I've been reading Ansel Adams' book "The Camera". He talks about the beauty of using a View Camera. Anyone on this forum used one ? If one was starting out, any recommendations on purchasing one ?

Regards,

Tony Salce

-- Tony Salce (NadinaTony@bigpond.com), February 02, 2002

Answers

View camera is a different world, lens tilt, back tilt, Scheimpflug, hinge rule, even the DOF is calculation is different

If you are interested, there is a forum dedicated to large format photography http://hv.greenspun.com/bboard/q-and-a.tcl?topic=Large%20format% 20photography

-- martin tai (martin.tai@capcanada.com), February 02, 2002.

The view camera is a slow,ponderous beast.No matter how you place the camera,the image is upside down!OK if you have the Sinar system,that has those cute binocs to see better. Truthfully,try using your Leica as a view camera.Place upon tripod,use the slowest film available.Stop down o f16 or f22 at all times.Add a deep red filter and polarizer for black and white.for colour maybe a 4x or 8x neutral density filter.That will get you into all those really slow speeds.Shoot very short rolls.Say 12 exp.In this way with some of the limitations you can get used to what view cameras are about... Ansel Adams in later years,due to failing strength,used Hasselblad and some 35mm....... I tried 4x5.It was for me a disaster.I traded the 4x5 for a 6x6SLR not Hassie,that was the worlds worst camera.Luckily there was a miracle in the event.The @#$$% camera was exchanged for a M3. 35 years later,we're still together. M3-Ziggy,he gotta name after all this time,is my 'view' camera.

-- jason gold (leeu72@hotmail.com), February 02, 2002.

I do. For fun.

It is two different activities entirely, and though I may take 1 Leica/lens with me when I 4X5, it is a mistake to carry both and think switch back and forth. And, of things like street photos and travel, better be prepared to see one thing at a time, and have a very tolerant wife/partner. The quality of good 4X5 (and I'm not sure I'm there) cannot be rivaled by any 35. (In silver -- digital is changin all the rules, and much of the fabulous Art/Commercial photog done previously by studio/location 4X5 is now digital -- but the set-up, consideration aspects are the same).

I have a view camera with all movements -- and If I want a "studio" quality exercise, I can count on 1-3 hours just setting up, lighting, precisiosn, and get 4-6 photos, with the intent of having 1. The ngeatives are huge, quality is high, etc., but I could have probably made almost that same neg quality jump by sticking to medium format (I'm out). This is Deliberate Photography -- only bizarres setups allow the "decisive moment" or the happenstance of the fleeting expression. It is fun, but it is not 35 mm photography.

There is some advatnage to vactioning between systems -- a completely diffferent way of seeing. I don't see that much diffreence between 35 and MF in terms of subject and handling (except obtrusiveness), butreally differente. Some folks water color as well as photogrpah -- same alternative art view, I would guess. I do have an old speed grpahic, which, if set up, is almost as quick for single pictures as the Leica, But the second picture does not come so quick. It does alow those WeeGee type B&Ws -- look at old 40s and 50s press photos to see 4X5 in this speed setting.

-- Lacey Smith (lacsmith@bellsouth.net), February 02, 2002.

I've still got a 4x5 Calumet monorail and a 4x5 Speed Graphic but I haven't used them in ages. All my serious landscape work is done with Hasselblad. The Flexbody gives you all the movements you'll need for Scheimpflug, unless you're shooting architecture or product shots a true view camera is overkill. For a while I owned a Horseman VH-R, which is a 2x3 (takes cut-film or rollfilm in 6x7 or 6x9)tech- field (less movements than a monorail view)with a viewfinder and rangfinder coupled (via changeable cams) to several different lenses. It was a very nice system, but I had an issue with lack of film flatness with their rollfilm holders and was tired of cutting down 4x5 sheets into 2x3.

-- Jay (infinitydt@aol.com), February 02, 2002.

oh -- this is also a very deliberate decision, and you should look at a view camera on a trial basis, if you can. Image on groundlglaaa, upside down and all, is not for everyone.

Cost is there too. Camera/lens/holders aside, if B&W by you, then a new enlarger will be needed. E-6 Chrome shots (Provia/Velvia in 4X5 is a delight to hold in your hands), will cost around 3-5 dollars per single sheet for small box (retail) and professional developing (not on your corner 1 hour lab).

I'm not really argueing quality of final image as the factor (tone gradations form a nmegative are better for a 2X enlargemetn 8X10 than a 8X)-- but, unless you routinely do 16X20, you probably will be happy with Leica 35 (and even then...) -- and, as mentioned, digital is changing everything. However, if you want to consistently have that Ansle Adams lustrousness and range of tones, you can get it if you master large format, zone system (treating each negative as truly unique-- fomr taking exposure through developing), big film, slow exposures. But, you'd better be ready to trade 1/250th second crispness for 1 second, hope the wind doesn't blow, exposures (f/16 may the MOST wide open you shoot).

Unless you opt for the "purity" of the large format art, really enjoy the technophilia that the large format can induce, most your shooting will still be Leica.

-- lacey smith (lacsmith@bellsouth.net), February 02, 2002.

I began with a view camera, then change to 6x6, then Leica, now Minox.

-- martin tai (martin.tai@capcanada.com), February 02, 2002.

A view Camera takes some perseverance and some dedication.

I shoot portraits with a Toyo Field 45AX ---fairly quick to set for a view camera. It's worth a try. My first 4X5 was a crown graphic which I got with a 135mm lens for about two-hundred dollars. One of those will still accept a polaroid back and all of those other gizmos you might want to try, and I suggest if you're interested, try one of those first. If you're going to do things like portraits with the thing-- get used to some failures in focus and composition and shoot extra film to compensate.

Good Luck.

-- Tom Nutter (tmnphotos@erols.com), February 02, 2002.

Many photo schools start their students out on a view camera and then move them 'up' to 35mm and medium format. The view camera requires much precision and forethought when taking an image - good things to learn. But for many people it is a difficult beast to work with in all but a few applications (landscape, tabletop, etc). I love the photographs of Jock Sturges (I'm not talking about the subject matter), for the fact that his subject all look relaxed and spontaneous and yet most were photographed with a 4X5 and even 8X10 camera. Amazing!! But definitely try one before you purchase. I bought one and tried for a couple of years to do the Ansel Adams thing and ended up with a bunch of 'postcards'. If your brain works 'Leica-like' you'll hate it.

-- Bob Todrick (bobtodrick@yahoo.com), February 02, 2002.

Yep, I use a view camera, too, and actually find it to be a good companion for the Leica in the field. What?! you say? Well, just as a Leica nudges one to "see" differently (that's why I bought mine), so does a view camera, but in a different way. Working with a view camera is decidedly slow and methodical - a mode of operation that isn't for everyone. But, if you are malleable on technique, and want even more control over the subject, a view camera may be right for you.

If you want to experiment a bit, and are in a major metro area with rental shops, try renting a field camera to start with. If you are looking to buy, I have a short article about the basic considerations, along with pointers to a few large format resources, on my site. I use a Toyo monorail in the studio, and a Toyo 45AX field camera (you guessed it) in the field. There are less-expensive field camera alternatives, but I like the durability of the Toyo metal body, and the ability to use my lenses on either the studio rig or the field camera without having to change lens boards. A LowePro backpack makes it reasonably convenient to take the beast into the field, and the M6 and a couple of lenses in a smaller bag goes along, too.

Now, all I need is a friendly fitness model to carry the Nikons with the long telephoto lenses, and I'll be all set to photograph anything in the field. ;-)

Look, Ma, no converging verticals! ;-)

-- Ralph Barker (rbarker@pacbell.net), February 02, 2002.

I have a HANDMADE KB Canham and I love it. It is made in Arizona and Keith B Canham himself is actively involved in the design and manufacture of each and everyone. Look up his site:

http://www.canhamcameras.com/

He makes wood and metal cameras ranging from 4X5 to 11X14.

I like my wood 4X5 very much. I use my 4X5 to relax. It is very slow but very rewarding

I bought my Hassie...then my 4X5...the my leica. My two favorite cameras are my 4X5 and my Leica. Talk about both ends of the spectrum.

Keep the Leica and buy a 4X5.

-- Rob Schopke (schopke@attbi.com), February 02, 2002.

View cameras are really very amazing tools. As you can see from the responses above, they aren't for everyone. But you can do things with them that you can't do with any other camera. I really enjoy mine because I love having the ability to put the focal plane anywhere I want.

As for buying. The only way to go (I believe) is with an Arca-Swiss. I have a Discovery and find it to be SOOOOOOO much better than anything else out there. It is a monorail camera though, so if you are looking into a field camera, you'll want something different. Feel free to e-mail me if you would like.

-- Josh Root (rootj@att.net), February 02, 2002.

I, also, an an enthusiastic user of a K.B. Canham view camera, in my case the metal DLC 45. It was my first (and only) view camera. I found it relatively easy to learn on, but there are simpler view cameras to set up and use. I would urge you call Keith Canham in Arizona (480.964.8624) and talk to him about his cameras. Keith is very knowledgable, very helpful, and a real gentleman. Also making view cameras in the united states, in wood and with more traditional styling, is Ron Wisner. Wisner has an excellent website.

As far as learning how to use the view camera, which will at first seem terribly awkward and cumbersome, type "A large format phtography home page" into any search engine, such as google (sorry, I don't know how properly to post the address). This website is a treasure trove of practical information about using the view camera. I particularly recommend the article on focusing the view camera, which will teach you how to use view camera movements effectively in the field.

If you are an impatient person, stay away from large format! However, if you are patient and methodical, large format will reward you with images whose detail and richness of tone cannot be duplicated in the smaller formats.

David Mark

-- David Mark (dbmark@ix.netcom.com), February 02, 2002.

If you enjoy the precision and build of a Leica, you may prefer the Linhof. I understand there is a significant rebate program going on now.

-- Bill Henick (dhen1922@aol.com), February 02, 2002.

Tony:

I use the view camera pretty extensively. The most important question to answer first, is what type(s) of photography do you plan on doing with it? A field camera is a very different beast from a studio monorail. Both have their advantages and disadvantages, and perhaps more than with any other format in photography, there are more tradeoffs to be considered with an LF camera. The big things to consider are bellows extension, weight and portability. Of course, lens considerations also play a role in the decision. But bellows extension needs are largely based on desired lens use, so some thought needs to be given there first. I think with a bit more information, we could better steer you in a promising direction.

Also, you might find it worthwhile to check out this site:

http://www.cs.berkeley.edu/~qtluong/photography/lf/

Great wealth of information for a starting point.

:-),

-- Jack Flesher (jbflesher@msn.com), February 02, 2002.

Tony:

If you have to ask, it is unlikely that you have seen an 8 x 10 chrome. Nuff, said.

Art

-- Art (AKarr90975@aol.com), February 02, 2002.

I shoot alot of portraits and landscapes with a 4X5 camera. The detail is outstanding and, if done well, can produce seemingly hyper-realistic images. However, I think it has to be your "thing" because each shot can become truely a production. But knowing that photographers experienced these rituals for the past 150 years adds a bit of historical perspective and kinship with our craft's past . As an aside, while in the field with a 4X5 (you're under a black sheet most of the time), I've been approached, confronted,cheered on, and looked at like I was a dinosaur with my various large format cameras. It's as though you're a frieght train in the distance; people see you coming! Not much spontaneous stuff goin' on here. Equipment: I've owed a Crown Graphic, Arca Swiss, and now own a 4X5 rangefinder. Yes a rangefinder! Kinda like a 10 pound Leica. I've got a 30 year old Linhof Technica III with coupled 150mm ( normal lens) 90 mm, and 210 mm Schneider lenses. It folds up into a nice little cement block. As stated, I went with a Linhof so I think it's a great system. It's almost as fun as my M3 but yes a whole other beast. Good luck with any 4X5!

-- Martin (amloft@yahoo.com), February 02, 2002.

I just got a 3.5 lb Anba Ikeda 5x7....man is it sweet! Ultralight and 5x7....it just doesnt get better than this for enlargeability.I also just got done seeing and photographing the great jazz guitarist Pat Martino in concert with a 35mm 1.4 asph wide open as well as other lenses, all shot wide open...not stuff for the Anba! Get the view camera if you want big prints and for movements.Start cheap so if it doesnt work for you, you can get out easy.

-- Emile de Leon (knightpeople@msn.com), February 03, 2002.

Thank you for your enthusiasic and comprehensive replies to my question.

I'll stick with my M3 for the time being but View cameras are something I'll have to try at least to satisfy my curiosity as to the quality.

Thanks again for your direction.

Kind Regards,

Tony Salce

-- Tony Salce (NadinaTony@bigpond.com), February 03, 2002.

At university I had the pleasure of working with Hassleblad, Mamiya RB and RZ and also great big Horseman and old MPP field / view cameras. I found that if i did 5x4 portraits i tended to approach it in the same way i do with my Leica. View cameras i feel allow you to make pure images, compositionally and technically as well.

One day I'll buy one...

-- Philip Woodcock (phil@pushbar.demon.co.uk), February 03, 2002.