gone nomad

I have been watching the varios writeup about the RD-1 quite closely. However, I don't think that I will purchase one. I am excited that someone has finally introduced a digital rangefinder; however, it has a few features that I really do not like.

 

First, the sensor size. When I finally buy a digital camera it needs to have a full size sensor. I really like my 12mm and 15mm voigtlander lenses.

 

Second, it uses an SD card instead of compact flash.

 

Third, it is built on the Voigtlander Bessa R3A body. I have two Voigtlander lenses that I love; however, I have not been happy with the two bodies that I have owned. Perhaps the R3A has improved??

 

Now, it has a few features that are great. Leica M mount. Yes! TTL metering Yes.

 

Someday I will buy a digital rangefinder. However, it must meet the following criteria before I consider it an upgrade from my film based rangefinder.

 

First, it must have a full frame sensor. I am not yet certain that 6.1mp is enough. 10+ would be better.

Second, Leica M mount would be best. This would ensure the widest range of useable lenses. Although, a Contax Digital G would also be great. I love my G lenses too!.

Third, an autowinder would be nice. Perhaps Zeiss will build us a digital version of their new M-mount rangefinder (http://www.zeissikon.com/).

 

Well anyways, digital rangefinders are in their infancy. Hopefully soon we will see a new crop of high-end digital rangefinders. I know that I would happily pay 3000+ or 4000+ for a 10mp M-mount full frame digital rangefinder from Zeiss or Leica. I would even pay that much for a COntax Digital G.

I use the method of downloading all sheets into one box. Each sheet goes into it's own sleeve. Attached to the sleeve is a 3/4 x 1 1/2 inch label which list the following information:

 

Film Type

 

Gradient data (used later for determining development)

 

Holder # (the sheet also gets imprinted with the holder number when exposed!) This information is redundant and I will remove it from the label next time I print them

 

Image # (this corresponds to the notes in my notebook.

 

In the field, everything get downloaded to boxes using a small changing tent. Once I get home I pull six sheets out of the box. As I load each sheet into a BTZS tube I stick the tube through the sleeve. Once the lights are on I can calculate how much development each sheet needs. I then proceed to process everything with just the safelight on.

 

On my last trip I shot over 200 sheets of film in two weeks. Upon my return I had processed every single sheet as indicated. When I was using my older system of an N+1 box, an N box, and an N-1 box I would often place a N+1 sheet into the N-1 box. Now I no longer have that problem as each sheet is individually labelled. Furthermore, I can mix and match different film types into the same exposed film box. I can even develop the different film tpyes at the same time!!

 

BTW - Fred Newman at Darkroom Innovations (AKA The View Camera Store) should be credited with this method. I don't want to be accused of plagarizing his ideas.

I really like the 450mm focal length. I have a fuji 450 C lens that I love. I was in a similar boat as you were when I started wanting a longer lens. I first tried the Fuji 400T lens which worked well on the Wista 45DX that I had at that time. It worked well but the lens was heavy. Furthermore, movements with the 400T were tricky as the nodal point is out infront of the lens. I finally resorted to selling the Wista and getting a Wisner 4x5. Now I have no problem using the 450C lens.

 

Using the back extensions with the Toyo 45 will be a PITA. The Fuji 400T will be a better choice. Indeed, the weight increase would be less with the 400T than the 450 Nikkor with both extensions. Furthermore, rigidity would also likely be better.

 

If you need a longer lens, you could also use a Nikon 500mm T at infinity with a reversed recessed lensboard. This is a really cool lens arrangement that uses 3 different rear elements to give you 360mm, 500mm, and 720mm focal lengths. You would be able to use the 360 and 500 on your current camera. The 720 requires 480 or so mm of bellows.

 

Finally, you might be able to get away with one back extension and still use the 450mm lens. Your toyo has 329mm of bellows extension. The fuji 450 requires 425mm of bellows, the Nikon M requires 428mm of bellows. One rear extension might get you to infinity focus; however, the bellows would be stretched to their maximum. Using the reversed recessed lens board trick on the front might also help; however, this will likely only work with the copal 1 shutter.

 

In conclusion, you are really trying to stretch your toyo to its limits. I would suggest that if you want to use long focal length lenses that you search for a new camera. Canham, Wisner, Gandolfi, Lotus, and Ebony are just a few that spring to mind for long lenses.

I really like Arentz's book Platinum and Palladium Printing.

 

With regular silver based B&W I was a huge fan of Davis' BTZS book. Arentz's methods fit perfectly with Davis' methods. Some people fault the book having too much of a sensitometric approach. Most LF alt process guys spend at least some amount of time testing their materials though.

Anything will be fine for a short trip; however, for extended use a mechanical camera is the way to go. There are three issues you need to be concerned about.

 

First, is batteries. Batteries do not function very well at low temperatures. One solution is to switch the batteries out for lithium. Another trick is to alternate batteries between a pocket inside you jacket and the camera.

 

Second, is the camera's lubricant. Any SLR has some lubricant for it's moving parts. In cold temperatures this lubricant can thicken. It used to be that you could have your camera overhauled with lubricant designed for colder temperatures. I personally never noticed a difference.

 

Third, is humidity. The problem is not so much when you are out and about. Instead, the problem is when you go from outside into a warm tent or cabin. When you go inside condensation can occur on your camera's surfaces. This includes the inside of the camera and lenses. The solution to this is to seal your camera inside a ziplock bag until it reaches the temperature of your tent's interior.

 

As for actual cameras. Digital is out due to battery problems. FOr film you have several choices. My favorite is a Nikon FM2n. The newer FM3a would also work great. Canon, olympus, konica, and pentax all have good mechanical alternatives.

 

For point and shoot I don't have a clue. Yashica makes a nice P&S. Olympus also made a nice P&S with a decent lens.

I recently read an article by Sandy King about his Shen Hao 5x7. He seemed to really like it. I think it's a knockoff of the ebony.

 

http://largeformatphotography.info/lfforum/topic/498506.html

 

http://www.shen-hao.com/ is the shen hao website. The second link down on the left is for the 5x7. Yes, the site is in chinese.

My camera doesn't have TTL. Thus, the exposure compensation for filters. I shot a few chromes with the above factors and they seem to work.

My Subaru did fine about five years ago. However, it didn't make it back to my home in San Diego afterwards. I lost a CV joint in Whitehorse Yukon coming home after the summer in Alaska. Traded the car for a steak dinner and a shower to a guy from Skagway and hitchhiked the rest of the way home.

 

Oh the car had like 160,000 miles on it when I left San Diego. I barely managed to make it back to my first day of classes at SDSU. Damn, I wish I was a college student again!

Ansel's books are really good. Alternately you might want to look at Les McLean's book. It is not geared specifically for the large format photographer. If you really want a technical treatment of things then Phil Davis' book is outstanding. I also highly recommend the book Way beyond monochrome by Chris Woodhouse and Ralph Lambrecht. Other than the three stop compensation I wouldn't change your exposure for the filter. The red filter will do enough for the skies. Underexposure might cause the loss of some of your shadow details. However, a half a stop likely won't do much. Doing this would be the same as a 3.5 stop compensation for the filter.

 

If you're shooting roll film than try both and see what you like!!

I have the following:

 

2 stop hard

3 stop hard

2 stop reverse ND - Same bottom gradation as a 2 stop soft. However, I like the tapering density at the top.

 

I also have a Singh Ray polarizer and A-13 warming filter. Both are very nice.

Had a chance to look at an ebony and I must say that I wasn't as impressed as I thought I would be. Maybe it was all the hype that I've heard about ebony cameras. Fit and finish wise it was no better or worse than any wisner I've seen. Well, with the exception of the pocket expedition that I looked at with a wiggly back. There were several things that I really liked about the wisner. To start, the geared rear tilt is very logically thought out. Right hand focus, left hand tilt. Very quick and simple.

 

I'm still looking.

I would suggest against an extension back. They are heavy, and cumbersome to use. Ebony sells a top hat lens board that pushes the lens 35mm out in front of the camera. This would barely let you focus at infinity with the 450 C. I also have a 450 C and went through the same process. I ended up with a new camera with longer bellows.

No it's not a tele design; however, it does require a bit less than 450mm. 425.3 for infinity to be precise.

 

Here's a table of lens specs.

 

http://www.ebonycamera.com/cam/lenses.html

Here's the specs on the shen hao 55mm - 360mm

I tried the Pocket Expedition today. It is long enough for my 450mm lens; however, I had a really difficult time with the rear knobs. My fingers are much to large to grab the locking knobs for the top focus. Furthermore, the one I was looking at (used) had a problem with the rear track. It was so loose that you could lift the rear standards up and down at least a half inch. I am going to stop by Badger Graphic early next week and look at an Ebony SV45TE. The TI is what appeals to me the most. However, the TE will give me an idea if the camera will work for me.

I am going to go look at a pocket expedition again today. Seems like it does everything I am currently asking for. Furthermore, it is even light enough to replace my wista for backpacking. I really wish I could take every camera out a use it for several hours. Wouldn't it be nice if someone ran a demo days for large format cameras? Oh well. I'm going to spend a few hours this afternoon with the pocket field and see what I think. William, how much did wisner charge to simplify the front standard? Or did you order the camra that way?

 

Thank you to everyone for providing your thoughts on wood field cameras.

 

Dr. Phil

I figured that I would add that my Lowepro Super Trekker is really used only as a car carrying case. If I'm going more than a 1/4 mile it goes into a regular dana bomb pack. If I'm actually backpacking then I use a custom built McHale.

Gary,

 

On your wisners, how short of a lens can you use with the standard bellows? I know that wisner claims the pocket expedition can compress to 58mm. How short can the bellows go and remain useable? What about on the tech field?

 

Dr. Phil

I tried a DLC for a day and didn't car for it. It was like using something out of the terminator movie. It just didn't work for me.

 

I've thought about the canham wood camera. It's a bit bigger than the rest as it is really a 57 camera. However, that said, the wisner tech field is almost as large. I really like the Ebony SV45TI/E. It seems just about right. With the universal bellows I might even be able to get away without a bag bellows. So far, I haven't found any other cameras that can quite match it. Anyone here use one regularly? I only fondled one once.

Edward,

 

I've never handled a gandolfi. However, I once heard that some parts are made with MDF. Isn't this a type of particle board? For a $3000 camera I want some really choice piece of wood. This is one of my qualms with the wisner pocket expedition. It's a bit flimsy and feels like it is made of balsa wood. The tech field did feel a lot more sturdy. However, many report that the tech field has problems with lenses under 110mm. I now wish that I had tried my wide angle lenses on the camera. Is the 75mm and 90mm useable with a bag bellows?

Art, I have a 450mm f/12.5 Fujinon C lens that I really like. It's a non telephoto lens which means that it needs about 450mm of bellows. In contrast, a telephoto designed lens would require alot less bellows. For example, the Fuji 400mm Telephoto designed lens only requires 270mm of bellows. However, it weighs more than twice the weight of the fujinon 450C. Furthermore, the 450C is optically superior.

Glacier will not be nearly as crowded. Wildlife photo opportunities are better at Yellowstone. However, this isn't to say that Glacier doesn't have any wildlife opportunities. As for scenics, I much prefer Glacier. Going to the sun highway is awesome!

 

Can't help with the flight information as I've always driven to the parks.

 

Either one will be alot of fun.

Since we have a beginners question below, I thought I'd ask what

people perceive to be the ultimate 4x5 wood field camera. Here is my

criteria as I go shopping again. I'm planning on not having to

purchase another camera.

 

1. Wood - No I'm not interested in a monorail or a metal camera.

2. Able to use a 450mm non telephoto

3. Able to use a 75mm lens preferably withou a recessed lens board.

Bag bellows is ok.

4. Uses linhof lens boards is preferred. However an adapter will

suffice.

5. Has built in spirit levels.

6. I still have a 3.3lb wista for backpacking. (had a toho didn't

care for it) This will be my general purpose camera. Weight isn't

much of an issue.

7. Budget is 2500-3000 dollars. Thus, ebony, wisner, etc... are all

in the price range.

 

I intend for this to be a camera to keep for quite a while. I've

played with an ebony sv45ti, Wisner Tech Field, and Wisner Pocket

expedition. Any reports out there from people who use these

regularly? What would you change?

 

Thank you for your time,

 

Dr Phil

Thanks donald. I didn't get back in time to get the lens. I'm going to eep my eyes peeled for a 210mm apo-sironar.

My first 4x5 was a wista. As others have already mentioned it is very similar to the tachihara. I eventually sold it because it wasn't useable with a 300mm lens. A 90mm lens will work fine; however, keep in mind that the f/8 90mm lenses are difficult to focus. A 75mm lens is tough to use on the wista. If you are aiming for wide lenses the shen hao might be a better choice. I seem to recall that the rear standard could move forward. This saves you from all the hassle of dropping the bed, front rise, front tilt, etc...

 

The shen hao also has a longer bellows than the wista and tachihara. 360mm means that you would be able to use a 300mm lens like the nikon M. This would be my fault with all three of these cameras though. None can use a 450mm lens.

 

Since you are a wide angle person you might want to look at a camera that allows the use of a bag bellows. Again, the shen hao wins in this area. However, you might also consider the wista vx, sp, or sw. THe vx and sp are metal field. The sw is wood; hoever, thay all allow the use of bag bellows. Furthermore, wista has a real clever wide angle device that makes using 75mm and shorter lenses much easier. I believe linhof also has a device like this too. Furthermore, the vs, sp, and sw all have bellows that allow the use of a 300mm lens.

 

The wista DX series doesn't allow the use of a recessed lensboard. I'm not sure about the tachihara. The shen hao will work with a recessed lens board. THis again is in your favor for short lenses.

 

At 625 bucks the shen hao is a steal. Definately a better deal than the tachihara and the wista. The previously mentioned rw45 is also a great camera. The fit and finish is far above the wista, tahihara, and shen hao. However, the starting price is 1545 with the universal bellows. You'll want these bellows if you plan to use anything shorter than 90mm.