[LargeFormat] about to take the jump

[Dan Kalish]

> Date: Fri, 13 Jun 2003 01:43:16 -0500
> Subject: Re: [LargeFormat] about to take the jump
> From: William Wiseman <elox@hot.rr.com>
> To: largeformat@f32.net
> Reply-To: largeformat@f32.net
>
> > Let me suggest one more item... the stability of the camera.  Old
> > Koronas/B+J/Kodak can be bought cheap.  But are they sturdy?  A lot of
> > them
> > ( and others like Deardorff, Linhof, Sinar, etc. )are not stable, they
> > jiggle and move all by themselves.  This is specific to a specific
> > item...
> > get a return policy, try the thing out, and be sure of what you buy,
> >
> > My best suggestion is to wait to buy the best camera you can afford.
> > Ikeda,
> > Tachihara, Nagaoka all made reasonable field cameras.  They would sell
> > for
> > around $300.  Calumet sells a model they call a Cadet for around $300
> > new....
> >
> > I also suggest buying NEW cut film holders.  While they seem to be more
> > expensive, once you test them out with real film, they cost almost the
> > same
> > as new  ones...
> >
> > Overall, the body is a black box.  The lens handles the exposure and
> > creates
> > distortion, YOUR EYES and YOUR Brain creates the images.  Buy the best
> > optics, and be in the best mood you can be when you go out to shoot.
> > Then
> > you get the best images you can produce.
> >
> > Frank Filippone
>
> OK, If I remember correctly, all these mentioned are folding field
> cameras rather than monorails, correct? I would expect stability to be
> a larger problem when you are dealing with materials (wood, thin brass)
> that inherently more flexible and made lighter/thinner to reduce
> weight. However, wouldn't most of these, if in good condition, be
> stable enough under normal conditions and given a few seconds to settle
> down after all the adjustments and film loading?
>
> JeffW.
>

Jeff, its not just the material; its also the design.  In general, the
movements in a monorail camera are based on more fundamentally rigid
principles.   By comparison, the movements in a field camera are more
sloppy.  As you're adjusting one movement, you can easily wiggle parts that
affect other movements. I don't know if this holds up in your price range:
all inexpensive cameras are somewhat unstable.

I believe it is conventional wisdom to start with a monorail camera.  You
are more likely to learn the use of a view camera with full movement.  Field
cameras do not usually have full movement.

As to cost, it sounds like you're going in with your eyes wide open!

Fred, what do you mean,
"> > I also suggest buying NEW cut film holders.  While they seem to be more
> > expensive, once you test them out with real film, they cost almost the
> > same
> > as new  ones..."

You can get used film holders for $5 each.  AFAIK, new ones are $20-$40.
Even if you test the used film holder with one sheet of film, its $10.
That's still a lot less than a new one.  Now, I've been repainting black a
few wooden film holders I have.  If your're crazy enough to do this, the
price of paint raises the ante another dollar.


Dan Kalish
Flushing, New York, New York, USA