What Would a Starter Landscape Rig Look Like?

<p>I find myself shooting more and more landscapes these days - both urban and wild. I have some 120 cameras and experience with several older 120 cameras, so I appreciate the difference made by larger negs. I'm interested in giving a try to 4 x 5 to see if I would like it.</p>

<p>What would a beginner's middle of the road rig look like? I would not be hiking far, so I am not too concerned over weight. What I shoot now for this is a 120 camera with either normal or wide angle lens. I would be shooting B&W film like ASA400. I'd like a rig that is reasonable cost and could be sold easily if I don't care for shooting LF.</p>

<p>Do I want a wooden field camera? A mono rail? A Graflex? What lens? What shutter? What do I need that I don't know I need? Is there anything I should absolutely avoid?</p>

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<p>I'm not too seasoned at large format landscapes myself, having only done them off and on for about a year or so, but I can tell you that I got a monorail as well and while I don't mind the weight too much, I find myself not taking it as much as I would like to because it's difficult to carry. I could collapse it and remove the lens and all that, but I suppose I'm so used to a smaller camera system that I want to be able to be one place, take the camera off the tripod, put it in a case, and find another place without having to leave it on the tripod. To that end, I've also managed to get hold of a press camera which is much more limited on it's movements, but it will still tilt forward and back a decent amount and the front standard, or just lensboard really, will raise about an inch two without running into problems. It's relatively light weight but I can't shut the camera like you're supposed to because I fit it with the lens I used with the monorail, a 90mm Fujinon f/8. Also, if you are picky about having as bright of a viewfinder as you can get, f/8 is pretty dim. If you're just doing daylight, I suppose it should be fine. As for lenses, when I was looking around, I checked out KEH for prices. Then I called them to order and told them what I was looking for and they were very helpful finding something that was cheap enough, but still good quality, and in the focal length that I wanted. That's how I ended up with the 90mm fujinon f/8. I think that's something around a 24 or 28mm on a 35mm camera. As for the shutter, I got mine with the lens, and since I had a wide angle lens, they suggested getting a bag bellows, but I ended up staying with the normal bellows with a recessed lens board, because the 90mm lens has to get pretty close to the film plane and the bellows get pretty scrunched up at that point.</p>

<p>If I had the money and more experience, I might have gone with a more transportable field camera.</p>

<p>Once again, I'd recommend KEH if you have a decent idea of what you're looking for. I wanted to talk to somebody when I placed my order to make sure that I didn't get different parts that didn't match up. I'm also not sure about the price of wooden field cameras, but I had thought they'd be more than metal ones. In any case, I think a field camera would be easier to sell than anything else, which seems important too.</p>

<p>You might want to check the tutorials at www.LargeFormatPhotography.info for lots of good info.<br /> There's a very active forum on that site and an excellent Classifieds section. You must be a member<br /> for 30 days before you can access the Classifieds. Registration is free.</p>

<p>Choosing an LF camera is kind of like choosing a wife. Opinions abound, and everyone thinks his is gospel.<br /> I would suggest a basic wooden field camera. They're readily available in many makes and models.<br /> Choose one that takes standard Linhof/Wista lensboards. These are quite common and readily available.<br>

I would not recommend a Graflex. The small bellows really limits your choice of lenses.</p>

<p>LF cameras generally have some sub-set of the following movements:<br /> Front: rise/fall, tilt, swing, shift<br /> Rear: rise, tilt, swing, shift</p>

<p>Most of these are not used much for landscape work. Possibly shift or swing to frame the image.<br /> You may need tilt for Scheimpflug focus correction. Some prominent photographers did not use it.</p>

<p>Monorail cameras typically have a full complement of movements with a wide range of motion,<br /> while field cameras may be more limited. This is one basic difference between the two.</p>

<p>A "normal" lens for 4x5 is in the 135mm - 150mm range. A wide-angle is around 75mm-90mm.<br /> A 65mm is quite wide.</p>

<p>Not all lenses will cover 4x5. The critical spec is the diameter of the "Image Circle" (IC). For 4x5<br /> the IC should be greater than 162mm. More is better, as that determines the amount of movement<br /> that can actually be used with the particular lens.</p>

<p>Major lens makes are: Rodenstock, Schneider, Nikkor (by Nikon), and Fujinon (by Fujifilm).<br /> The first two are still in production. You won't find a "bad" lens from any of the four, although<br /> obviously some specific lenses are better than others.</p>

<p>You'll probably use whatever shutter comes with the lens. <br /> The most common are Copal shutters in sizes 0, 1, and 3 (there is no #2).<br /> Compur shutters are quite good, although out of production and with limited repair parts.<br /> Older shutters include Alphax, Betax, Ilex, and a whole bunch of others.</p>

<p>Look through the Large Format offerings at KEH www.keh.com to get an idea of what is<br /> available and pricing. Their lenses are marked with the largest format each will cover,<br /> as (4x5) or (5x7), although they don't give the actual IC diameter. You can find the IC<br /> online for any modern lens.</p>

<p>Anyhow, just a broad overview of a very complex topic.</p>

<p>- Leigh</p>

<p>I hear: Wooden field camera, standard Linhof/Wisna lensboard, maybe 90mm Rodenstock or Schneider lens. Don't go to the Graflex.<br>

Good info there folks, thank you. I will do a checkup on KEH (with whom I have had very good luck).<br>

Thanks!</p>

<p>For decades most of my LF photography was done with a 5x7 B&J flatbed camera with a 4x5 back. It was bulky and not as rigid as many others. Sometimes a Graphic was more appropriate. I've also accumulated monorail and featherweight field cameras. The Anba Ikeda field camera is my favorite if it must be carried far. With three lenses, four film holders, and a few other accessories in a canvas bag it weighs just over 11 lbs. The B&J in a much larger case weighs several pounds more. So does the monorail. Both offer the best movements and the most camera for the money. Field cameras are more expensive and sometimes a little less versatile. Press cameras are great for a few uses, but limited for others. Technical cameras like the Technica combine the best of press and field cameras, but are expensive.<br>

As for lenses, great photographs were made with the lenses of generations ago, and can still be made today. Improvements in lens design and coatings make newer lenses worthwhile for master photographers. Most of my lenses are 30 to 60 years old, and are good enough for me. They are also an inexpensive way for one to gain the experience useful for selecting the ultimate LF outfit.<br>

Leigh gives excellent advice.</p>

<p>I agree with much/most of what has been said above. Especially about getting yourself over to the large format forums. It'll keep you busy reading for a goodly while.<br>

But be aware that there are a lot of experienced large format shooters who prefer the versatility and (generally) improved handling of a good monorail. You'll find us piping up from time to time on the Large Format Forums. If weight is not a prime concern, you might be better served with a Sinar F1 or F2. Not much heavier than all but the lightest field cameras but giving many advantages, and not all that difficult to transport. I carry mine in a Kelty Redwing backpack. See Photo Backpacker for details.<br>

Good luck and good shooting,<br>

JD</p>

 

<p>I throw my Crown Graphic and a 90mm and 150mm lens in my backpack. Pretty affordable.</p>

<p>Michael,<br>

If I am shooting wide angle landscapes, and not a lot of other complexities, what limitations would I have with the Crown? I think a 90mm would be all I need. It's a nice folding rig - I like that. It is harder to focus?</p>

<p><a href="http://graflex.org/speed-graphic/pacemaker-crown-graphic.html">http://graflex.org/speed-graphic/pacemaker-crown-graphic.html</a><br>

A Crown Graphic, a press camera, has a 3 inch (75mm) bellows opening at the lens board limiting the physical size of the lens that can be mounted. The lens board will accept lens locknut or mount flange that is no more than 3 3/8 inch (85mm) diameter.<br>

The bed can drop about 20° , the front standard has 19mm rise and 20° forward tilt, enough to center the lens with the bed dropped. The front standard has 8mm shift but no swing. (click the Speed link for the full description as the Crown and Speed front standard and bed are the same.)<br>

Some 65mm lens will just make infinity focus on the Crown but 90mm and shorter infinity focus inside the body limiting the movements. Some have reverse mounted the front standard to get rear tilt eliminating the forward tilt.<br>

In cases where the lens mount ring will fit the lens board but the rear element will not fit through the bellows opening the rear element can be removed, lens front element/shutter/lens board mounted to the camera, then with the bellows retracted and the focus panel removed, rear lens element attached to rear or the shutter, bellows extended, and the focus panel reattached. It is not that hard to do with a body that has a Graflok back but is difficult with a Graphic (aka spring) back. There is a chance the lens will not infinity focus or that the bed will not close when a lens is this physically large.</p>

<p>A Super Graphic <a href="http://graflex.org/speed-graphic/super-graphic.html">http://graflex.org/speed-graphic/super-graphic.html</a> has more front standard movements but 1/4 inch (6mm) less bellows opening at the front standard.</p>

<p>For landscape, I 'd stay away from monorails. My suggestion is to find a used Shen Hao and put something like a 125mm lens on it. Buy a focus loupe of some kind, several dark slide holders, and buy a large black t-shirt from Walmart to use as a dark cloth. I assume you have a sturdy tripod already.</p>

<p>Kent in SD</p>

<p>I recently started shooting 4x5 landscape. One thing I thought I could do without, but couldn't, was a spot meter. </p>

<p>A wooden field camera, chosen based on budget. A 90mm lens, 6 filmholders and a tripod. Thats all you really need. Handheld meter or one of your other metered cameras as a meter. Use a dark shirt for a darkcloth.</p>

<p>A wooden field camera, 90mm lens, 4-6 filmholders, lensboard, tripod & a shirt or jacket as a darkcloth. Also a meter, or you can use use another camera as a meter.</p>

<p>I have at times been tempted by a whole plate size LF film field camera for B&W work and for occasional color transparencies, yielding a bigger neg than a 5x7 and a slightly smaller and more portable body than an 8x10, but a reticence has been the difficulty (and presumably future difficulty) of obtaining film in that size (Ilford or other custom order, or cutting dowm 8x10 with the consequent waste). I don't presently have a 4x5, 5x7 or larger format enlarger (only 6x9cm) so the whole plate would initially be used to make ngatives for contact prints until I would feel the need for an enlarger. Chamonix in China makes a whole plate size LF model, and less expensive vintage instruments are sometimes available on the used market, probably OK for the less versatile movements requirements of much landscape photography. A second "dream" starter camera for me would be a 5x7 body and a Zone VI or equivalent enlarger. I may still stay with my 6x9 for some time, possibly with the finer grain films, as my processing technique in the darkroom has not yet exhausted/achieved all of its potential at that size, and the artistic approach is..., well, that is really never completely developed and realised.</p>

<p>Graflex Crown Graphic (do not assume even a very clean one will work out of the box as they are 40 - 60 years old and have likely sat)<br>

90 6.8 Angulon<br>

135 4.7 Xenar<br>

(These are press lenses with minimal movements; any modern Nikkor, Fujinon, Schneider or Rodenstock 90 5.6 and 150 5.6 will make an excellent high-contrast substitute; the Fujinon 240 A and the Nikkor 300 from there if you like a narrow field)<br>

Omega D-2 enlarger, 4x5 carrier (glass is nice, if mint)<br>

Grafmatic holder and/or 6 good Fidelity holders<br>

Changing bag (which can double as a darkcloth)<br>

A box of 50 sheets Fomapan 100 or 400 <br>

Any old lightmeter, Gossen's are good (the Digisix is nice & small); shutter release, loupe & dark cloth optional<br>

Humor & improvisation. Make lots of mistakes.<br>

Plan to CLA the camera & lenses and have the rangefinder zeroed and the infinity stops checked with the lenses.<br>

If I were to do this all over again, myself, I would take the budget for all of the above (under $1,000) and spend that amount again on a very good camera support system. Say, a Gitzo 1228 or 1548 and a Linhof 3-way levelling head. Or a Ries with Manfrotto 405. Or, doubling that, a new-gen Gitzo and the Arca-Swiss D4 gearhead.</p>

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