like you have just begun my 5x4 journey after 40 years a photographer. I purchased 2 5x4s<br>

and am selling one of them 1951-53 Linhof Techika III 150mm f4.5 Zenar (probably should be posting in equip and will do) - Wife says I need to finance my filter collection. I'm in Sydney</p>

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<p>Steve</p>

<p>What are you asking for the outfit? Does it include some film holders? And where are you advertising it?. I have a Shen-Hao, which is light, versatile, but requires a tripod. I also know that the xenar has a very limited field of coverage. Let me know. Hand held is attractive. I'm in Taree. Regards Apiarist1 (Arthur)</p>

<p>If the bulk of a view camera bothers you consider either a 6x17 or a 6x7. Both use 120 film which does make life easier.</p>

<p>I believe that your success in achieving the type/look/feel of what you want in your photographs is going to be about your dedication to the work, your vision and the amount of time and energy that you invest. I think it's a great idea to start with a Crown Graphic because they work and they are rugged and dependable. They offer basic movements. They will accommodate a very wide variety of lenses. They are plentiful and inexpensive. And, when you decide you want to upgrade or switch to another pursuit they are relatively easy to sell for about what you paid for it.<br>

Don't get too involved in exactly which camera is perfect for you. Buy something you like and can easily afford and get to the business of shooting film. Shoot a lot of film and invest lots of time and energy. Get a basic high quality lens. I see 135mm to 180mm lenses in very good shutters - Fujinon and Schneider, coated - selling for under $200 on eBay. Some can be had for hardly over $100. These are incredible deals and, again, in the future you can if you want to, sell them for about what you pay.<br>

A good tripod is important. A big enough and comfortable case to carry everything is important. A good focusing loupe and a good light meter are essential. Five or six film holders will be enough to start.<br>

Mainly, don't obsess over finding the exact "perfect" kit. Get started and things will evolve over time. I repeat, this pursuit is much more about you, your vision, your dedication of time and energy and creativity and less so about the gear. Really. I've made some extremely satisfying images with a Crown Graphic and a $70 Raptar lens. Work that makes me very happy and that I enjoy looking at and sharing many years after I created it. Work that has meaning for me. I have also produced tone of trite, boring photos with Hasselblad, Leica, Rollei, Nikon, etc. - film and digital. It's much more about the photographer than the camera.</p>