again 12x20 camera design

[herwig_prammer1]

i posted this question already but as i got only one answer (thank

you, jorge!) i would like to try it again.

 

all you 12x20 korona, f&s, wisner, lotus, deardorff, ... camera

users, which (design-)features on your cameras do you like? which are

unpractical features on an 12x20? what is the "dream design" for a

12x20?

 

As i would like to build a 12x20 camera, such informations would be

very helpful for me. i could decide then how to build it, which parts

to use or maybe modify an already existing design (at the moment i

could get a cheap korona for example, but i tend to a more modern

design).

thanks a lot!

[david vickery]

Hello, I have an old 12x20 camera that may have started life as a korona, but its hard to tell, as when I got it it was highly modified. It was still on its original geared bed that is typical of the koronas and other cameras from that era. I felt that the bed was not stable enough for such a large camera and it also had cracks in the wood that I did not think that I could fix. So, I thought about the way that the Bender cameras and other monorails are put together, and decided to replace the bed with a monorail. It was not all that difficult to do and now I have a monorail system that I can use with the 12x20 and an 11x14 camera that I also modified to fit the same rail. My rails are made of two 1 1/4" square aluminum tubes with 1" spacers between them. I have three rails of different lengths, and the front and rear standards just slide on and off when the tightening bolts are removed. Either camera will fit inside a large ALICE backpack(the 12x20 sticks out at the top, but that is okay) and the rail will then just strap to the backpack or stay on the tripod if I am walking a short distance. I think that for 12x20 the most important movements are front rise/fall, swing on the front and rear, and tilt on the front and rear. If you have front and rear swing then you don't need any shift, as you can create shift with the swings. The other reason that you don't need shift is that most affordable lenses for the 12x20 will not give enough coverage for much shift anyway. I do have rear shift on my 11x14, but I have only used it when photographing buildings. If I were to do it again I would definitely get the cheap korona and build another monorail for it. I believe that the rail and associated parts on the camera are lighter than the geared beds of the original, and easier to use. One of the things that I did on the 12x20 that I am very happy about, but wasn't really sure about when I built it, is a rear swing that pivots on one end instead of at the center. This makes using the movements much easier and faster for me. If you are interested I may be able to take pictures of my camera and email them to you.

[nathan_congdon]

I use my 12X20 almost exclusively for portraits, so my answers will likely differ from others'. For me, movements are not a big deal, but the ability to extend out to 48" (max extension on my Wisner) and reasonable stability on these long extensions, were key features. I have full front movements and shift, rise and axial tilt on the rear, and can't say that I use them much. The ability to collapse the thing into a handy "box", locked shut with sturdy snaps and and carry-able by a sturdy handle is critical, as I travel extensively with it (to all of the continents except Antarctica to date!) and bring it on-board the plane as carry on. Even for portraits, I like having bubble levels (two way) at the rear, and would like one on the front, and another for when I orient it for vertical shots. If you will do verticals, talk to a Lotus user, or even the company, as they apparently have some feature making verticals easier. I just turn my Ries A250-2 head over 90 degrees, but this is a bit awkward and perilous, though I do it all the time. I would have some sort of fresnel, as you will be using many slow lenses. Choose a BIG lensboard, as many of these may be big lenses as well. The one on my Wisner precludes big portrait lenses, for example. You can build an adapter to take smaller, standard boards, but no way you can fit something bigger than your board on there (at least no easy way). If you will have front rise and tilt, use separate mechanisms to lock them. It's not much fun to try to rilt a 5 lb lens and have the thing fall 5 inches at the same time!

 

That's all I can think of for right now: good luck!

 

Nathan

[emile_de_leon9]

Make it light and simple, all moves on the rear, min bellows 6.5 inches for 165mm. As I like ultrawide on this format, keep the rail short. I like the Korona as it sets up quick.

[sandy_king]

Check out the site below for design considerations and for a hint of where this ULF madness may lead you!

 

http://panphoto.com/MakingTheCameraFitTheFilm.html

 

Sandy King