dave_henry1

Hi John,

When I was in the market for a wood field camera I considered

several and bought the Tachihara just for the weight. I backpack

it everywhere and really count ounces. I found it was much lighter

than the Shen Hao and others. I considered the graflock issue

but never shoot roll film so for me it was an easy decision.

If you're not backpacking and would like to remove the GG for

various accessories, buy the Shen Hao. I looked at the

construction of both and found them to be excellent cameras.

For me it was weight and cost. For you it may be rear mounting

accessories like a rollfilm back or RA hood. The Shen Hao is

slightly more expensive but amortized over the years you will own

it, it isn't something to worry about.

Good luck, Dave

Ditto all above. I'm just getting back to the office after spending

the rest of the week after the workshop in Death Valley and 395

and continually recalled several of the photographers I met at the

gathering. So many talented people in one place was a great

experience. A real inspiration. Thanks guys.

Wow! Lots of mis-information on this topic. First, visual

inspection is always best but, as mentioned above, several

passes through "check-in" area x-rays won't hurt the film.

Second, x-ray damage doesn't turn film green. The green is

usually from "new" unaged film and is predominant in

"consumer" levels of film or professional film that was released

from the factory too soon before it was aged properly. X-ray

damage occurs as streaks or waves that look like the film was

fogged.

Lastly, lead foil bags only attract attention from the operators.

They stop the conveyor belt and simply increase the dosage of

x-rays until they can see through them. You are better off not

using them. They don't "automatically" trigger a visual inspection.

It's easier and faster for them to simply increase the dosage. If

you get a chance to watch the operator look at how they study an

object and notice their right hand pushing the buttons. They are

increasing the dosage before moving it on. If that fails, they might

call for a visual.

The best way to get a visual is to carry some ISO 800 film in the

bag with the rest of your film. This usually always works.

I'm in complete agreement with James. Well stated. I've exposed

several thousand sheets of Tmax 100 & 400 over the last several

years (60 in the last five days) and never had a problem that

wasn't my fault. I shoot the film I can get the most consistent

result from - regardless of brand.

I don�t think guilt is a good thing and not helpful in evaluating

your priorities. I too, over the years, have struggled with trying to

find the right balance in my own life and after reading numerous

biographies and autobiographies of the famous photographers

came to the realization that they all had terrible family lives. I

don�t think it is possible to lead the normal family life and still put

in what it takes to be really successful as a photographer.

If you decide to follow your heart and pursue photography

vigorously that doesn't leave much time available for family or

anything else. Re-read Ansel Adams' autobiography and the

several biographies of the other greats and you will see what I

mean.

Start tallying up the amount of time the "biggies" put in the field

seriously shooting (not to mention promoting). I've read they

average 200 - 250 days per year. At a seminar David Muench

mentioned he spends over 200. I knew Galen Rowell and he

spent about the same amount of time in the field. True, many

have staffs now to support them but that didn�t happen over

night.

A family and the other stuff we fill our lives with all take time. If we

elect to make a normal life our priority, then embrace it fully and

be happy with a Saturday morning photo shoot or a nice sunset

after the kids� soccer practice.

Which ever direction we take, don�t constantly be looking over the

fence wishing you were elsewhere because either your family or

photography will reflect it.

It�s hard to fulfill that creative vision when the family is waiting in

the car. Pressure and anxiety will kill you. Make a decision on the

direction for your life, don�t �what-if� your self to death and then

enjoy.

Just my .02 worth.

Hi Per, I vote for Death Valley as well. Otherwise, Joshua Tree

would do. I really enjoyed my brief visit to Shasta.

Dave

Hi Don, Camera Arts on "H" Street in Sacramento ( You'll have to

call them for the street number) has both Kodak and Fuji. (916)

736-3084. They are the only pro oriented store in Sacramento

and carry LF & MF equipment. The other store that sometimes

has the film is Filco, 1433 Fulton Ave (916) 739-6021.

Stockton is 45 minutes south of Sacramento on I-5 and

Gluskin's Camera (another good store) has the film. 300 Lincoln

Center Dr. (209) 477-5566. Have fun shooting.

Hi Patrick, I have shot Velvia for quite a while but always try any

new film just for kicks. I experimented with the E100G when it

first came out and was converted right away. I've shot over 100

sheets in the last 45 days and am extremely pleased. I think you

should run your own tests as well.

I shoot some scenics and I shoot a lot of food where the settings

or food can have vibrant to soft colors. E100G looks nice in

contrasty settings such as a white plate with dark green foliage

or a grilled steak on it and does equally well with softer lighting

and colors.

My correlation to the above response is that silverware (similar to

his chrome) is rendered nice and neutral with the highlights not

blown out. Another difference is that my company does its own

processing and our results are very repeatable.

Anyway, good luck with your own evaluations. In the end, it's each

photographers own eye that determines the film that works for

them. Cheers

Hi Paul, I use an undrilled lens board on my Tachihara field

camera to keep out as much dust as possible when its packed.

My original idea of reversing my Nikor 135 was to keep out dust

but, I got tired of attaching the cable release and rubber lens

shade all the time. So, I opted to use a lens board instead of the

reversed lens. I found that attaching everything to the lens took

the same time as just unwrapping the complete lens.

I store all my lenses in Domke lens wraps complete with cable

release, any step-up ring to 67mm, rubber lens hood and lens

cap already in place. All I have to do is remove a lens cap and

start adjusting. Cheers

The slides you refer to are not dupes in the traditional sense but

are instead slides generated from the digital file on an 8000 line

Lasergraphics film recorder.

Ted, you give up way too easily. If you don't have the tenacity to

solve this problem, how do you expect to handle the obstacles

you will undoubtedly encounter in your quest for the perfect

picture?

Changing formats doesn't solve your problem, it only opens the

door to new ones. Stick with the current challenge, solve it and

move on to the next. You will be stronger and wiser for it. I've

been shooting all three formats (35, 2X & 4X5) for 30 years and

all of us "seasoned" shooters are still solving problems.

I've been shooting Readyloads for a long time. I lost my old one

over a cliff in November and replaced it. I've never had a problem

with either. The previous reply regarding light leaks is probaby

your solution. If your holder was leaking light it would be

repeatable and roughly in the same places every time.

Pin holes in the bellows however would project it's ray of light all

around the film depending on:

1. Where the camera was positioned each time in relationship to

the sun or light source and

2. The amount of holes revealed from bellows extension. Several

holes simply compound the effect.

If your bellows is perfect, make sure the holder is flat to the back

of the camera. The "first" rib on the holder next to the edge of the

film needs to seat into the groove in the camera. If all else fails,

five days' turn-around to Kodak isn't too much to endure. Good

luck

Well Pierre, I used a Canon 1D along with my LF system for a recent assignment. For years I have used the film

version SLR with my LF. But, last month I used the digital on a two week assignment because I was transmitting

images from my truck using a cell phone and laptop back to my company for a project we did that tracked the

progress of fall foliage in the Eastern Sierra here in California. Without the digital system, it wouldn't have

happened.

I never go anywhere without my 4X5 for personal shooting especially on great assignments like this. And I found

the digital was a great compliment to the LF for both exposure and composition. The LCD screen on the camera I find

is right on with the film bodies. I will admit though that when I backpack, the film body is still on the trip with the

LF.

My LF system consists of 5 lenses. I take a Canon body with one lens, the 28 - 70mm zoom, along for the spot

meter capabilities and shoot chrome. The company I work for has converted to digital but I kept my two film bodies

because I just can't bring myself to shoot digital on nice landscapes. They're fine for company pictures but I'm not

ready for them on my own photography yet.

Good luck with your pursuits.

Bob, I'm the one who replied to several of the CF threads lately. I just received the camera today from Mamiya

repair. I had it two days and knew it wasn't right. Coincidentally, I received my new Tachihara from Jim at

Midwest (thanks to Eugene). I think the Tachihara will perform nicely for me. The Toyo was a big disappointment.

The dealer I bought mine from only received one camera (mine, which I've returned today). Another local dealer

received two last month and one was defective. Eugene's local dealer received a defective one. It seems to be a wide

spread problem.

Ironically, the CF I purchased that came back from Mamiya today still couldn't lock the focus knob and they

managed to loose the instruction manual. After a lot of feedback from happy users last week, I'm glad I ordered the

Tachihara. Eugene, you are right, I too had great expectations for the CF and Jim was great! Good luck Bob.

Larry, I too am interested in the ground glass cover. Eugene, I haven't given up on the CF yet. I just haven't heard anything from them which I hope is not indicative of their committment to the products they distribute. So far, their actions are speaking louder than their words. Brian, both my 300 and 400 are telephotos. I purposely avoided long-focus lenses because I am using them on my Crown. They both draw around 200mm. My 210 Nikkor actually draws more (220mm) than the two telephotos. With 330mm on the Tachihara, I think I'm safe.

I'm really looking to trim weight along with gaining front tilt. Both the CF (3 lbs. 4 oz.) and the Tachihara (3 lbs. 8 oz.) are real attractive. On doing more research, I also like the $29 lens boards for the Tachihara compared to $45 - $69 for the Toyo's. Especially since I need 6!

Thanks Eugene for your comments. What features and movements did you need that the Tachihara lacked? I might be

in the same boat as you were. Thanks

I did consider it and came to the conclusion that the Toyo CF or Tachihara was a better choice. My two objectives are

to reduce weight and gain front tilt. The Super is almost the same weight, no drop bed (makes using wides difficult)

and would require me to get all new lens boards as well. That's why, when the CF was announced, I thought now was

the time to convert. I am VERY happy with my Crown and it has been a friend for a long time (I'll never sell it). If

it were only lighter and had front tilt I would be out shooting instead of writing emails.

Does anyone have any recent experiences with a Tachihara 4X5 such as construction, sturdiness over time etc. I've

never seen one and everything on the web makes it look very capable. How well will the finish hold up over time

etc. or will it look trashed after a couple years?

I do a lot of field shooting and backpacking and have been using a trusty Crown Graphic since the late '60s. My

lenses are 65 - 400 and I'll primarily shoot landscapes with it. My two goals are reducing weight (my Crown is

5.4 lbs.) and front tilt (so I can leave my Flexbody home).

I'm considering the Tachihara because of its features and price tag. I don't have $1K or more to spend. Thanks so

much for your help.

Hi Eugene, I did buy the camera new. My dealer (very reputable) called me the moment it arrived. I was out of town for a bit over a week on an assignment and picked it up Friday before last and spent the weekend with it when I discovered its shortfalls. I haven't involved the dealer yet because I wanted to eliminate the middleman in trying to get a replacement as fast as possible. The dealer only received the one camera. We have found that it is faster dealing directly with the mfgr.

As mentioned earlier, we have direct service relationships with other camera mfgr's (Nikon & Canon) and have found them very fast in servicing our equipment or answering questions. On many occasions Canon or Nikon (even Hasselblad) has loaned us exotic equipment for special projects. That is why I think my expectations were so high in hearing from Mamiya quickly. I've discovered that Mamiya doesn't seem to be as responsive as other pro mfgr's.

The camera was, in my opionion, defective out of the box. I asked them to inspect the camera and simply let me know if this is what I should expect or if there is a problem. My dealer will refund the money if I elect to return it to them. I don't want to return it though. I want it to work and accomplish my two primary objectives. I shoot pictures, I don't collect equipment to look at.

The camera came bubble wrapped in a box with only a warranty card and brochure offer for a magazine. There isn't anything to bend in opening the camera just roll back the focus knobs. But, some features, such as the way it locks closed, should be redesigned with something more secure. Visualize a Crown Graphic without a locking button, and you had to rack out the bed rails into a small metal lip in the top of the camera in order to keep it closed. That's the system used in the Toyo CF.

The other problem is that the focus knob lock didn't work. The only parts that keep the bed closed are the narrow lips from the two rails. That's where I think the bungie cord is a positive way of keeping it closed in the field. Unless of course you remove it from the tripod each time you use it and return it to the pack. I like the spontaneity of having the camera always on the tripod. I may have to change my expectations on that one. I've been so used to my Crown all these years that old habits are hard to break.

I really don't want my evaluation to be misunderstood. It's not my objective to criticize the camera. I just want a camera that is relatively inexpensive, light, stable and has front tilt. If this CF winds up working, I'll be the first to praise it. I hope the camera works out. I have heard that the Tachihara is a nice camera and weighs the same as the CF. I haven't seen one yet but, am anxious to see one. Maybe that will solve my needs. I need help from Tachihara owners.

Neil, I bought one week before last and spent that weekend with it before FedExing it back to Mamiya Last Tuesday. I also made a few comments regarding my initial impressions on a similar thread to this one on Oct. 20. To expand on those comments, I think my expectations were too high. I wanted the camera to solve a number of expectations that may have been unreachable. I wanted it to hit a home run but instead got a bunt.

My first turn-off was the method of locking the bed in the closed position. The main problem was that the focus knob lock didn't work. If you're relying on racking the focus rail out to engage with a piece of aluminum in the top of the camera to secure it then the knob lock should work!

The second problem I had was that the body rails and the bed rails didn't line up. That prevented the lens standard from being moved out onto the bed. I made a temporary work-around by racking out the bed rail all the way which then allowed me to move the lens standard out so I could do a little shooting over the weekend. Once I did this, I could begin working with the camera. I don't know if the misalignment was due to a mis-shaped CF bed or body or both.

I had two main reasons for considering this camera. Weight and front tilt. I do a lot of backpacking. I've used a Crown Graphic since the late '60s. The CF is 2 full pounds lighter and has front tilt. Reason enough to buy it. I'm getting tired of taking my Flexbody Hasselblad along for the tilt feature and the Crown for the LF. I wanted one camera to do it all for a change.

My main concern was whether this camera was stable enough with all my lenses with a tripod mounting plate on the camera bed which is made from CF. Remember, I'm used to my trusty Crown which mounts to the base and very stable. I screwed on my Bogen mounting plate and hit the fields. I tried my 400, 300, 210, 135 and 90 and all seemed to feel solid enough. The balance was fine. I use Kodak Readyloads. I used the 3/8" forward hole for the Bogen plate. This improved the balance with the two longer lenses. I didn't get a chance to use my 65 because it is in the shop having the shutter worked on. The film I shot looked fine. The 90 had plenty of flexibility left when focused at infinity. My concern about the sturdiness of the bed flexing under working conditions was proven not to be a problem.

Where I have a problem is leaving the camera mounted to the tripod so that it is ready quicker than having to dig it out of a bag. The method of locking the bed doesn't seem to be up to a lot of use. It seemed awkward having the camera closed flat on a tripod while walking along. Maybe it would take some getting used to. The flimsy method of locking the camera closed in that position almost makes it unwise to do so. Maybe I should have used a bungie cord around the camera to keep it closed. It wouldn't look good but would work. Next time.

The screen is nice and bright, the weight was wonderful, the front tilt and rise was adequate for my needs. But, considering the problems I had with the rail misalignment, lock lever not working and flimsy method of securing the bed in a closed position, I'm not sure it is up for a lot of heavy use in the field.

My last dissolution was expecting communication in a timely fashion from Mamiya. I've not even heard anything. I work for an organization that has Canon and Nikon Pro service. If one of my Canon's were sent in last Tuesday, I'd have it back by Friday. Monday at the latest. Once again, my expectations need to be lowered.

All this said, I'm now considering a Tachihara while waiting to hear from Mamiya. It seems to be the same weight and with more movements. Anyone have any comments? I really wanted to leave the Crown and Hasselblads home. I really wanted a homerun. Darn.

I haven't yet seen a 4X5 Tachihara Field camera and am wondering if Toyo 110mm lens boards for their field cameras will fit the

Tachihara. What other lens boards will fit the Tachihara. I'm considering purchasing a Tachihara and don't know what other lens

boards fit. Does Toyo field cameras accept any other boards other than the Toyo? Thanks for any help you all can give.

Hi Paul, I don't think you should do any trading yet. I just picked up my CF (ordered sight unseen 2 months ago) on

Friday evening from my camera store as they were closing. When I got it home and out of the box, I was

underwhelmed. First, no instruction manual. Only an ad for Camera Arts magazine. Then after a few minutes to

figure out how to open the camera (since there are no buttons), I discovered that the base and bed rails are

hopelessly misaligned which prevents the lens standard from leaving the base. I'm FedExing it to Toyo tomorrow in

hopes of securing a new one or having this one repaired by the weekend. I have a project I'd like to have used it on

this weekend.

The other aspect that troubles me is the durability and stability of the carbon/fiber housing and particularly

having the tripod mounting plate on the bed vs. the base. I hike with my camera on the tripod slung over my

shoulder. My Crown Graphic with 5 lenses and I have been buddies since the late '60s and I just like having the

camera ready on a moments notice. It mounts to the body not the bed and when closed is fairly well sealed. I just

don't know if I'm comfortable having this plastic camera folded up, laying flat on the bed, while I'm hiking down the

trail and under branches etc. Especially with an insecure method of locking the bed closed (that too is broken). I've

had this mental battle though, for a while as many of my friends have the metal and wood field models that have the

same bed mounting method.

All-in-all, I was hoping that this camera would have been a home-run as I am tired of packing my Hasselblad

Flexbody along on trips where I anticipated "fields of flowers" depth-of-field uses. The other thing though, is that I

like the 3lbs. 8oz. weight (w/o lens). I'm getting older and the back is complaining. It's a full 2 lbs. lighter than

my Crown! That's half the weight of my tent!

I suspect that I'll keep it (provided they can get me one that works) because of the weight and forward tilt and just

get used to digging it out of a bag like the rest of my friends do with theirs. I sure wish I could go back in time and

ask the designers of my Crown " Why didn't you include forward tilt?" wouldn't that make it the perfect camera?

Good luck with your decis

Roy, I had to make the same decision you are now pondering. My solution was to add a Flexbody to my Hasselblad

system. It gives me the tilt function of my 4X5 for added depth-of-field when I need it and it is a bit less

cumbersome in the field. By changing hoods I can put it at eye level or even put it on the ground and point it up.

Plus, I get TTL metering. You have to be flexible in your equipment choice to achieve the image you are looking for.

35mm, 6X6 and 4X5 are just tools. I use all three. Don't get married to just one. No format is the perfect format. If

that were the case, we would all be shooting the same camera, film etc.

Also, 1:1 means the same size on the film as in real life and has nothing to do with "relative" sizes. A penny laid on

a piece of film would be the same size as the image of that penny on the film. Therefore, 35mm would fill the

frame, 6X6 substantially less and 4X5 a speck with a lot of wasted space. It is easier to fill the frame with subject

using 35mm vs 4X5. A four-inch full view flower on a 4X5 sheet would be 1:1 magnification. The same full view

flower on 35mm or 6X6 would be a reduction.

Next time you venture into your garden, take a 35mm slide mount with you and lay it on a flower. That is what

you'd get at 1:1. You can even take it further by cutting out a 6X6 and 4X5 aperture in a piece of cardboard and do

the same thing. I think you probably want less than 1:1 in many cases. If nothing else, it will be a fun exercise in

the art of "seeing". I hope this helps.