marike1

<p>I don't care how many thousands of images were made in LF without movements, the fact is there are certain applications that absolutely require rise/fall, swing/tilt, and shift. In 35mm, Canon and Nikon each offer 3 or 4 tilt/shift lenses so each costing between 1,200-2,000 USD. Why do they offer such lenses? To allow photographers using the smaller format where the lens plane and the film plane are fixed, the ability to approximate view camera movements. </p>

<p>I'm not sure what issue Kelly seems to have with movements in general. A LF camera with full movements is not necessarily less $$$ than one without. I've seen Sinar F1s sell for $200-300 and Toyo/Cambo monorails for even less. It crazy what's going on. </p>

<p>And why fixate on Ebony when people on this forum recommend cameras like the Ebony, in addition to lower cost options like the Shen Hao and Tachihara in addition to frequent (<em>too</em> frequent, in my opinion) recommendation of Speed Graphics? Besides, I don't think a photographer who owns a Canon 5D Mark II and Mamiya 6 will have any problem purchasing an Ebony, which is built like a tank, is of the highest quality and will last a lifetime. A good LF camera is not like a DSLR that needs to be replaced every 3 years because it no longer has the latest and greatest sensor or highest megapixel count. </p>

<p>Brij, a good place to get info on LF 4x5 cameras and LF photography in general is <a href="http://www.largeformatphotography.info/roundup4x5.html">http://www.largeformatphotography.info/roundup4x5.html</a>. As for camera, if I were you, I would get a light-weight wood field camera like the kind mentioned above (i.e. Tachihara, Shen Hao, Chamonix). You'll have a lightweight, high quality camera with all the movements you could ever want. And if for some reason, if you don't like LF photography you will have zero problem selling the camera either locally or on eBay.<br>

These camera are nice as they take Technika lensboards that are easy to find used and new. For a lens, a used 150mm from either Nikon, Fuji, Rodenstock or Schneider will be a good choice. If you have any questions, feel free to email me. I have put together what I think is a really nice LF kit for not a lot of money <em>and</em> I have been having more fun and been more pleased with my images than at any time with the smaller formats. </p>

<p>I disagree with Kelly. When I was looking to get into LF photography, the members of this forum where extremely helpful and advised that I look at moderately priced, high quality new (and used) wood fields from Tachihara, Wista, Zone VI, Chamonix, and Shen Hao. </p>

<p>As Jim said, many press cameras may not offer all of the movements available in field cameras, and there are many excellent choices in wood field cameras that won't break the bank like an Ebony or Canham. </p>

<p>As far as lenses, there are many superb choices on the used market from Midwest Photo, KEH, B&H, and the big auction site. My Nikkor-W 150 5.6 offers plenty of coverage for movements and I paid $250 in mint condition. Are there better 150mm lenses? Of course, but it's does what I need it to do. My Rodenstock 90 6.8 Grandagon-N is like new and cost me $400, a third of it's price new. Same for my Fujinon-W and slightly less know Computar Symmetrigon lenses. </p>

<p>I started with a lightly used Wista DX that cost me $600. I have just switched to a Chamonix 45n-1 for the longer bellows extension, but the Wista is great for lenses from 75-240. The move to digital has created a buyers market. Take advantage of this, and get a camera that you can grow with.</p>

<p>LF is not only about a big negative. It gives photographers the ability to alter the geometry and plane of sharp focus of a given scene. Some cameras do this better than others. You don't need to spend a fortune to find them. </p>

<p> </p>

<p>Thanks Guys. Dwain, I agree with you. For that reason, I did email Hugo to let him know that I want the Universal Bellows. I have read in the archives here of someone using a 90mm with the Standard Bellows with movements. My experience with field cameras with 12" bellows where there are no problems using a 90mm lens, i.e., no wide angle bellows needed.</p>

<p>But I assume since the bellows are much longer on the 045n-1 that when they are compressed for wide angle lenses movements become more restricted. It's not a big deal, because as Dwain mentioned, the Universal Bellows are not that much more expensive. Anyway, thanks guys. I appreciate your help. </p>

<p>I am going to be ordering a Chamonix 045n-1. My question is do I really need the universal bellows or can I get by will the standard bellows? Both bellows allow 395mm of extension, but the universal bellows have several loose pleats near the front standard (similar to some Ebony models) to allow greater movement with wide angle lenses. </p>

<p>I have a Rodenstock 90 6.8 Grandagon-N as my widest lens. I would like to save money and get the standard bellows, but if my movements are so limited with a 90mm I guess I'll order the universal. Does anyone successfully use a 90mm with the standard bellows? Any thoughts/advice would be greatly appreciated. </p>

<p>Lastly, does anybody know what improvements the 045n-2 will include? It will be available in approx. 10 weeks but if the improvements are minor, I'd rather have a camera now, than lug my Sinar F1 around until then. Thank you to all. </p>

 

<p>For 5x7 color, you just missed Badger Graphics order for Kodak 160NC, but they are taking orders for Provia 100F. However, the RDP is listed as "last run" which doesn't sound good as a consistent source. To me the benefits of 8x10, i.e., film choices, contact printing, far outweigh any negatives. </p>

<blockquote>

<p>Don't waste your time and money.</p>

 

</blockquote>

<p>One persons "waste of time" may be another persons form of self-expression or passion. Imagine if someone had told Ansel Adams or Edward Weston, "Don't waste your time with the that big camera". Truly puzzling. But who even knows what the rather terse comment above meant. Is it "Don't waste your time with LF" or "Don't waste your time with the Super Graphic" or "Don't waste your time with the Ebony W45". Who knows, but it is comments like this why I rarely "waste my time" with this once great forum.</p>

<p>This is an amazing thread in that the OP goes from wanting to purchase a Tachihara/Shen Hao 4x5 and due the a plethora of "expert" opinions, ends up getting a Crown Graphic. Nothing against a Crown Graphic, a fine press camera capable of great images, but I don't understand why if the OP clearly states his desire for a field camera, and has specific models which are known to be very good 4x5 cameras with all the movements one would need for the stated application, people feel the need to talk him the camera they happen to use (I must admit, I'm scratching my head on this one).</p>

<p>I've seen this happen where the OP gets talked into an inferior camera more than once and for this reason, I would urge users looking to get into Large Format photography to visit <a href="http://www.largeformatphotography.info/roundup4x5.html">Large Format Photography . Info</a> and read Quang-Tuan Luong's 4x5 Roundup. </p>

<p>If you look at the pictures of the <a href="http://www.photax.se/kmrr/storformat/810/wista810.htm">Wista 810</a> it certainly appears to be a Tachihara in every way. The brass corner bracket on the rear standard, and the locks for the front shift are exactly like those on the Tachihara 45GF which are totally different from my Wista DX 4x5. Either one of them appear to be a good buy, but I have not used them, so I don't know for sure. </p>

<blockquote>

<p>People need to vote with their wallets if they want to see the local stores survive.</p>

</blockquote>

<p>I'm sorry, but if my local photo shop (in a suburb of NYC) charges $10 for a roll of Provia, and only offers film in 35mm format, let them close. I refuse to pay huge markups for whatever reason and if they only have 35mm film, they are of no use to me. </p>

 

<blockquote>

<p>The big distributors who are left will dictate to the masses what is and is not available for purchase. (i.e., B&H not even offering an option to ship C41 or E6 chems).</p>

</blockquote>

<p>You point is well taken, but B&H not offering to ship C41 or E6 chemicals has nothing to do with it. After 9/11, there are restrictions the transport of liquids. That is why you can't fly with more than 3 oz of cologne or send a liter of PMK Pyro through the mail. </p>

<p> </p>

<p>I made one of my first 4x5 images with my Wista DX and Symmar-S lens. Even though resizing it to tiny dimensions is not ideal, I thought I would post it. Thank you all for your priceless advice. It really means a lot to me.</p><div></div>

<p>That is good news, Bob. Midwest did not have the manual. Thank you so much for the info. </p>

<blockquote>

<p> If any Wista owners could give me pointers on extending the bellows, or has any ideas as to why the knob slips on occasion, that would be great.</p>

</blockquote>

<p>After tighten those "gold colored nuts" that Brian mentioned, focusing (moving the bellows in and out, since I don't yet have a lens) works fine, and the knob no longer slips. Thanks, guys. </p>

 

<p>Just to update this thread, I received my camera today from Midwest Photo Exchange. I ended up purchasing the Wista DX with Rear Shift, that to me looks close to new. It is very light, much smaller than I thought, and seems very well made. I haven't made any images yet since none of the three lenses I have ordered have arrived. On their way are a Schneider Symmar-S150 5.6, a Fujinon-W 180 5.6, and a Caltar II-E 210 6.8. </p>

<p>I want to thank everyone here for the overwhelming support and great advice that seems typical of this forum. I'm reluctant to ask any other questions, but I don't have a manual so I'm trying to figure everything out on my own.</p>

<p>I have discovered one issue, but it may be due to user error. I know the front knob that rests in your right hand is for focussing. But both the left and right front knobs move the front standard forward and back (Or is it just the left?). In moving the front standard forward, i.e., to rack the bellows all the way out, the right hand knob sometimes slips. Is this normal? I noticed that it seems to be the only knob that is missing the white plastic washer. Is it possible that the lack of a white washer is causing it to slip (this means when I turn the bellows go halfway out, but then it slips, meaning it rotates and the front standard stops going forward)? Is this something major that I should be concerned about or is it normal? Seems like it would be inconvenient in the field. In any event, Jim mentioned that I could use it for a few weeks to see if I like it. If I don't, I'll choose something else. No big deal. </p>

<p>Anyway, in spite of this wrinkle, I am very happy. By Friday, at least one lens (let it be the 150) will be here and my film, film holders, dark cloth, spanner wrench, and 4x5 developing tank will be here, so I should be ready for my first images. </p>

<p>Thank you everybody. If any Wista owners could give me pointers on extending the bellows, or has any ideas as to why the knob slips on occasion, that would be great. </p>

<p> </p>

<blockquote>

<p>I have a Tachihara and it is a fine camera. I find it plenty strong and solid.</p>

</blockquote>

<p>The Tachihara is my second choice. The extra $200 I'd have to spend to get a new Tachihara, is one of the only reasons I'm not going in that direction. Of course I could wait a week and save the addition $$$, but I figure I'd do better spending for more lenses, film, holders, a dedicated RRS QR plate, a 4x5 developing tank, etc. Wow, where did the $200 go? </p>

 

<blockquote>

<p>That said, I'd go with the Wista over either of them if you don't need the roll film option.</p>

</blockquote>

<p>Do you mean because the Wista above doesn't have a Graflok back, I can't use a roll film back? I do know I can add a Graflok back for 290 USD new (I linked to it on my post above at 7:38 pm) if that will make it easier to attach different accessories, it is something I would consider getting. <br>

Anyway, I really appreciate all the comments. Monday morning it will be time to give Jim a call. I don't even have a camera yet and I'm finding LF photography <em>so</em> interesting. Great images, cool exotic sounding names like Grandagon, Sironar and Dagor for lenses. What more could you ask for? </p>

<p> </p>

<p>Bob, Thanks for clarifying. Could you or someone else tell me what kind of back it is? Did I mention I was confused? </p>

<blockquote>

<p>I have owned two Tachaharas . They look nice, but are not very strong.</p>

 

</blockquote>

<p>John, when you talk about the Tachihara as "not very strong", what do you mean by this specifically? It is not rigid when all the controls are locked down? </p>

<blockquote>

<p> bought a Shenhao model TZ45-2B . It is the black walnut model with aluminum hardware. Its heaver than the Tacaharas, but built twice as good. Plus it has a grafloc back.</p>

 

</blockquote>

<p>I'm a little confused about the terminology for the backs. I thought a Graflok back was that extra frame hardware, looks like some kind of metal like the one <a href="http://www.bhphotovideo.com/c/product/162352-REG/Wista_214535_Graflok_Back.html">here</a>. I've seen the Shen Hao TZ45-IIB and HZX45-IIA, and they seem to have the same type of back as the Wista DX. I'll attach an image, but it would be great if someone could talk a bit about "backs" in general. <br>

Wendell, <br>

The <a href="http://www.bhphotovideo.com/c/product/567866-REG/Wista_214604A_45DX_Quince_4x5_Wooden.html">Wista DX quince</a> model is beautiful, with red bellows, much like the Wisner Traditional. The list it on the B&H website. Apparently quince wood is very strong, and the camera is surprisingly light at ~ 3.5 lbs (1.6 kg). </p>

<p> </p><div></div>

<p>Last one. I'm going to start on my Tri-x so I can spend the evening scanning. Fun, fun. </p><div></div>

<p>See what you started? </p><div></div>

<p>You asked for it...</p>

<div></div>

<p>These images are pretty mundane subjects, but they show the Planar to be bitingly sharp (at least as much as 75 dpi web posts can show). Besides that, they were scanned on an Epson V500. I wonder how they'd look on a better scanner? </p><div></div>

<p>John, I just got back from shooting my first roll with the Va, some Tri-x 320. But I have been using my Rolleiflex 3.5E, so maybe I can post a few and when I finish developing the Tri-x this evening, we can make a comparison between the Xenar and the Planar. </p>

<p> </p><div></div>

<p>

<p>I recently purchased a Rolleicord Va as a backup to my Rolleiflex 3.5E. The 'cord came with a ton of accessories, and an Eveready case. The ad claimed that the slow speeds were sticking, but it turned out that some of the faster speed were as well. </p>

<p>So after researching on this forum, I learned about Mr. Krikor Maralian. I sent him the camera which he received on Friday before Thanksgiving and it was ready on Monday! The shutter is perfect, the ground glass is clean and bright (I wish my 3.5E was as bright), and the focussing knob is smooth. </p>

<p>I could not be happier with the work he did and the price he charged, and I thank him and the good people of this forum. The Rolleicord Va is a lovely little camera complements my Rolleiflex perfectly. </p>

</p><div></div>

<p>Bruce, I did notice that Lens and Repro has (had) an Osaka, and it looks similar to the Tachihara, but seems to be Ebony w/ Stainless Steel hardware. Didn't see a price. Seems very nice. <br>

Ross, this is what I found out about base tilts from B&H's specs. One thing I noticed is that the Wista and Zone VI camera look similar. Of course, the Zone VI would be much better with long lenses with it's 18" bellows. </p>

<p>Wista DX Rosewood</p>

<p><strong>Tilts</strong> Front: 90° forward, 37° backwards <br>

Rear: 90° forward, 16° backwards</p>

<p><strong>Swings </strong> Front: 15° left or right<br>

Rear: 12° left or right</p>

<p><strong>Rise & Fall</strong> Front Only: 1.4" (36mm) up, 29mm down</p>

<p><strong>Shifts</strong> Rear Only: 16mm left or right</p>

<p><strong>Camera Back</strong> International 4x5 Vertical/Horizontal quick-change type <br>

with fresnel focusing screen/protective glass overlay with 6x9cm markings</p>

<p><strong>Interchangeable Bellows </strong> No</p>

<p><strong>Minimum Extension</strong> 2" (51mm)</p>

<p><strong>Maximum Extension</strong> 12" (305mm)</p>

<p><strong>Lensboard</strong> Wista 96x99mm or Linhof Technika Type <br>

Accepts all Lenses in #0 and #1 Shutters</p>

<p><strong>Dimensions</strong> (HxWxD) 8.5 x 6.75 x 3.5" (21.6 x 17.1 x 8.9cm)</p>

<p><strong>Weight</strong> DX Rosewood: 4.5 lbs (2kg) </p>

<p>Thanks guys. Any other thoughts?</p>

<p> </p>

<p>I am purchasing a 4x5 camera with which to learn Large Format photography, shooting primarily landscape images. It is a used Wista DX, which judging by the photo the salesman emailed me, is the rosewood model. It is listed in 9+ condition, and is $595 and includes a Copal 1 lensboard (I already have a Fujinon-W 180 5.6) and also comes with a fresnel screen. My dilemma is this:</p>

<p>a) For approx. $50 more dollars I can get a new Shen Hao HZX 4X5-IIA which seems to offer more movements, and the option of using bag bellows. The Wista DX has 12" of bellows extension and the Shen Hao 14". On a more superficial level, images of both the Shen Hao and Wista DX, and from seeing the DX in person at B&H, the Wista looks to be slightly better made with a nicer looking finish to the wood (Reminds me of the Wisner Traditional that I really want). The Shen Hao, I think has synthetic cloth bellows and the Wista leather, as far as I know. Two things I don't care for on the Shen Hao are the bellows material and the black metal hardware. The Shen may be more versatile, but according to largeformatphotography.info's 4x5 roundup, the Wista DX is more rigid. </p>

<p>b) The other camera, a Tachihara 45GF, is in my price range, but would take a bit of my budget for lenses, film holders, loupe, etc. I originally thought the cherrywood and brass were a bit much, but it has grown on me. It is actually quite beautiful. From what I've read, it seems to offer less movements of the three. The review by Q.-Tuan Luong of the Tachihara, talks about it's use of lenses that are quite wide. Jim at Midwest Photo Exchange put 75mm as the probable limit for the Wista. Again, I will probably start with a Grandagon-N 90 6.8 or a Super-Angulon 75/5.6, if possible. </p>

<p>I just wanted to ask the people who really know, and have used these or similar 4x5 cameras. My original plan was to find the best, least expensive quality body that would be good to learn on, but not be too limiting down the road.</p>

<p>Thanks in advance for any comments/advice. As much as I've been reading, I really need help here, as it seems the more I learn, the more questions I have. Am I just over thinking this purchase? </p>

<div></div>

<p>I have kind of come down with "Rollei-itis" myself. Last week I found a Rolleiflex 3.5E in great condition here in New York. Image quality is outstanding, and it is tons of fun shooting with it. So when I saw this Rolleicord Va with case, hood, a softar, and various filters I bought it as well. <br>

Since the Rolleiflex 3.5E was from B&H I figured I could shoot with it for a while without having it looked at. But the Rolleicord Va, I immediately sent to Krikor Maralian to be CLA'd. What I love about the Rolleicord, is it's small size, light weight, bright finder, and simpler loading and knob winding mechanism. I also love the less expensive Bay I accessories. </p>

<div></div>