Move up to MF and LF - Step 1

Ok, some of you are following me on this little journey as I'm exploring different ways of moving toward shooting Large Format or Medium Format.

There's a number of steps I need to (or want to) go through. One of them is getting familiar with bellows as part of the process. Obviously there are plenty of cameras that make do without them, but it seems to be something I'm particularly drawn to.

As such, I discovered the Cambo X-2 Pro at Calumet today. It's a bellow system that works with a number of cameras and lenses, but most interestingly, it is also available for dSLRs...

So my plan is to rent the X-2 along with a Canon D1s Mk III, and a regular and wide lens. The new 1D has LiveView, which will work as my faux ground glass. This way, I will get to work on some Scheinpflug techniques, while also test-driving the 1D.



Video on YouTube

Link to Site (under Photo Products, look for X-2 Pro for dSLR)

Check it out. Anyone here ever work with it?

Let us know how it works out for you.

Personally, I found it useful to start with 8x10", because things were a bit easier to see on the large groundglass, particularly adjustment of the focal plane, because DOF is so short on 8x10" with the lens wide open. There's also something interesting about working 1:1 where the size of the image on the groundglass will be the size of the image on the print. After working with 8x10" for a few years, it became easier to deal with smaller view cameras.

I agree with david, in fact an old 2D or other older studio camera, or an old Calumet C1, would give you far more bang for your buck. As a bonus, should you decide it's not for you, you won't likely lose any money on the deal as well.


erie

the cambo set up is quite limited in terms of wide lenses..if I remember correctly.

if you go with the cambo /dslr combo you may as well learn what you want with one of the canon tilt shift lenses on a canon dslr which will do the same things..but just to less of an extent.

That said, I don't think its the right way to learn..as others have said a proper cheap view camera, one lens, and some cheap black and white film, the view camera book, and you're set...the groundglass screen will show you everything that is happening anyway.

Marc

Yaron,

For Toyo or a Calumet C1, talk to Will Thompson. He is a total obsessive nut in finding these cameras and has a bunch. These cameras are the workhorses to consider before anything else that is machined for precision. Any lens you get will work with any camera!

There are 3 basic sets of choices, although you could substitute to a more expensive brand:

Mechanical studio camera: what you don't need: Arca Swiss, Sinar or anything else expensive. Try instead a used Calumet C1 or a Toyo.

A wooden camera, lighter and perfect for most work. Do not buy an Ebony or any other such expensive beautiful work of art.

Instead get a Tachihara or similar. New they are almost free! You'll be very happy. They are also handsome and well built.

Lastly consider a folding camera: not a Linhoff unless you have a keeper who feels you are a prince to be spoiled. These cameras are hand held 4x5's with exchangeable cams matched for particular lenses so you can focus with its built-in rangefinder. A wonderful instrument. I wish I had one but can't justify it.

Instead get a Crown Graphic with a lens matched to the rangefinder. Again, Will Thompson is the guy to talk to about this. He may have one to sell you but they are of course available on eBay. To go one step further, consider the Speed Graphic which has the unusual advantage of a cloth shutter which is independent and close to the focal plane of the lens. This allows the choice of older interesting lenses with wide apertures.

Asher

Thank you all for this input.

I am actually just killing time. I will be in NY in two weeks, and LA a week later for some time. In both places there are people who will show me LF photography. I'm alone here in Berlin as far as that goes, so I don't want to buy ANYTHING until I know roughly what I want or need. So in the mean time, I'm just renting some gear to have some fun.

I will disagree on one point that I know from other parts of my personal photography journey over the last twenty years: buying something cheap to get started with always turned out being a waste of money. (Inexpensive is something other than cheap, of course.) I would rather do some homework - as I am doing now - and then buy a good camera. It is cheaper for me in the long run...

Thanks you all for your support, I appreciate it. I will keep you updated, and ask that you keep giving me advice - solicited or other....

Yaron Lenard said:

I will disagree on one point that I know from other parts of my personal photography journey over the last twenty years: buying something cheap to get started with always turned out being a waste of money. (Inexpensive is something other than cheap, of course.) I would rather do some homework - as I am doing now - and then buy a good camera. It is cheaper for me in the long run...

Click to expand...

This is why I'd recommend a camera like an older Sinar F or F1. They were first class cameras in their day and are almost identical to the current F2, so they are still first class cameras, but as many professionals have moved to smaller format digital, they can be had for a song. I bought my 8x10" Sinar P (a top-end studio monorail) with a custom extra long bellows from a NYC food studio for the price of an entry-level DSLR or about 1/10 of what it originally cost 25 years ago or so, and about 1/20 of what a new one would cost. It's a very successful studio, so I'm sure the camera had paid for itself many times over, and they replaced it with a new Sinar P2.

LF cameras in general aren't too different from their 19th-century predecessors, and there are cameras over 100 years old in current use (I have one and a couple more approaching that age), so there isn't much to lose by starting with an older camera to figure out what you really want for the kind of photography you do, and then making a larger investment, if it's even necessary.

Yaron,

Let me add to David's important response. Every thread and fitting of a LF camera made in the last 15-20 years is still in use today. The frames do not deteriorate any function you might need. If you like the Sinar, get one used. It's still first class and except for cosmetics it's generally as new.

If one needs another back then it's also available used. The are endless backs, bellows, extenders and more for Sinar, Horseman, Toyo, Calumet and so many other professional brands.

My camera is a wooden 8x10 Chamonix. The lens mount, however is Sinar. There is a lot of that exchange possible with adapters.

There is little advantage in putting money into the body like I did except to create an atmosphere of beauty for clients and oneself. One should invest more in lenses and lights. These will define the LF quality more than anything else.

Asher