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Large format Printing Perth. .

wrong sub; hope you don't get paid much for the crappy marketing...

Best tape to repair wooden film holder flaps? The tape that secures the flaps on my Ansco and Graflex wooden film holders is degrading, and I'd like to fix up the flaps. Gaff tape seems too thick to work, and I'd rather not use something like duct tape that leaves irremovable gum on the wood. Does anyone know a good kind of thin cloth tape to use?

I have always used black gaffers tape. Yes, it is thicker and stiffer, but it is about the best option that I have found. I think book binding tape is supposed to be ideal, but I use 1 in gaffer tape. I use book binding tape, you can pick-up a lifetime supply at Dick Blick for $25.

Ground glass on Calumet CC400 isnt sharp. Taking a large format class here at uni and they gave me a Calumet CC400 for the semester. When i focus it without using a loupe it looks tack sharp, but when i use the loupe for a fine focus the image looks blurry. It doesnt even focus.

Because your matte screen might be too rough polished, focusing with loupe can lack fine detail. It happens with old classic ground glass. Wax screen are the best in this department. But whatever glass you have, you should practice more, turn focusing ring and try to adjust your eye to difference. People think that using loupe will make things easier. Nope, it gives more capabilities, but makes life harder too. Have luck making steps on your way! When you are looking through the loupe, even if it doesn't totally become sharp, what you are looking for is the point that it is most in focus as you rack the lens back and forth through its travel. Even if your ground glass is a bit to roughly ground to give you a critically sharp image, it can still tell you where the image is "in focus". ​ ​ ​. You might also be using too high of a magnification loupe so you are focusing on the texture of the ground glass instead of the projected image. The gg may also not be in plane with your film holders. This isn't an amateur adjustment if that's the case. Shoot a test shot with narrow dof and very controlled environment. Then do a rough compensation in future shots. You should be able to adjust the loupe. But otherwise do as another person suggested and adjust until you have the best apparent focus. Sometimes it’s just a low quality ground glass, which is super annoying. Another thing is, make sure you don’t have any unwanted movements applied. The loupe needs adjusting too. The loupe would be focused on the other side of the ground glass on which the image is projected. This can be done by focusing the loupe on one of the lines on the glass.

Lens focus preview knob doesn’t move? I have a Rodenstock APO Grandagon 45mm and I can not figure out how to use the preview lever. It has a black knob instead of a silver lever and it does not move in any direction. I have been using T on the shutter to focus instead. Any advice? **Update:** Upon reading the manual, I learned it is locked by the factory and is not supposed to work. My lens is made for the Horseman SW.

I’ve had this issue with a 90mm of mine. The preview lever would only work with the shutter cocked. Otherwise I nearly broke it trying to get it to work. Hopefully this works for you too. Glad you got it sorted 👍. If you’re feeling saucy, you could take it apart and see if the mechanism is actually in there for it. Could be as simple as removing a screw or pin. That’s just a guess though. And, you run the risk of messing something up if you aren’t super careful with it.

Removing old crusty tape from wooden film holders. I'm trying to fix up a bunch of Graflex wooden film holders, and to do so I have to strip off the old tape hinges. I figure that softening the adhesive with steam is right out due to the risk of warping the wooden frame, and I don't want to go at them with a razor unless there's no other option. Does anyone know of a product that will loosen the glue without harming the wood?

You could try Goo Gone but I'm not sure if it would affect the wood or not. personally though, I would try light sanding with a mid/lower grit like an 80-120. It will remove a little of the wood its self but if you're careful will mostly just get rid of the stuck on adhesive. Unfortunately, you may end up with some finish issues regardless. A light citrus solvent and a razor blade. Rubbing alcohol will probably break up the adhesive. I'd use it sparingly and recondition the wood before re-applying tape. With guitars you can use steam to separate glued parts, and to prevent warping you clamp the part to a heavy and straight slab of metal etc. while it dries. That might be an option? You could also try a dry heat, like with a hair dryer, to see if that breaks the adhesive bond, and then finish with rubbing alcohol and a rag or scotch brite pad. You may need to do some touch ups to the finish, but that’s pretty simple.

Small Copal Shutter And lens. Hey All, looking to make a small-ish panoramic camera, and want the large image circle and built in shutter of a copal shutter + medium format lens. Any suggestions? Large format gear is very foreign to me. Thanks a bunch!

I've been tinkering with a similar project and purchased a Fujinon 65mm f/5.6 SWD lens off of eBay... so far I've been happy with it. Mine came with a shutter for $300 or so. Are you planning on using 120 or 135 film? The challenge is going to be finding a focal length that you're happy with, as most 4x5 lenses will be most likely longer than you want. I would look into the shutter and lens from a Polaroid Gelcam. I don't think they quite cover 4x5 but for a lens (Tominon 105mm f4.5) in a copal shutter the price is right (~$60). The camera body is plastic and might be a good base for your mods as well. get yourself a Schneider Angulon 65mm f8, those are dirt cheap, have a Copal 00 shutter and cover 4x5 without movements at f22 just fine with little vignetting. Usualy they sell for under 100€ too. ​ I use one on my DIY 4x5 Camera and love it for quick snapshots like those: [my Flickr](.

75mm lens with Intrepid 4x5. Hey there, I've got an Intrepid 4x5 mkIII and a Fujinon 75mm f/5.6 SWD lens. Intrepid says on their website that the camera should be able to handle a 75mm lens with a standard lens board, yet when I mount the lens, have the front standard mounted as close to the ground glass as possible, and rack the focus all the way back, I still can't get the lens to focus to infinity. Any tips as to what I might be missing? I'd really rather not to have to shell out for a recessed lens board, and I would love to use this lens – want something wider than the 180mm that I already have been using. Thanks so much!

Edit: I'm an idiot. I just needed to loosen up the knobs holding the rear standard, and slide it all the way forward. Leaving the original post up so that other people searching for the same issue might see it. Glad you got it figured out. I'm seriously considering picking up a 75mm for my Intrepid. I have a 90mm that I really like, but 75mm would be perfect for a lot of the kind of work I like to do.

Daylight exposure index? I recently got some flashbulbs for my Crown Graphic. Not knowing it was slightly different from the previous bulbs I go it. On this box they use Daylight Exposure Index to guide you on what fstop to use. I dont understand this, can you help? ​.

It’s the film speed (in DIN rather than ISO/ASA). Use the column that corresponds to your film speed. The film you’re using should have the DIN listed after the ISO, but if it doesn’t, [Here’s a handy chart.]( :-).

Modifying Exotic Lenses to Fit Shutters. What is everyone's thoughts on modifying old barrel lenses (like glueing them to a mount, or making a mount that will hold them) for connecting them to shutters? I have several barrel lenses that are cap and cover style, but I am looking to connect them to shutters to control the speed of exposure better. I don't have any shuttered 8x10 lenses currently and know I don't want a packard shutter. Or is it more of a classic car type thing where this is blasphemy? Will I tank a lens' value by doing this? I have access to a 3-d printer and can mount the barrel lens without damaging it also. ​ Anybody with 8x10 (or larger) lens recommendations that are cheapish are welcome also.

I had Steve Grimes mount a 19" Artar in a modern Copal #3 shutter and have used it quite a bit. I got the lens in a brass barrel with an iris, and I guess if I wanted I could put the front and rear elements back in it but it's not really useful that way. Grimes just machined threaded rings for the elements to fit the shutter with the right spacing so it's fully reversible. I bit the bullet and got a sinar copal shutter. This sits between the bellows and front standard, and you can mount barrel lenses to your heart's content on the front of the front standard. You can even use weird stuff like this: Those are a beseler 19" triplet projector lens and a random plano-convex hunk of glass I harvested form an old military projector. The beseler is beautiful, the hunk just kinda weird. But fun to play with. The shutter goes from 1/60 to 8s and is very well built. I actually have the dream setup: a sinar-board-mounted variable diameter iris board from chamonix: That mounts on the front of the front standard and will tighten down on and securely hold anything you put in there. Any barrel lens or even an already-shuttered lens, no more fitting lens boards. Works something like this: The setup is expensive, but it's a one time cost and works for nearly every barrel lens you can find. if you send every lens to sk grimes for individual shuttering and mounting you'll be spending more than this setup after a couple of lenses. Sa-weet. Works best on a sinar camera of course (X/P/F/A models etc) but I managed to adapt it to my cambo with moderate success. Biggest limitation is that with all the equipment between lens and board you're not able to get very short focal lengths to focus at infinity. On 8x10 it hasn't really been a problem. In 4x5, the cheapest option is a graflex speed graphic with its focal plane shutter. More limited movements but fantastically portable. The cheapest 8x10 lens is the one you find locally at the pawn shop or estate sale :) I picked up a 1900s rodenstock 5x7 petzval for $250, a 270mm Xenar for $15, and a 14" artar for $30 at an estate sale recently. In general modern big name (Nikon rodenstock Schneider ) will be better than any lens in history and cost a new car. Projector, enlarger, and process lenses usually turn out to be the best entry points for 8x10 price wise. Enlarger lenses like the g-clarion will cover 8x10 at 210, then most any lens ~270mm or longer will cover 8x10. If you want to go shorter/wider and cover 8x10 it gets expensive fast. There's modern super expensive lenses like angulon XL or Nikon SW, or old periscope/extreme angle lenses like the ektar wide field or Gray extreme wide angle periscope. Best chance is to find an old undervalued lens and clean it up and decide you like the old-lens aesthetic. I'd say if you can do a non-permanent and non-marring modification, you have certainly not decreased the value of a lens, and quite possibly increased it.

Is mod54 still the best way to process without a darkroom? No darkroom. 4x5 bw film.

It works but I prefer this:. . Either a mod54 or something like a Jobo drum on a Beseler motor base is what I'd recommend (I use the latter). I use BTZS tubes. Basically each tube has on sheet of flim in it. Can process 6 sheets at a time each with different development times. Fred Newman at the view camera store posted videos on it. I love the mod54, works like a dream for me. Just agitate carefully. What's your budget? mod54 is fairly cheap and easy to come by, while there are other solutions (Jobo, BTZS type pipes...) that are available but are much pricier. The Yankee Agitank is good if you have a lot of film to process. Best with highly dilute developers (HC-110, Rodinal) or replenished developer since it uses so much at once. The Stearman 445 is excellent if you don't have a lot of film to process at once. The Mod54 is good if you already have a Patterson tank. If not I'd go with the 445. I love the 445 because it loads the same way as the film holders. The Taco Method works great. I have a Stearman 4x5 tank, but never had any problems with the taco method. I just bought one of these, and I've found it scratches the film. It's probably me not being used to it, though. If you use the MOD54, remember to keep the emulsion side inward toward the spine or you'll get marks on the edges where the "fingers" cover the film. I use the mod54 in a patterson tank. I don\`t use inversions, i only agitate using the "tool" provided by the patterson tank ( spin round the whole mod54 in the tank ). Only issue i had was when i forgot to reverse the agitation, only doing clockwise. I got some weird uneven devellopment from the way the sheets are held in the mod54. Otherwise : works wonderfully if loaded correctly, and agitated correctly.

Valerie Shade. Ilford HP5+ in Xtol shot with a Calumet Cadet and a Fujinon 210mm f/5.6. A little bit of tilt. Vignetting in Lightroom. [deleted].

I love large format people photography. I’m trying to get hold of any good 300mm lens to do portraits. It’s been years since I got to shoot mine but the time is coming. Lovely shot. 2¢ here. I think the focus is too soft and the framing isn't tight enough, especially with the extra road in foreground. The post-pro vignette emphasizes the missed framing choice. I'm a big fan of film shot pin-up material, but the basics are always super important. Thanks for crediting your model.

Dimensions of sports finder for graflex super graphic. Does anyone here know the original dimensions of the wire frame sports finder for a graflex super graphic? Also, does anyone know the part number for the peephole accessory that you use with the wire frame sports finder? Thanks!

The wire sports finder when fully out measures 4 inches in width and 3 1/10 inches high.

Shutter on Schneider 210/5.6 is touchy. I recently purchased a nice-looking Schneider on Keh. It had been a few years since I've last used a LF camera and it seems that the shutter button on this lens is excessively touchy. I accidentally tripped the shutter with my finger trying to adjust the aperture while it was cocked and a few other times. The lens was sold as UG condition, some coating flaking off but otherwise extremely clean and in great shape. Is the shutter supposed to behave as sensitively, or am I solely to blame for misfiring on that sheet of film (cocked the shutter, removed dark slide too early?).

Sadly the answer to your question (without feeling it) is that it's subjective. Perhaps an inexpensive workaround might be a release cable? ​ I cock and pull my slides after all adjustments are made. Yes, you are solely to blame. Being able to trip a shutter with your finger is entirely normal and possible.

Ideas needed. My son science class is doing a unit on Photography, and his teacher knows I’m a large format photographer. She has asked me to bring in my 8 x 10 to explain to the kids how it works, etc. I was trying to think of a good way to have them take some pictures, but the only thing I can think of that doesn’t involve a lot of pricey film is Light-sensitive paper, which I’ve never used. Can anyone offer some guidance in this area? What kind of paper to get, does it come precut, do you just use a normal film holder like I assume, and so on? Any guidance you can offer, or any ideas you have, would be greatly appreciated.

paper won't fit in a film holder, it's bigger than the film. you'd have to trim a bit off. You would also need a darkroom to process the paper obviously. honestly just letting them look through the ground glass is probably good enough. Or turn the room into a camera obscura with blackout fabric/cardboard/etc. Yeah the cool thing about large format is you don’t really need to take a photo to enjoy the experience. I would take a couple sheets and take a group photo, but spend the time showing how it sets up, how lenses work, movements etc. There are 8x10 X-ray negatives you could use, they are fun to test with, $40 for a hundred on Amazon. Ilford makes direct positive paper. It's probably not a whole lot less pricey than film though. Depending on how many kids are in the class, and how much time you have to develop, you might be able to go that route. The other thing you could do is have the kids all help compose a picture with the ground glass, and take one picture together as a class, which you then soup at home and send to school with your son to pass around when it's dry, perhaps also with a contact print. My first view camera usage in college was using paper negatives. Get some 8x10 RC paper and let it rock. Your main issue is with having a "darkroom" to demonstrate the development of paper under safe light. But that would be the closest thing to cheap you could do. You could develop it and bring it back to the room, but I think there's something to be gained by experimenting and finding out what the general ISO of the paper is, figuring out the best exposure for your image. Just following up to let all you helpful folks know what happened. I simply brought the camera in and took a group picture which I will get developed later. Just letting them look through the ground glass and focus seemed to be good enough for them – I think they were shocked at how clear it was under the dark cloth. Seeing the inverted image on the glass screen is already greatly enjoyable. You could do some cyanotypes ! They are pretty cheap, fun and safe. Depending on the time available you could have the class prepare the paper or do it beforehand. You probably have nice black and white negatives that you could use for this to explain the negative/positive principle. Cyanotypes « develop » in plain water. I have memories (90s) of a teacher showing us how to do these and it definitely put in me the seed of photography.

Does anyone know anything about this camera? So I found three of these cameras in the "computer disposal" box in my work (we share a large building with many other companies) so I grabbed them. can't really seem to find much about them. any info would be great. are they worth reselling? Here are pics of the camera: [.

[This]( will set you in the right direction. That is a Sinar M camera body. It was part of a modular camera system. [Here]( is a magazine article from 2005 that gives and idea of what it is. Whether or not it is worth trying to sell is entirely subjective. Is it worth it to you to try a sell a body that seems to be missing all the other bits to make it work?

Japan Calling [Wista DX Ebony, Graphex 135mm f5.6, Foma 100]. .

I recently had to change my plans to travel to Japan next month, so I went up to the Berkeley, CA hills last week to do some shooting instead. While I was there, two Japanese women in Kimono appeared asking me to take their photo with their phone. We struck up a conversation and they graciously accepted my offer to take their portrait with my large format camera as well. It's as if someone out there thought *"Oh, you can't make it to Japan? That's okay. We'll bring Japan to you instead."* The universe works in mysterious ways. =\].

"R&J Beck Isostigmar" lens... With 3 aperture scales? I picked this little brass lens up at an antique shop the other day, and to be honest I don't really know anything about it. Searching around online it looks like R&J Beck were an early lens manufacturer who also specialised in microscopes and other scientific equipment. I've found a few examples of similar lenses, but none quite like it. The inscription on the bezel reads "R&J BECK Ltd PATENT 7.2IN ISOSTIGMAR f/7.7 The thing that's really confusing me is that it's got three aperture scales on the one ring. The first just looks like a regular scale, going from f/7.7 to just over f/32, the second is marked "B" and goes from f/16 to just over f/45, and the last, marked "F" starts under f/16 and goes to just over f/45. I haven't seen this before, and am not sure what it's for. Is it to do with using the lens for different applications, or with different film sizes? ​ Any information as to what these scales are, as well as any information about the lens itself, would be greatly appreciated. Thanks!

Guessing by the build, the name and the maximum aperture, the lens is a rapid rectilinear or anastigmatic design made between 1860-1910, so this was conceived as landscape lens. The 8 inch focal lenght suggests this would have been a lens used for whole plates (8.5"x6.5" iirc). Im guessing the different aperture scales where used probably to compensate for bellows extension or use with smaller plates. [deleted]. This is a triple convertable lens, there is a discussion with more details [here.](. That's fascinating - I wasn't even aware this style of lens existed. Thanks very much to both of you!

Advice wanted - backpacking with LF gear. All - I have a backpacking trip in the fall that I'm planning to take a camera on . I had some good results last year with a small digital, but could not stop thinking about composing a few shots with my film cameras. I currently have some decent 645 gear - but was looking to get back to 4x5 and was very interested to see the intrepid cameras. My last 4x5 was a Graflex - not really the lightest weight camera out there, but then again my Mamyia 645 isn't either. Has anyone taken their camera backpacking and if so - do you have any thoughts about the gear you took - and what you might do differently? I really don't want to cary 20lbs of camera gear as we're going to be covering a bunch of elevation but I do have a strong urge to capture some good (hopefully) images on this trip. Thanks in advance!

I’ve taken my 4x5 backcountry and just regular travel backpacking. I’ve only done single nights with it in the backcountry, but I did take it with me for a month in turkey. Half of my backpack became the camera. I have an Arca Swiss rail setup, which isn’t the most compact, but does pack down pretty small. I ended up making my own padded bag for the camera inside my backpack. Film was hard for the month. I have 10 holders, but you’ll definitely be changing film in the field. I ended up just using my backpack and doing it at night, but it’s not ideal, and you should practice with old film before you go. I have two compact lenses. You’re not going to want to bring a big one. The tripod is a pain. I’ve got a big gitzo, which is really heavy. The first thing I would invest in is a carbon tripod. Carrying the tripod sucks. I wouldn’t bring it on a multi day backcountry trip. It’s just too heavy/big, and you’ll definitely fell it at the end of the day. This guy uses an intrepid. I have done some backpacking and plenty of hiking with a Toyo 45CF. DEFINITELY use a field camera, and not a view camera. The field camera will fold up like a clamshell, whereas a view camera needs the rail to be setup. View cameras are for precision control (e.g., geared knobs) and huge movements, with no regard to weight, size, or ease-of-setup. I think backpacking with a monorail camera is simply unrealistic and unsatisfying, even if it can be done. Field cameras exist for a reason. Depending on the trip, I've brought either just my 135mm f/5.6 (which on the Toyo can stay on the front standard when the camera is closed, so set up and teardown is extremely quick), or also brought along a 90mm and 300mm lens for more shot variety. Obviously using fewer lenses means lighter weight. A "slightly wider than normal" (like my APO-Sironar N 135mm f/5.6) covered almost every shot I wanted to get. Tripods and tripod heads are extremely important areas for weight reduction. I used two insert bags, a Tenba BYOB 10 (loupe, filters, mirrorless camera used as a light meter) and a Tenba BYOB 13 (field camera, lenses). I used a 4x5" film holder bag which can hold 5 film holders. 10 photos is a *lot* to carry at one time when it comes to Large Format (as in, maybe taker fewer better photos). This all fits in a 75L hiking backpack with room to spare. When I got back my first drum scanned Provia 100F slide taken on my Toyo with my 90mm lens, I was floored. It was about a 700MB scan. I've got it sitting above my desk, printed 40x50" downscaled to 450 DPI for the print-ready image. It is my favorite photograph I've ever taken by far, and I'm very happy that it's a unique story and style of photography. I highly recommend getting out in to nature and practicing LF photography as it's not going to be around forever. Shoot while you can. PS -- I haven't used the [Intrepid 4x5]( but I did just order one of their 8x10 cameras. For $360 for a field camera weighing 2.5lbs unloaded, it's worth a shot -- maybe someone else can chip in with personal experience. Don't ruin what could be a great hobby with gear you're unsatisfied with and won't use (e.g., a monorail view camera). My Toyo 45CF was about $1200, if that's too expensive start with an Intrepid 4x5, don't start with a "better" monorail camera. I take my technika 3 and a holder with only 4 film holders. I bring a dark bag and reload as I shoot. But my favorite rig is technically mf. It's an ikonta 520/15 modded for 120. Shoots 6*11 and folds to nothing. One other option. An old Polaroid land camera. Without modification it holds one 4x5 sheet per load. I love it for these kinds of trips. I love my Horseman 45HD for hiking/backpacking. If you don’t require a lot of movements, it’s lightweight and rigid as hell. Pair it with a Schneider 135 f5.6 and you’re ready to roll.

Keep or sell my large format gear? Hi, it's my first post here and possibly last (don't hope so). I own a full set of large format lenses and a Linhof Technikardan 4x5 which I rarely use. My plan had been to shoot landscape with it, but I barely find time to do so. Also I lack a proper way to digitise, find the disappearance of film after film frustrating and question the whole thing for me. As it's possible to have more calm days in the future (talking about years) I think to either sell the whole stuff and buy later again, or to keep everything and hope to still get film in 5 to 10 years in the future. Of course part of the whole consideration is price development of large format cameras and lenses. My main concern is lack of film some years in the future and dropping prices, as the equipment becomes useless. What are your thoughts regarding how price will develop in the coming years and why?

Film prices will go up as demand goes up. Supply for very popular films will be there for the foreseeable future, particularly B&W I’d say. There have been at least 2 or 3 large format cameras introduced to the market in the last 5 years (Intrepid, Standard come to mind). Your camera may go up in value or may remain the same. As long as its working I doubt it will go down in value. I’d say hold on to it, personally. Do what I did 10 years ago and settle into an Ilford workflow. Ilford is committed to the B&W film market and will not discontinue films or other supplies willy-nilly. Digitizing 4x5 is a challenge and is honestly why I've mostly abandoned the format as well. The flatbed Epsons are good of course but I don't really enjoy dealing with flatbed scanning. I'd love to have an Imacon but I don't have a Guggenheim grant knocking on the door so I deal with it. If you're going to stick with 4x5 you really have to do it all yourself. Processing, scanning, printing, etc., it's far too expensive to do any other way. Film isn't going away any time soon (in fact, new films are being introduced). It's all about how you enjoy spending your time. If you enjoy working in the darkroom, great! I also happen not to mind the slow and methodical process of scanning and editing (I have an Epson flatbed which produces fine results for my purposes, which include gallery exhibition), but if this is something you'd find cumbersome than be honest with yourself about that. IMO, you can only go with the information you have now. Who knows if you'll get back into it or not. For me, I sold my 4x5 year about 16 or 17 years ago - and now I'm in a very different place. I wish I still had it, but I'm able to take my time buying it again. Film prices are shocking to me now as I used to buy boxes of 50 sheets or more without much consideration - but pretty much everything is like that - movie tickets, lift tickets, cars, you name it. If you have the passion for the art, or ever have, maybe it will come back around. Good luck what ever you choose. If you don’t shoot your camera then why keep it? It’s hard to say if LF gear prices will rise or flatline in the near future so if you like the value it’s at now, I say sell it. If in 5-10 years you want to buy into film again, there will certainly be a selection to choose from. I’ll add that digitizing film can be easy once you’ve created a workflow but it requires you spend a few hundred dollars on the scanner and software as well as a few weekends to get the results you want. I sold my mamiya 7II with 80mm 3-4 years ago, because I dont use them often. I regret this sooooooo much!!!! and also usually the price goes up for film cameras. Why not get a roll film back for your 4x5? You could shoot up to 6x12 with a much larger option of films and easier processing / scanning. I’ve read that some people just buy a macro lens for a digital camera, then take pictures of small parts of the negative, and reconstruct it on a computer. I’ve never done that myself though. If film availability becomes a problem, there will always be dry plate, wet plate, and daguerreotype. I don't see good LF cameras declining in price in the near future, unless the supply of new ones goes wayyy up. [ ​ Have a look at this solution for taking film out of the equation and using a digital camera on the back. Clearly there's an effort to using it and stitching later and anything moving perhaps like water or fast moving clouds would present problems but it seems like a good option for many applications to gain a very high res digital file.

Found some old large format equipment - what to do with it? I found a bag full of my grandfather's old Graflex camera and am super intrigued. Several years ago I found some of his old 35mm and medium format cameras and got into film as a hobby, but have never done anything with large format. [Picture here]( Just from messing with it, it seems like everything is here. The bag is obviously in terrible condition, and all the cables for the flash are almost completely deteriorated. Is there anything I should do to see if everything's still working and salvagable? Is it even worth looking into? Additionally, there's a bunch of film in the bag. Is there any way to see if these are exposed or not? The medium format camera I found of his still had exposed film on it and I managed to get some ~50 year old pictures out of it; would be awesome if that was the case here. Thanks!

If nothing else, that Graflex flash handle \*might\* be valuable to Star Wars fans wanting to make replica lightsaber handles. Only way to know if the film has been exposed is to try developing it. The leaf shutters that large format lenses use are often much easier to service than focal plane shutters found in SLRs. The only way to check if the film is exposed is to develop it. I'd pick 2 or 3 sheets at random and give it a shot. If they're blank, shoot the rest of the film yourself! If you want to develop the film, I think you’ll need to make some guesses. The film holders have slides that get removed to expose the film, and those slides likely have one side painted black while the other is white or unpainted. Your grandfather likely followed a system where he used one side to indicate unexposed film and then he flipped to the other side to show the film was exposed. If you develop some, you might be able to figure out his system, which should let you know whether the others might hold pictures. It's definitely worth looking into. Large format film cams are a lot more simple than other smaller formats so there's a lot less to break/go wrong. Large format is amazing and you should absolutely get into it. Film in what kind of bag? You may be able to determine if it's been shot or not by what kind of container it's in (original container vs holding box). Also, that looks like a field camera, not a monorail camera. So you've hit gold. >what to do with it? Why, take pictures with it, of course. Or try to, at least. >Is it even worth looking into? Probably. Certainly don't just throw it away (if it's not useful to you, it probably is to someone on eBay). I'm not really an expert, but I have a Graflex Speed Graphic and have taken several pictures with it. I get the impression they're fairly repairable (though it may require some tools or expertise). It also seems like the camera could be usable even if half of it is broken (as long as it's the right half). At least for the model I have, there is a shutter in the lens and in the body, and you only need one. If the rangefinder isn't working, you can focus with the ground glass, and vice versa. Of course, some things are critical to the operation of the camera. ​ Watch a few YouTube videos and read some articles about the mechanisms of the camera, and try using them and seeing if they work (like operating the shutter, trying to see an image in the ground glass in the back, etc.). It is not a particularly simple camera, but it doesn't take too long to become familiar with the controls. ​ You can then try loading large format film, shooting a picture, and developing it. Or, load something else. A neat thing with these cameras is that you can use anything resembling film as long as you can shove it in the back. I think that thing behind the camera in the picture is a medium format film holder, so you can shoot medium format film with it too. And to save money on film and get a more interesting (but technically worse) result you can load print paper in the film holder (for very slow speed, orthochromatic images).

Original Wista 45SP (Buyer Advice). Hello! I'm considering buying a Wista 45SP(Original Version) for $600. I've never owned a large format camera, only used one once, and am clueless as to what would constitute a good condition LF camera. It comes with a Fuji W 135mm F5.6 lens and 10 used/light tested film holders. I will be taking test shots prior to purchasing to ensure that at least exposure is correct. If the shots come out well, is this a good price for this camera? If not, what would a good price be?

Just a quick cursory glance at sold listings on Ebay makes $600 look reasonable depending on condition of the camera and lens. Also have reasonable expectations about shutter timings. Those weren't dead-on accurate when they were new, and it might be 30 or 40 years old now. Fast speeds will be slow. Things to watch for are the blades sticking open, or uneven sounding operation, or obviously inconsistent speeds even by ear when you fire it multiple times in a row at the same setting. As far as the holders being "light tested" are they claiming they exposed a sheet of film in each side of each holder and developed it just to test for light leaks? Nobody would do that, and the only thing that goes wrong with those holders is physical damage or the bottom tape wearing out. The former would be obvious, the latter is easy to fix yourself. They don't really develop leaks. Really the worry is more that they'll be filthy or have grit/dust in the light traps where the darkslide goes in, which can get on your film. It seems a good price for the kit. The lens usually goes for around 200$, for 10 film holders you may pay around the same (or more or less depending on the deal), so it makes the body quite cheap. Echoing the comment from qqphot, test the speeds on the lens shutter and don't forget to test the B (bulb) setting as well. The holders I have nothing to add. Just make sure they're clean on the inside. As for the camera, check if the movements are stuck or very hard to use.

Graflex And Strobe Sync. Recently I got a Graflex Super Speed that I would very much like to use for indoor studio work. The shutter that it came with does not have a PC sync port. The camera has a socket for a three pronged connector on the side and I have a cable that has a Graflex two pronged connector at one end and a PC connector at the other. My strobe trigger takes either a 2.5mm jack or a PC connector. Ive used that set up successfully on other film cameras that I own but never with a cable, normally the circuit completes on the shoe and triggers the flash, but the Graflex has no shoe. The Graflex is unable to trigger my strobes with that cable. Am I missing something obvious? Is there an easier way to do it other than to buy a new shutter with a sync port? My understanding is that only two of the terminals on the triple socket are needed to close the circuit. Is that correct?

I use lenses with a sync port on mine. There is a flash button on the camera on the left somewhere, but you need to have batteries installed. I recall looking into it as I wanted to use that flash guide that it has, I think I had the wrong cams for my lenses though, it's been a while. If you figure it out though, please post I'd be interested in giving it a go again. for awhile i was looking for a bipost to household adapter to make the flash sync working, then i opted to just change out the lens for more....modern one with sync. easiest possible way! You would do well to check out this website: [ Lots of good information and resources. you're trying to trigger a flash that isn't linked to the lens shutter in any way? think about that for a second, and then go buy the correct cable that triggers the flash and the shutter solenoid. You can buy the exact sync cable you need here. In fact, you can buy *any* sync cable here, as they’ll custom make anything you want for a pretty reasonable price and fantastic quality. Their Hasselblad long tip cables are also great. Since I switched to them a few years ago, I completely stopped having misfires. The two pronged connector is for the focal plane shutter. It will only trigger by using the rear curtain but unfortunately this will not work with electronic flashes because they are too fast. The only way to use an electronic flash with the focal plane shutter is to use the T or B setting. You would have to cycle them quickly after flashing to prevent the ambient light from ruining the exposure. Alternatively you'll need to get a lens with a PC or two pronged connector if you want to use flash sync with the lens. I believe that socket works with the electronic shutter release, which itself works with special lenses/shutters for that camera.. on the back top left you probably see an opening... this is where the two 22.5 volt batteries would go and there was a door that closes that opening.. this is lost about 95 percent of the time.. the camera works perfectly w/o the special lens, batteries, flash cord stuff, by using a regular lens /shutter and cable release.

How to store exposed 8x10 film without old film bags or boxes? Hi guys, simple question as stated in the title. Just looking to know what solutions others implement in the absense of emptied film bags and boxes. Any advice would be much appreciated.

I've used these [paper safe boxes]( before but not without a film bag. Another possible option is getting cheapo 8x10 ilford paper just for the bag and box? I don't think paper boxes have the smaller light-trapping box inside it, so i'd just gaffe the box up until you get to your lab.

Window Light [Toyo 45D, Schneider 65mm f/5.6, Ilford FP4+, Adorama Glossy RC]. .

Really great tonality and range. Very atmospheric. Thanks! Always impresses me how much leeway in dynamic range there is... Try this with a random high end DSLR. Windows will be burned out.

Learning tips for newbie. I just bought a Busch pressman D and some ilford Delta 100 film. Given the cost of film and developing/printing, are there ways for me to practice on the cheap? Without using film ie. I ordered a 25 pack of the ilford. Since that will be my only box, how do I store the exposed film? Thanks.

The absolute cheapest per-shot way to practise is paper negatives. Cut down 8x10 sheets of photographic paper into 4x5 and tray develop under safelight. Requires up-front costs for paper, trays, safelight, and paper developer. Arista edu film is cheap and developing at home in a mod45 or tray is pretty cheap. But like most things, learn to do everything but work with movements on 135/120 then try lf. [8x10 xray film is crazy cheap]( like $30 for 100 sheets, cut into 4x5 that's 400 sheets. You can use under a safelight unlike the more popular films. Both sides have emulsion, so careful not to scratch it. I'll make my own notch on it, and once exposed/developed etc, you can remove the "back side emulsion" with water/bleach mixture. Cheap way to learn for sure. Do a search you'll find some good results with it. As for storage of exposed film, you could source one of the bags that the film comes in, or some manufacturers triple box and have the film wrapped in black plastic inside. Keep your boxes when you buy another pack, makes it easier. I started just like you. Cost was the most important. 1. Shoot paper negatives. Paper is cheap, use Foma ( arista edu ) Variable contrast paper. 100 5x7 sheets were 14$. Chemicals were 12$ to devellop all the paper. You can cut the paper under a safelight ( get a specialised one, kaiser for example ). This will be around 10-15$. Nice thing is you can develop with the safelight on, in trays, and see in real-time the image appear. Photograph the resulting image with a camera / phone, invert. I shot a about 40 negatives, then switched to film. 2. Fomapan ( arista edu for you US people ) film is cheap. really cheap. \~25$ per 50 sheets available in iso 100,200 and 400. Chemicals ( same provider ) are again, really cheap. The most expensive thing is the patterson tank and the mod54 ( google these 2 terms ). These will run about 70$, but the are usable forever. Developing b&w is actually easy, How many film holders do you have ? A patterson tank +mod54 can do 6 sheets at a time. I am currently 3D printing an adapter to develop my film sheets. I have been using the « burrito » trick where you bend the sheet in two and use a hair elastic thing to keep it closed. You then put your « folded » film sheets in your tank with a standard film dev spool on top. It works really well but I had 1 dev failing and want no more of that. Check I will test the one I am printing next week ;). I usually bought cristal protection sheets for my 120 and 35 films. You just have to slide the strip in the protection and it is a must have for archival. My usual shop had nothing left for 4x5, so when I started developing my film sheets I used envelopes with a window in which I usually receive invoice and perforated the side for archival in a binder.

What is the type of shutter release here. It looks different from what I see in online pictures. .

This is a Busch pressman D that I just purchased. The shutter release is a bit different from online pictures and blocks the cable release from being attached. What's the purpose of this extra piece, and can I remove it to be able to screw in the cable release. Thats most probably an air shutter release adapter. They are even available today. You can savely unscrew it. Just be sure to patch any mounting holes that may leak light. Very nice camera, congrats on your new toy btw!

Tachihara Field or Toyo 45a? Looking to add a large format camera to the collection. I’ve narrowed the search down to those two. When I say Tachihara, I’m including similar/identical cameras like the Calumet etc. Pros for the Tachihara: It’s lighter by quite a bit. It’s also prettier, which isn’t the most important thing but it doesn’t hurt. Cons for the Tachihara: Maybe a bit flimsy? Pros for the Toyo: It seems sturdier. I haven’t held either one, but I’m assuming the Toyo is tougher. Cons: Toyo is heavier. Any info at all that anyone has, no matter how obvious it seems, is much appreciated.

I have a wista field 45dx. Very sturdy and very stable. 2kg in weight. Maybe similar to the tachihara you are looking at? I shot with a tachihara for a few years and never had an issue. It's not the toughest camera in the world but I definitely wouldn't call it flimsy. It is a show stopper and when using it, you will get complements. I would have to imagine that unless you are really rough on equipment that the tachihara is perfectly sturdy. I have a nagaoka which is considerably more delicate than the tachihara and it handles normal usage fine. The only limits that might be a problem would be if you have very heavy lenses. As far as the toyo goes it's quite heavy and very sturdy with above average precision for movements. Personally I like to have a very light camera for any time I'm going more than 1-4 minutes walking distance away from my car and a monorail for the rest of the time. But everyone has their own preferences. Love the Toyo 45aii its just a great camera but saying that you will do great with any camera that keeps out the light. I've had a Horseman Woodman (super light and small) and the Toyo 45a. I used the Horseman more just because I could throw it in my bag with a few film holders and barely notice the weight. The Toyo is heavy and when you combine that with film holders and a tripod you really notice it on a long day of walking. The Toyo is super robust and sturdy, you could bang nails in with the thing but it's a field camera at the end of the day and it's not like the lack of robustness effected my shooting with the Horseman in any way. I'm only shooting MF nowadays but if I had to choose one of the two you suggested I'd go for the Tachihara. I haven’t used the Toyo- but I will say that I’m very happy with my Tachihara. It’s tougher than it looks and the light weight is a huge plus. The movements are intuitive and precise enough for what I do- mostly environmental portraits with some landscape work. The only things I’d recommend is that you get a good camera backpack and a carbon fiber tripod, if you planning to go on longish walks with it. I have a Lowe Pro Mini Trekker which works well. It holds the camera, 3 lenses, film holders and other stuff pretty easily and is not too big. A good focusing hood or dark cloth is another really important accessory that is often overlooked- it’s a pain to compose and focus outside in bright light unless you’ve got a good hood. Hope this helps!

Questions about developing 4x5. Just a 4x5 novice thinking about developing. Based of reading prior posts, it appears that mod54 is the preferred choice. To me however it seems like tray processing might be the best. I would develop 1 negative at a time (avoiding scratches) and keep things simple. I doubt I will be developing more than 2 at a time. Is there any other disadvantage of tray processing that I'm not considering? Currently I'm thinking of the slowness and simpleness as advantages rather than a disadvantage. Thanks.

When I first got into 4x5 I started with tray processing because it seemed simplest (and frankly because it was cheapest). I never was able to get consistent results, and I often had uneven development around the edges because tray agitation tends to push fresh developer away from the center of the negative. All of this comes down to my own skill and technique; there are plenty of people who get great results tray developing. But it's something to be aware of. By all means give it a shot! If you decide you don't like tray development, I highly recommend rotary. I'm not talking about dropping $500 on a Jobo. I use a Beseler color rotating base and the tubes intended for developing RA-4 color prints. You can get the same results with a little more work by just putting the negs in sealed tubes of PVC pipe and rolling them around on a surface or in a water bath by hand. My negs come out exactly the same every time and with perfectly even development. I also can be really stingy about how much liquid goes in, which makes my developing chemicals stretch so far that the cost becomes effectively negligible, at least for B&W. I'm a definite convert to rotary processing and recommend it to everyone. Whatever you settle on, best of luck! Can you manage 3 trays and timing in absolute darkness ? Most probably not , as it requires you to be proficient at this. The mod54 is excellent, and with a patterson tank will cost around 80-90 $. I never experienced scratches, and i ran about 20 tanks ( x6 sheets each ), with the mod54. Please keep in mind that ease of use will become important after 3-4 runs. And trays are hard to use in the dark. If you shoot xray film or paper negatives, then by all means, do trays as you can use a safe light. Also, you can shoot paper negatives, and get visual devellopment, no need for timing ( under a safe light ). [removed]. Mod54 is wonderful and the preferred solution for a reason. I've tried my hands at tray development with careful preparations, but it is terribly tricky to get right whereas the Mod54 just requires you to practice inserting film which can be done with scrap film with the lights on. Got a 3d printer? It still requires a 3-reel Patterson tank but you can get the cheap one that comes without reels. It also scared the crap out of me that it would scratch up the negative but it worked fine. Of course, I still gave it a judicious sanding before using though. :) It's basically a variation on the hair-tie method. Tray dev requires a completely dark room, while tank dev just requires a changing bag. Tray dev allows for developing multiple sheets simultaneously with different times each, if you manage to keep track of which is which. Don't worry too much about scratching if you use kodak or ilford. Fomapan is vulnerable, even with only one in a tray. Tray processing negatives sounds awful. If the cost of the mod54 is swaying your decision, you can develop up to 4 negs in the Paterson tank alone using the “taco” method or dev 1 at a time and not deal with any complex folding. This will be easier than the tray method and close in price. I use the SP-445 and it’s great! You can do 4 at a time, only uses about 600ml of chemistry, and I think is far easier to load negatives in. I bought some Jobo 4x5 processor tanks online (fit 2 spools ala 6 frames) and just use 4 furniture rollers bolted to a piece of MDF to do roll developing by hand. There are several brands of film canisters where the cap fits into the opening of the Jobo Tank. If I only have 6 frames to develop and am lazy I go for agitation developing like with my Patterson for 35mm. Works without a problem (evenly developed negatives) but needs 1.5L developer for full coverage. I typicaly shoot and develop 12 sheets on a good day and the tanks are invaluable for me. Tray developing is such a hassle. Thanks everyone. This has been very helpful and I am dissuaded from going the tray route. Will order the mod54 or other suggestions. Thanks for all the great suggestions.

Backpacks, lenses and tripods. Hi all, after a few years break, I'm ready to get back into 4x5 again! One of the main issues I had with LF when I was doing it a while back was transportation since there is so much crap to carry! I figured maybe I should get a backpack for my stuff, but there are a lot of camera backpacks out there, and I'm having trouble deciding. So I'm wondering if anyone has any recommendations for backpacks that hold up well for day hikes. I have a linhof technika IV, with a Schneider Symmar 150mm, and a 121mm super angulon. I'm thinking about adding a 210 mm lens and maybe a 90 or 65 as well. In all, I'd probably require a bag with room for 2-3 lenses, the body, a focusing loupe, meter, and tripod. Extra room would be nice but isn't required. As for lenses, I mentioned getting something around the 210 range. I know that there isn't much difference in terms of image quality between the equivalent offerings from Schneider, Rodenstock, Nikon and Fuji. But, I am curious if anyone has experience with lenses like the commercial ektars, ilex paragons, etc. Can they compete or is there anything special about them that would make them a better purchase than the newer optics? As for the 90-65 range is light fall-off towards the edges really that big of a deal, or can they produce decent results without a center filter? Also, are the faster wides worth the extra money in terms of image circle or focusing ease? Finally, I need a new tripod since mine broke recently. It was a manfrotto 3001 with a video head that never worked super well. I liked the tripod itsself, it was a good weight and size, but the legs tended to collapse back down when not-too-much pressure was put on them. So, I think a new tripod would be in order. If anyone has suggestions for a similar size and weight tripod and head that support a technika well, I'd love to hear them! Thanks for the help!

I'm a bot, *bleep*, *bloop*. Someone has linked to this thread from another place on reddit: - [/r/analogcommunity] [Backpacks, lenses and tripods](  *^(If you follow any of the above links, please respect the rules of reddit and don't vote in the other threads.) ^\([Info](/r/TotesMessenger) ^/ ^[Contact](/message/compose?to=/r/TotesMessenger))*. Backpacks - can’t remember the make, but I used to have a well padded one which was strong and not too heavy. In general I didn’t hike great distances or shoot far away from my car. The problem was more with the film holders than lenses. Lenses- newer models are likely to have better coating than old ones. More likely to have shutters installed. However the old lenses are usually cheaper. A faster lens really helps with focusing. Check out drone backpacks. I ahve a benro backpack for a dji phantom 4. Fits the following : chamonix 4x5, 210symmar, 150fuji, 6 holders, dslr as a meter, cokin sqare filter pack, changing bag, pack of film, loupe, dark cloth. Has some place to spare. Tripod is in it's own bag, but i have a lather large tripod, about 70cm collapsed. The backpack isn't small, but is confortable, and opens only on the back side. Cost aroung 100 $. For bags, I recommend a f-stop bag. Size depending on what you want to carry, but the Anja is plentiful. Couple that with an ICU (medium or large, depending how you’d like to configure it), and you’re all set. They’re expensive but after trying many others this is the one I always use. For tripods... that discussion never ends. Good options are Gitzo or Really good Stuff. For 4x5 a gitzo series 2 would be adequate. Even something like a 1542T may suffice. Or the RSS mark 2 CF. Legs are expensive but if you spend it upfront you’ll save in the end because they will last you a lifetime. Lenses... 210mm you can go for an apo symmar or Rodenstock Sironar N if you don’t want to spend too much. On the other hand, a Sironar S will set you back almost 1k these days, and probably there’s not much difference (I find the N and the S are similarly sharp). Other option would be a Fuji A 240mm f9. Very light & portable. As for older lenses... you would probably consider them later. For those you are paying for specific characteristics and so they’re more specialized tools. There’s a bunch of info online about older and classic lenses (Heliar’s, verito’s, petzval’s, etc). Good luck! I bought a [Shimoda Explore 40]( after quite a bit of hemming/hawing, and a lot of you tube research - and I'm very happy with my purchase. I was between that and the F-Stop, Anja, there were a couple videos comparing the two, and they pushed me towards the Shimoda for a few reasons. I've been using it alot, and recently did an overnight up to the South rim of the Chisos Mountains in Big Bend National Park with it. I had my Toyo field camera, Caltar 115mm, Nikon 210mm, DaYi 617 back, spot meter and incident meter, bunch of 120 film, quickloads and holder, 4L of water and food within the bag - and shelter, sleeping mat, sleeping bag, accesories, 3L of water, and film holders in domke pouces strapped to the outside. Having the tripod pouch the zips into the side of the bag is the one of the top features. Having a sturdy tripod secured to the bag without any movement is critical for me - and it attaches back in and out into a secure position with ease. Here's a [couple pics]( from when I was getting it setup, right after I got it. The bag was close to, if not at 50 lbs to begin with - and it handled like a champ. It was a tough hike, and not the most ideal setup for an overnight - but I flew with it to Hawaii and then to Texas, and the way it cradles my gear and hugs my back is ideal. For bags, hiking and comfort, nothing beats compagnon. Not cheap but has a legit harness etc.

Advice wanted - Buying first large format camera :). I am looking to buy a Linhof Technika IV, I am moving from a Mamiya 7ii and this seems like a firm camera to switch to? I am planning to get a Schneider 90mm f/6.8 Angulon. What else do I need to buy or check to ensure the lens will fit on to the camera and which other accessories or bits and pieces do I need to make sure I'm good to go? Thank you so much in advance for any answers :).

Moving into LF is not that easy. You’ll need to practice a lot and know your equipment. It’s a very modular format - more so than MF. Lenses - 90 mm is normal lens on the 4x5 format. Maybe you want other focal lengths. In LF lenses are separate from shutters. You’ll also need a lens board to fit it to the Linhof. Film: comes in sheets, not rolls (unless you install an adapter). You’ll need film holders. The film is loaded in the dark room (or in a special bag). Tripod: while in MF is optional, here it’s essential. It needs to be steady and support the camera well. The head is very important. The Linhof is a multi purpose camera. Check the bellows for light leaks. Maybe you want to use the handle - it needs to fit well. LF is a whole world. Better ask specific questions if you have any. Edit: read the user manual of the camera and view some YouTubes on LF photography. [deleted]. Okay, 90mm is not normal on a 4x5, it’s a [wide angle lens]( . A couple thoughts regarding going with the Linhoff Technika IV, first off these are solid cameras that tend to be on the expensive side. They offer a lot but also have some limitations. The first being that depending on your subject matter a 90mm lens can be problematic. If you are primarily shooting landscapes, you shouldn’t have any problems as you can drop the bed on the camera, but for architectural photography, you would probably be better served by a camera that has a bag bellows (as an option) or a hybrid bellows such as those on an Ebony, Chamonix, or Arca Swiss. Corrective front movements will be limited with a standard bellows, as the front a rear standards sit too close to each other at that focal length and the compressed bellows will limit movements such as front rise, which is a necessary movement for architectural photography. I don’t know what your budget is and I don’t know you primary subject matter, so my recommendation would be to look for a used Chamonix 4x5 camera. They are reasonably priced, and offer a lot of movements and stability in a lightweight package. Out of the box they can handle a wide range of focal lengths, and have the most necessary movements. It’s often the case with view cameras that they are somewhat purpose built, so knowing what kind of photography you are doing can help steer towards a more informed decision. For example, if you do a lot of macro photography, I would lean towards an Arca Swiss, or similar rail camera with front and rear focus and interchangeable bellows capability. As for lenses, they often come with lens boards (as 99% of LF lenses are only found in the used market). Historically, the various camera manufacturers developed their own lens board sizes (although the lens fitment to the board has been standardized in modern lenses). Linhoff Technika boards are very popular and can be found readily. Don’t let the fact that a lens may have the wrong board (or none at all) stop you from purchasing the lens if it is an otherwise decent lens. When inspecting a lens priority should be given to the condition of the lens, aperture, and shutter, (little or no lens separation, no scratches on the front and rear of the lenses, aperture moves freely and smoothly without sticking, shutter speeds work through the entire range (give special attention to the slower speeds), both B and T settings work, and take note if the lens does not have front and rear lens caps. If any of these features are sub optimal, then your offer should be adjusted accordingly. Note, that sticky shutters and timing can be fixed with a CLA (at a cost of time and money), and light scratches will probably go unnoticed in your final prints or scans, but my recommendation would be to get the best condition lens you can afford—especially if you are new to LF, as it will be one less thing you will have to worry about. So with that in mind you can expect very old lenses/shutters to present more problems than say a lens from the 1990s. Starting out, look for modern lenses (coated) mounted to Copal shutters. If shooting architectural photography an XL lens would be beneficial as it would give you a larger image circle, which means the camera will have greater range of available movements (however, if you have a camera that wasn’t meant for this genre of photography, the camera will be the limiting factor regardless of the size of the image circle projected). For landscapes, this is less of an issue, so you don’t necessarily need a huge image circle. I hope this info was of some marginal help. Check out the [Large Format Photography Forum]( there is a ton of information on getting started, and it’s a huge resource for technical and practical applications. Best of luck to you. The Schneider lens you mentioned is known for having lens paint issues, often referred to as [Schneideritis]( when looking at one of these lenses if you see bubbles where the glass meets the lens barrel, it may be infected but it really does not present much of a problem, so don’t be too deterred if the lens you have in mind has this characteristic. I have multiple lenses with this issue but they all perform flawlessly. Almost forgot... film holders... My recommendation is to stay away from wood holders if you can when starting out. Buy 5 used fidelity holders to get yourself going. This will allow for ten sheets at a time. Used holders tend to go for around $5/each depending on where you find them. Eventually it may make sense to have enough holders so that you can load up one complete box of film at a time. If you can inspect the holders before buying check that the septum is flat and smooth, inspect the condition of the hinge tape, and feel and look at both sides of the dark slide ensuring that there are no cracks, holes, or excessive warping. You will most likely need a changing tent (unless you have access to a darkroom for loading your holders). Look for the Harrison [changing tent]( in standard size. Stay away from the pup size as the standard size will allow you to change holders up to 8x10, (although it’s a bit tight). If you think there is the slightest chance that you will eventually move up to 8x10, then get the jumbo size and save yourself the expense of upgrading to the larger size later. There are different designs out there but this is by far the best. If you buy one, keep it loosely packed and in a well ventilated area. The silver coating has a tendency to gas-off and it can become tacky. I often leave mine setup in my office, so it has not been an issue for me, but it is a known issue. There are Chinese copies of these tents on the bay, but I can’t speak for their quality. Sheet film is a breeze to load and unload compared to 120 film. Chances are when you buy your holders they will have film in them. Use one of these sheets to practice loading and unloading you holders before you get started. If you have to, sacrifice one sheet of your film for this purpose. Use surgical gloves when loading and unloading your film as your prints will end up on the emulsion and will show up in the processed negative. Harbor freight time! As a linhof owner, it's a hell of a camera. I'll just echo what others have said, I've got a 90 but my primary shooting lens is a 210. I never have gotten my head around wide shots and 4*5 aspect. I find I want to crop down every shot. Oh and buy your holders in lots. You can get the price down to about 5-10 per. Don’t forget film holders. Good luck! Especially if you are just getting started in LF, I would strongly recommend against buying the Schneider 90mm f/6.8 Angulon. It is small and cheap, but it was designed as a press lens and barely covers 4x5. It will have substantially muddy corners and/or vignetting on 4x5 wide open and you will have no room for movements - which is kind of the point of LF cameras. If you want to learn how to use camera movements, you will need a lens with much better coverage than the Angulon. If you want a fairly compact 28mm-ish equivalent lens for a reasonable price, I'd recommend a Caltar-IIN 90mm f/6.8 - it's a rebranded Rodenstock Grandagon-N that sells for a bit cheaper than the physically identical Rodenstock, has great coverage, is small enough to be portable and the 6.8 max aperture makes focusing on the ground glass a bit easier than the 90mm f/8 lenses. You can also get 90mm f/5.6 lenses but they tend to be bigger and more expensive. Linhof makes a lovely camera but you tend to pay a lot for the badge. I'd recommend a used Chamonix or Shen-Hao field camera over it, they are lighter and much more versatile than a Linhof press camera like the Technika and work much better with wide lenses.

Weird board size for Tachihara 4x5. .

I got this Tachihara 4x5 recently from a Japanese ebay seller, but the dimensions for the lens board are non-standard. It’s 66x69mm like a Linhof board, but there’s nearly 8mm of space behind the board locks that would cause a normal board to slide back and forth in the opening. I emailed the seller with a video, and he said he didn’t know where I could get a board with those dimensions, so my plan is to send it back. Before I do, I just wanted to see if anyone has run across a lens board that might fit this camera. Have you tried a Linhof board? I would probably put some closed-cell foam (like weatherstripping or light seal material for a 35mm camera) along the frame to shim it up. There might have even been some there from the factory, who knows. [deleted]. Looks like you have one of the oddball Tachiharas that were produced as demo cameras for Adorama and maybe other retailers. As you've discovered, for some bizarre reason they have a thicker lensboard opening and will not work correctly with standard Linhof boards. To my knowledge, any lensboards for this body would need to be custom made. I have to take a look at mine when I get home but I don't know if that round front board is removable or not. I think so. You usually would expect that to be present and then the Linhof board can go in front of it. I don't know if it would be missing or not from your camera. You need a lensboard as well as this piece of the front standard to be complete. I think if you used 1/4" of baltic birch plywood from a hobby store and drill a round hole to accommodate the lens & lensboard you will have a fine camera. That acts as a light trap to keep the camera light-tight in use. It looks to me like you are just missing the board with circular hole that should be inset behind the lensboard. I’ve linked a photo showing what the front of mine looks like. It would be a very easy and inexpensive piece to have made.

Focusing glass adjustment. Hello all, my technika III keeps missing focus and I'm fairly convinced that the ground glass isn't adjusted properly. Does anyone know of: 1) any good professionals in the upper Midwest who do lf adjustments? 2) clear instructions for DYI thanks in advance.

Can you give some details? Lenses used? How off is focus? Is it off at infinity? Try doing something similar to [this]( to see if the film and glass are on the same plane. Do you have two pieces in there? There should be a fresnel lens and the actual ground glass IIRC.

Question about my Toyo 45a. .

What are the white numbers, and what are the red numbers? I know I’m supposed to lock it in at the focal length of my lens, which is a 120mm. But I don’t know which 120 I’m supposed to use. Also, apologies in advance. This is my first large format camera and I’m sure I’ll have other equally stupid questions in the near future. Thanks in advance for any replies!

Development Advice in LA. Hey Everyone, ​ I have been having some problems developing my 4x5 film. My c 41 film comes out with a green base color over the entire film. The exposure is there, just everything is green instead of orange. My b/w film comes out extremely foggy and you can barley see the exposure on the film. I have been developing both c41 and b/w 120 film with the same chemicals, temps, and times as the 4x5, and the 120 comes out perfect every time, so I am confused what is going wrong with my 4x5 film. I have put instax film in my film holders and shot that and they come out at proper exposure, so I know it isn't the camera messing up. ​ Is there anyone in LA who has experience developing large format film I can come over and show you my stuff, possibly develop something together, and see what's going wrong? I'm more than happy to pay for your time. I'll add photos of the film below as well. ​ Thank you for your guy's time, and regardless, hope you all have great days :) ​ B/W: [ c 41: [.

Is your 4x5 film “fresh”? Sounds like expired and/or heat damaged film. I had some C-41 120 do something similar, but it had been kept at room temperature or higher (upwards of 90°F) for a decade past expiration. Although they weren’t as bad as yours:. What sort of setup are you using to develop your 4x5? Is it in a can or do you develop on trays? Have you tried mixing your chemistry with distilled water and using a water bath to bring everything to temp? I had lots of little issues when I first started using sheet film but after crossing out all of those variables, I was able to produce much more consistent results. Hope this helps! PM me if you have any other questions :) I’m also in the LA area. Are you doing a « prewash » before you develop ? I had issues once with the coating interfering with the développement. The prewash should come out green or blue, I rincé until the water is clear and then start the development. If you want to send me a couple sheets (you expose 1, i expose 1) i will expose and develop. I am in norcal.

First prints in a while... Hi all, I posted here a few weeks ago asking about some LF accessories. [Here]( are the results of my first hike into Henry Cowell Redwoods along the San Lorenzo river with my 4x5, which was a blast! I wish I could post the actual prints, which look better but thats not how the internet works I guess haha. They were all shot with a 121mm f/8 Linhof Select Super Angulon on expired Tmax 100. ​ Thank you guys for all your help!

Looks good! Most of the film images I share online are actually scanned darkroom prints. They’re way easier to scan than negatives.

Did I mess up? [deleted].

You have to tell your lab this- they should be able to separate them from the each film’s unique notch code. Don’t trust the lab to get it right, separate them yourself. Refer to your original boxes for the code notches or look that up online. As far as I know, all color negative film takes the exact same developer, time, and temperature unless you are deliberately trying to push or pull the film to different speeds than the rated box speed. You should be able to develop Cinestill 800 and Ektar 100 at the same time with no problem. Portra 160 and Ektar 100 are both C-41 and can be processed together, though my personal preference developing at home is to develop each type separately. Provia 100 is E-6 processed and should NOT be processed with Portra 160 or Ektar 100. While cross-processing E-6 in C-41 or vice versa is possible, it will give the film a very different look than when processed in the correct chemistry. If you already dropped the box off, let the lab know. Most labs that process large format will automatically check notch codes to make sure they are processing it correctly, but letting them know it is a mixed box may be helpful. If you have not already dropped it off, you can easily find notch codes online and separate the film yourself in a darkroom or under a safelight.

How do I use this lens? [deleted].

**[PLEASE CLICK HERE FOR MORE PICS OF THE LENS]( Embarrassing question time. I just grabbed this lens for what I hope is a good deal. It’s a 90mm 5.6 Schneider Super Angulon. I intend to use it on my Toyo 45a. However... The lens doesn’t have a shutter. I didn’t know that was a thing. There’s an aperture slider, and it looks like I can move the little notch around to open it for focusing. I can also make a “half movement” with this if that makes any sense, but I can’t figure out what that does. So, my questions are: 1. How do I get a shutter on here? Is that a thing I can buy or did I get an incompatible lens for the Toyo 45a? 2. Is anyone familiar with this lens? If so, how exactly does the aperture switch work? You can add a shutter. Or you can just use the lens cap and count seconds if you’re doing a slower film. That's a lens in a Sinar DB mount. They're cheap because as you have discovered, there is no shutter so they really only work with with Sinar DB cameras. You can remove the lens cells and put them in a Copal shutter of appropriate size for that lens (making it usable on your Toyo), however you will need to have custom aperture scales made for the shutter to match the lens. In the end, unless you have spare shutters kicking around, it will almost certainly be more expensive overall to get this lens set up in a shutter than it would be to just buy one already in a shutter with the appropriate scales.

Eau Claire Dells, Wisconsin - Intrepid 4x5 - Ilford Delta 100. .

Shot on a Calumet Caltar Pro Series 150mm (6") at f/22 for about half a second. (I really need to write this stuff down for future reference). A couple of weekends ago it was about 40 degrees and raining pretty hard, but for me shooting in those conditions is always so fun. Great shot! Freaking love my Intrepid. This is dope. Are you from Wisconsin or just visiting? My Intrepid is due in two weeks and I have ordered some Delta 100 and a B's processing drum for 4x5. Can I ask which developer you use? I've been using Bellini Fx6 monobath but I will need something different - and not a monobath - for the Delta 100.

First images with my f/2.5 AeroEktar // HP5 +1. .

Very nice, I particularly love the Erlenmeyer flasks! Did you put it on a Speed Graphic? Just curious! I wanted this lens the moment I heard of it. ... but it's a bit out of my budget/means at the moment (I've just been shooting LF for about a month).

Plantlife [Intrepid 4x5 | Ilford Delta 100 | f/45 @ 5s]. .

Took this a few evenings ago at a local botanical garden. I used a Cokin green color contrast filter, which resulted in an approximately 5 second exposure. Scanned the negative with a Sony A7r by stitching together three shots from a 50mm lens (the sensor on that camera is disgusting; I had to use the spot healing brush a lot to remove dust spots). It’s really beautiful! What lens did you use, and how close was it to the leaves? I'm curious, what plant was this?

Need help identifying Linhof model. Can anyone help me identify what model Linhof this is? I’m not familiar with large format cameras and this is my late father in laws. We will likely be interested in selling it once we can do some research on its value. Any help would be appreciated! [camera](.

Okay, I think I may have answered my own question but if someone can confirm or correct me I’d appreciate it. I believe it’s the Linhof Kardan Bi system? It’s mounted on a Gitzo tripod but it appears he also has the original “table” mount that it goes on. It currently has a Symmar-S 150mm on a Copal 0 shutter attached, but I also found a Tele-Xenar 360mm on a Copal 3 and a Imagon 200 on a Copal 3 as well. If anyone is interested, we are willing to sell. Not sure if that’s allowed on this sub, but you can message me directly if you’d like.

Downtown Wausau, WI [Intrepid 4x5 | Ilford Delta 100]. .

This was my first time shooting architecture with my large format camera. Looking back, I should have used more in the way of movements to control for the converging lines of the building. Shot with a 150mm Calulmet Caltar f/5.6. Definitely a little front rise would have made this image much more compelling. Good first effort that's for sure, and good command of contrast. I'd like to see a little more detail in the Windows, and dodge the sky a bit to keep it brighter.

what tripods are you all using? i was using a very VERY old manfrotto which was not coping with the shenhao too well - too light - and has finally bitten the dust. i've never bought a tripod before. which ones are you using? i'd like to * get low over the ground * easy to transport but doesn't have to be light * quick release would be nice i don't even know what kinda budget i'm supposed to be looking at.

It depends a lot on what kind of camera we're talking about. If you're using a 4x5 field camera, you could do pretty well with a reasonably affordable travel tripod (maybe in the $3-500 range) and something like a manfrotto 410 head. For heavier cameras, well, you can't beat gitzo systematic and the arca Swiss cube. I got an old aluminum Gitzo Series 4 recently for ~$175. It’s really sturdy with my Linhof technika, but it’s kinda hefty. It’s got 4 section legs so it’s relatively compact. I think very highly of it. I bought a carbon Sirui tripod at a time I had some extra cash. It was my first tripod and probably will be my last. I use it now with a 4x5 camera and enormous lens. A friend told me about that brand that is simply underrated. Better than the best brand in my opinion and the quality is really excellent for the price. Bought it 8 years ago, hope it still applies. [deleted]. Good question! My two cents given your camera is that you can make do with a lot of tripods, but... I use a Gitzo 1228 (now retired, but similar to [this]( This works well for my Toyo field camera, but it took a bit of work. Out of the box, I got a *lot* of vibration, which it turns out was due to the long, relatively flexible segment between the top of the legs and the camera. I solved this by removing the center post with an [aftermarket part]( and using a good ball head (which are lighter and more compact than most pan-tilt heads). Now the thing is a rock. Ultimately, I suspect you can do well with a lot of different legs, but pay a lot of attention to what sits between the legs and the camera. For my 4x5 monorail, I've used a Tiltall. At the time I bought it they sold new for under $100, I'm not sure what they cost nowadays. For a 4x5 field camera, I have a Manfrotto befree Advanced - that's also the tripod I use with all my other cameras. I have a ries when i want to operate out of my trunk and a carbon gitzo when its all on my back b. I use an my trusty old Bogen 3021 that I bought back in ‘91, I changed out the 3030 tilt shift head for a Arca Swiss B1 monoball head and love it,.

Looking for a teacher in Europe. Hey /r/largeformat I'm an architectural photographer based in Prague, looking to learn large format photography. ​ Is there anyone out there, or does anyone know anyone who would be willing to teach me? I would be willing to travel within Europe in order to learn. ​ If you have any insights or leads, please leave a comment or a PM. Thanks!

Have you tried the forum at ? It’s been a great resource for me and everyone has been very helpful and kind. Dammit. I just moved out of Europe. Would have loved to help. You’re doing it right. Hit me a PM if I can help you remotely though. Happy to talk you through a few things.

Tripod head suggestion? I have a Cambo SC2 and am looking to put it on a tripod. I currently have a ball head for my 35mm camera. I know this head will not take the weight of the Cambo. What type and model of head would you recommend? Are there any heads that would work well when swapping between 35mm and large format cameras? edit:fixed the camera model name.

I can't find what the CX2 is from Google, how big is it? Generally I recommend using a geared head that will comfortably support the weight of the camera/lens combo you want to use. Manfrotto has some good geared heads, but if you need more weight than they support there's the arca Swiss cube. I have a carbon fiber Sirui that came with a ball head. It’s rated to like 35lbs. I’ve had absolutely no issue with any camera I’ve stuck on there. My Sony with a 70-200 2.8 and the 2x teleconverter weighs more than my Toyo 45a. I could dangle either of them off the side of the ball head at any angle and they’d casually hold. I'm not much of a fan of ball heads for large format cameras. I find it's harder to get precise positioning and too easy for the camera to fall over. Also a ball head that's sturdy enough for a large format camera is probably going to be heavier than other options. My setup is a Sirui carbon fiber tripod with a [Manfrotto MH804]( 3-way head. It gives separate controls for all 3 axes, and the up/down and sideways handles collapse down when not in use to make the head a bit smaller. It's rated to 8.82lbs which is juuuuuust enough for your Cambo SC2 it looks like? I use a Chamonix 45F-2 which weighs significantly less... Geared heads are even better, but are much more expensive and personally I don't think they're *that* much better to justify the cost. The MH804 has a quick-release plate and you can get another plate for your 35mm camera. I personally also use a [Peak Design Capture Clip]( with my 35mm SLR, and they make a [Dual Plate]( that works with all Manfrotto RC2 heads like the MH804. So I leave the original Manfrotto plate on my large format camera, and have the Peak Design one on my SLR. You will need some sturdy legs..like really sturdy. Get a LARGE video head. Like the Benro S8. Mine held a Horseman LX with a large lens attached. Total weight was around 10-12 kg ( 22-23 pounds ). Cost me under 200$ new. I am using an arca swiss d4 and love it. Being geared it is really easy to dial in to the scene. It is a bit heavy and expensive though. older versions of slik professional or slik master tripod heads with longer handles than the new ones. [. I would suggest a pan-tilt head like the good old Sinar,. For LF (and monorails in particular), geared heads are king. I use a Benro GD3WH for my Chamonix and Cambo and it's top-notch. Not cheap, but you can pay way more for a heavy-duty ballhead that would still suck to use with LF.

Need help choosing between lenses for Intrepid 4x5. Placed my order for the Intrepid and am currently in the market for a 150mm lens. i'ved narrowed it down to these but am open to suggestions. [Nikkor 150mm 5.6]( [Rodenstock 150mm 5.6]( There are less expensive options of the same Nikkor but in less pristine condition. My uses will be landscapes 95% of the time with the occasional portrait. My friend has a 90mm lens I can borrow which is why I wanted a 150mm. I will likely purchase a 90 or something wider eventually.

I have a 150 nikkor and it's a great lens for the price. If you can use the 90, I would suggest getting something more like a 210. The 150 is the one lens that I almost never use as I can get a better perspective from either my 90, 210, or 300. The general rule of thumb for LF lenses is that any modern one is going to be very good. I doubt you would be able to spot any real difference between the two. Personally, I'd save a hundred bucks and pick up a late Fujinon-W. They are both very good and have a good coverage so they won't limit your movements in 4x5". I would go with the cheapest or, like /u/CatSplat suggested, a 150mm Fujinon-W. Not a bad choice either way, I like Fujinons as well as a few others mentioned. Old lenses are great too, the most you're giving up with old lenses is shutter accuracy (most old shutters will require service or at least compensation) and greater tendency to flare due to less sophisticated or nonexistent coatings. Unless you're going above 30x40 prints, unlikely you'd be able to notice the difference in sharpness. Even a Cooke Triplet is sharp. I would suggest something a little wider or longer. After many years I’ve settled on 58, 90, 210. All Schneider, but I have used a couple Fujinons and they were pretty good. Off topic - how does a thread get 14 responses in 6 hours on a sub with only 2 posts in the last week? Everyone (including me) needs to post more here! My excuse is that I’ve been on a LF and photography hiatus, but I would love some inspiration from folks in here! I have the Rodenstock and I love it. It's a great lens, but I agree with everyone else. So long as it has modern lens coatings either would be fine. Depending on the camera and shooting style, image circle might be more or less important. Maybe you know this list allready but I'll just leave it here Also mind the weight of the lenses. Some of the focal lenghts are more suited for bigger formats. For example the Rodenstock 115 is an amazing 5x7 superwide with room for movements and >500g weight. I went for a 120 fujinon w for the same perspective on 4x5 but only 200mm IC and not even half the weight (means I can take two lenses instead of just one for the same load). The first lens I bought was a Schneider Symmar 150mm f/5.6. I got it because it's cheap, it's lightweight, it's sharp, and the BEST FEATURE: you can remove the front lens group (just by unscrewing it from the shutter) and it becomes a not-great-but-serviceable 265mm f/11 that's decent for portraits. I know that doesn't help you narrow down your two choices, but it's something you may not have known when looking at the specs of various lenses.

New to LF, lens recommendations. Hi all. A few months ago I came into a Speed Graphic in lovely condition, nicely kitted out, and I've been having a bit of fun with it. I'm nowhere near ready to jump up to something with more movements, but I'd like to look into more (reasonably priced, comparatively speaking) lenses in the meantime. I have the 135mm 4.7 Optar, but I'm looking for something with a 50mm equivalency (190?). Perhaps something a bit longer. Perhaps something in a 28mm equivalency. More importantly is I'm looking at lenses that I can move off the Speed Graphic to another 4x5 without much effort. I do know that I probably going to need different lens boards for different cameras... and I am curious about barrel lenses! (which yes I'm contradicting myself here, but I have a focal plane shutter, I might as well use it). So some advice please! (while I look up Fujinon-W lenses I just read about in another post).

Any lenses from Nikon, Fuji, Schneider, or Rodenstock will be great. As for moving them to a different 4x5, that’s strictly a lens board issue. They’ll all work on any 4x5 camera. For focal range, you’ve got 135. I’d recommend a 90mm, a 300mm, and if you want something in between, maybe look in the 180-210 range. >More importantly is I'm looking at lenses that I can move off the Speed Graphic to another 4x5 without much effort. This should not present any real roadblocks - you will likely change lensboards for the other camera, but any shutter-mounted LF lens should work just fine. There are some extreme examples that may not work great on both cameras (for example I have a Komura 90mm/5.6 that's comically large and physically does not fit on some bodies) but for most lenses you're quite safe. If you're working on a budget, the aforementioned Fujinons are always a great pick (my first LF lens was a 180/5.6 Fujinon-W, great unit and dirt cheap). Also look into the Caltar lens series - Calumet put the Caltar label on some top-quality name-brand lenses over the years (Caltar-IIN is Rodenstock, Caltar-IIS is Schneider if I recall correctly) and they tend to sell for a bit less than their name-branded counterparts - though that gap seems to have narrowed in recent years. Barrel lenses are a super fun option for the Speed Graphic (see: large-aperture Areo Ektars) but aren't particularly useful on other cameras. A notable exception is the G-Claron range, which can be used in-shutter as a taking lens and double as a cost-effective enlarging lens when put in a barrel. > More importantly is I'm looking at lenses that I can move off the Speed Graphic to another 4x5 without much effort. As /u/catsplat as said this can be troublesome with lensboard incomabitlity but I have overcome this by getting into the Toyo monorail system that uses the 158x158mm Toyo lens boards because I was able to source a Pacemaker/Crown to Toyo 158 board adapter. (and toyo/Linhof to 158 adapter as well). Now I can swap back and forth without having to swap lenses on boards. If you can get a linhof board adapter for both cameras, you can just put all your lenses on little linhof boards and swap at will. It works great as long as you don't have any really big glass to mount (they'll accommodate up to copal 3 but not much more). I think the 121mm focal length is really versatile! It's only a bit wider than a normal. like a 40 or 35 instead. The 121/120mm Super Angulon has a huge image circle because it's designed for 5x7, making it a great 4x5 lens for movements with the only two drawbacks that it is harder to focus, and pretty big.

8 years in storage ... and it still works!! .

What is it? There's a rude comment waiting to pop up here. This is awesome! What films are you processing? Envious! I wish I had the money and space and shot enough film to justify a processor.

How to work a Fujinon Lens. Any tips on how to work a Fujinon-W Lens? Specifically, should you set the shutter speed before cocking or after? Just starting on Large Format with an Intrepid and an old style Fujinon-W 135mm. Coming from very old rangefinders where you have to wind on before changing the shutter speed so wondering if there are similar rules for the LF lenses.

It would depend on what shutter the lens is installed in, Copal, Compur and Seiko shutters all can be used either way but are easier to use if you set the speed first. I would say rule of thumb is to set speed first. It's a Seiko shutter.

Technics Reel-to-Reel | 58 mm Minolta lens on 4"x5" camera | Fomapan 400. .

Hi there as well! Cross-post from /r/analog I built an adapter to mount my Minolta MD lenses to my Sinar F large format camera. I can barely get the distance between lens and film plane close enough to focus, but it works! As I don't have any shutter built in, I had to cover the lens and estimate the exposure time. I shot the picture at f11 and approximately one second. Of course the image projection diameter is way too small for the full 4x5 format, but I wanted to see the effect. Unfortunately my cabinet is visible on the left.

Is this lens incomplete? This Fujinon WS 150mm 6.3 seems not to have another element on the backside as I normally see it with other lenses. Is that normal? .

It’s complete.

First shot on my 4x5 first mistake. 👍 Accidentally exposed sheet twice and the other was blank. .

It's a beautiful mistake! Most dark slides have a white (or silver if they're metal) side and a black side. Come up with a system where one side is for unexposed film and the other side is for exposed film. “Mistake.” Looks like a good one though. More details! Camera? Lens? Film? I don't think that you can be a large format photographer without doing that at least once. The teacher I had for 4x5 made sure to to warn us that we'd screw up in multiple ways and not to get too frustrated by them. I've done that twice. I have also opened a holder that had unexposed film in it; had a sheet crunch into a ball when I put the darkslide back in; pull the dark slide out while the shutter was still open for focusing and I'm sure a few more.

Are aperture settings supposed to be loose? [deleted].

it's fine. Yup. All of my LF lenses are infinitely variable, no click stops. Allows you to adjust precisely. Click stops are nice on handheld camera lenses so you can count clicks without having to look at the lens. On a large format shutter the camera is on a tripod so it doesn't gain you much.

This is the emulsion side of 100 speed film, right? .

Don’know if it is 100, but it is definitely the emulsion side. That is indeed the emulsion side, is it fomapan 100??? Fomapan! Yes, if the notch is on the top right corner, you're looking at the emulsion. Website doesn't seen to appear in the link above, it's seanstansfield.com.

Leaving film in holders and flying abroad? Newbie question - I am going to be travelling abroad and am thinking of loading up 5 holders with film at home, putting them in a backpack and flying abroad. Is it standard procedure to do this or is there any benefit of loading the film in to the holders once I'm abroad? I plan to leave the film in the holders for about 10-15 days whilst i'm travelling. I will be flying and don't intend on taking more photos than the amount of film I've loaded in to the holders. My plan is to unload the holders once i've arrive back home and then develop them. Sorry if this seems like a silly question but I'm just thinking this way I will save the grief of having to bring a changing tent and the film boxes with me.

You can, but if you are having them hand checked it’s WAY too easy to accidentally expose your film. When I travel I bring two boxes (1 full, 1 empty) and a changing bag and Laos once I am there. Not convenient, but nothing about LF is! Do you have an x-ray safe bag that will hold all the holders? Seems easier to put the box of film in the bag to me. (I would also be concerned with fogging due to altitude/radiation beyond what security at the airport does...). It's domestic (US) but I fly with LF gear last week. I had all my film in boxes. All new sealed except for a box of Provia. My home airport wanted to open the box so I had to end up having them scan it, womp :/ On the way back though, the TSA folk were SUPER nice and hand checked (without opening) all my exposed and unexposed boxes. Even gave me some extra plastic bags to put them in and also had a lovely conversation about film in general. It was awesome! Point is, the experiences have been inconsistent. In times past I would just have my boxes x-rayed (not in any x-ray safe pouches or anything) and have never had a problem. This time I was bringing a lot of extra film so both wanted to try and see how hand checking sheet films went and didn't want to x-ray a buncha extra film. On the way back I did left some (unexposed) sheets in my film holders. I sent them through the x-ray. I'll likely use them but mostly I didn't want to put the film back in my unexposed box since it was already loaded (maybe I was just being lazy but I dunno).

Selling Equipment. Where is a good place to sell LF gear? I am trying to avoid any place that I have to spend money such as eBay or Fred Miranda Forums. Thanks. ​ PS: If anyone is interested, this is what I am selling: ​ Basically New Tachihara 4x5 with brass fittings Nikkor-W 150mm 5.6 on Copal Shutter Winsta board 9 Fidelity Elite holders 4 boxes of 10 sheet Fuji Velvia 50 (expired but frozen 2011-8) 1 box of 20 sheet Fuji Neopan Acros 100 (expired but frozen 2012-1) Peak 4x Loupe Sekonic L-308S and other miscellaneous stuff such as the original Tachihara camera brochure and instructions, extra lens boards (offset), cable releases, and bubble levels. ​ [ ​ [ ​ [.

Price and location? What do you want for the Tachihara? You can dm me. I'm interested in the lens and holders...dm me a price. Thanks. Large format photography forum. There is normally a month after signing up before you can sell equipment, but you may be able to PM the moderators if you are in a hurry. Photrio is also an option. Thanks to everyone for the offers but a lot were on the low side. I can't stress enough how minty this camera is. The leather handle has little to no wear on it and the cherry wood is pristine. Also not to mention the original brochure and instructions. This camera has only had two owners, the kind gentlemen before me and me. Also, I full intend on selling this as a complete set. I would also throw in a Manfrotto CF tripod to the prospective owner should the right price hit. Thanks again everyone!

Differing Sizes to 4x5 Technika Lens Boards? I recently bought an Intrepid 4x5 from their eBay store (would not suggest as the camera has issues and they were no help) and only now just got a lens in to use on it. However, the lens does not seem to fit the camera at all despite being a Linhof Technika Lens board. Are there different styles that would cause this lens board not to fit (most seem to say the 96 by 99mm is the standard) or is there another issue with the camera I didn't notice until now? Here is an album of my [measurements and images of me trying to force it into the camera. ]( In case it is difficult to read I got 3.8 inches (96.52mm) and 3.9 inches (99mm).

Not an answer to your question, but you can file a claim inside eBay and PayPal and simply return the camera for a full refund. Leaving negative feedback tends to get some results as well. Standard Linhof board is 96.55 x 98.75 x 2 mm - your board is fine. If it's not fitting, it's a problem with the camera. Likely the front standard was not cut out correctly. There are two standard linhof boards. The ones used through the technika 3.5 and the ones used for the 4 on. You may have gotten a early board with your lens, if so, awesome, they sale for 2x what a 4 and later board would. The early boards are squarish and the universal later boards notched slightly. Ed. Bummer, just looked at your pics. That board looks 4+. I'm guessing it's your standard.

love hate. .

Why hate? I have a wista xv, quite like it.

Movements exposure compensation question. Hello! I am new to a large format. I want to ask a question about exposure compensation when you are doing a movements on a camera. When I was taking photo I've noticed that when I was doing a movements especisally rise\fall, shift, the image on a focusing glass becomes the more darker the more I did a movement. So I want to ask if there are any rules about exposure compensation for movements? For example for 60 degrees tilt\swing add 1 stop or for 5 cm shift add stop or something like that. Or maybe there are any formulas for it? I cannot find any information about it(all I found is information for bellows factor exposure compensation which I've already known). I interested in answer for all movements (cm for rise, fall, shift. And degrees for tilt and swing when exposure correction is need). Thank you in advance.

I don't have the definite answer, but there are quite a few things that play into this, like most things in large format it's complicated.... 1) lens coverage - all large format lenses have a limit to the area they can project. For some lenses it's just progressive darkness and loss of resolution. For others there's a hard mechanical vignette beyond which there's no image. It could be that the movements are taking you to the edge of your lenses coverage. 2) Angle of light at the ground glass - especially noticeable with wide angle lenses. The light from wide angle lenses hits the ground glass at a large angle, so less light hits the loupe and your eye which are parallel to the ground glass. You'll notice this most in the corners. Some loupes are made with a tilting Base so the loupe is looking at the angle the light is coming from. This affects composition and focus but not the image on film, the film doesn't care what angle light is coming from. I've never made any exposure adjustment for movements other than bellows factor. Generally no. You are seeing light fall off due to the limits of the lens you are using. You need to use a lens with better coverage or work within the limits of the lens. Generally you should not need exposure adjustments for tilt/swing or shift. If you’re using a lot of movements and maxing out your lens’s image circle, you may notice some vignetting, and if that happens you might want to bump up exposure just a little bit.

first 4x5 and accidental double exposure (Wista 45). .

Pretty great! I love it. Happy accident. Normally I don’t buy the accidental double exposure, but with 4x5 seems pretty reasonable. I did this too! Yours turned out way better than mine. I dig it.

What happened here? .

is it possible you ended up with a piece of the interleaving paper on top of the film in the holder? it'd be overexposed as well, but it sort of has that look. 1. Exposed without darkslide fully removed (bottom line) 2. Kind of looks like airport luggage scanner fog (mottled appearance) 3. I have had insufficient/exhausted developer leave similar look to a dark sky of a print I had made (not on film) could also be the cause of those swirly marks - insufficient agitation or over-used developer (maybe fixer? forgot which is which), has too much silver particles dissolved that left deposits/kept the emulsion from being exposed to chemistry. This is a stretch. It kinda looks like a double exposure. Did you do that shot twice? How good of condition is your film holder? It looks to me like maybe it's leaking light from the side when the darkslide is removed (the bottom). Try taking the dark slide out and looking in the little gap. There's some fabric and a tiny spring to keep light from getting in when the dark slide is removed, but maybe it's deteriorated on your holder? I've seen some old beat up wood holders that definitely have this problem. That said, with that theory I don't really know how to explain the little bit of correctly-exposed photo at the bottom. I would expect that to be ruined by a light leak too. Hmm.

HP R2000 printer. Does anyone have this that I can speak to? I want to know the negatives about it before purchasing. Thanks!! .

FYI, this sub is about large format film photography, not large format printing. Sorry! [deleted]. [removed].

Graflex 4x5 with flash and bulbs. Hi all I have an anniversary edition 4x5 speed graphic with a flash and 4 presumably unused bulbs still in the packaging. I have no idea how to get the flash working, or how it works, or even if it works at all. I cant seem to find any information on it myself, all google searches yield are videos of darth vaders lightsaber lol. Can anybody help me? Are there any resources I could go to for this, or does anyone have the know how to explain what i need to know? I have included a link to some images for reference. Thanks [.

Fantastic! Been searching for this for a long time since I love everything graflex but star wars ruined my chances on ebay :(. Absolutely get this to work and do some pictures with it! Those flash bulbs are so cool compared to a modern flash, also very powerfull, like small explosions (which they are!!) Go to largeformatphotography.info or graflex.org for specific information on how to use the flash. (wich batteries, how to connect etc) Good luck and a bright future ;). Everything you need should be on here :) Also here’s a manual for maybe your flash, maybe another model but it’s a start. If no one has said it to you yet: don't ever sell that flash. Working original graflex flashes are becoming super super hard to find for photography purposes.

Tunnel View - Yosemite NP [Intrepid 4x5, Schneider 90mm, Red Filter]. .

I had to do some manipulation in post to compensate for some light leaks (at least I think thats what happened), but I like the contrast and dark sky the red filter helped with. Also cropped it into a more panoramic aspect. I love this image!

TOYO 45G? Hi all. Deciding to make the jump from medium format to 4x5, and a TOYO 45G and Nikkor 150mm 5.6 with Copal 1 shutter just popped up for sale locally. Does anyone have any experience with the 45G (as information online is surprisingly thin)? Price for the TOYO + lens is $AUD500... Which seems pretty good. Anyway, appreciate any info./help.

I have one. No complaints here, works better than any wood camera I’ve tried to use. It folds up nicely. $500 is a great price for it too. I would go ahead and buy for that price. I've never used the 45G but you can't go wrong with Toyo. I’ve got a 45a and it’s amazing. Not sure if that helps at all. Start with basic model specific info on Toyoview site. ​ I just bought my own toyo studio a couple of days ago. Something that could interest you also and the reason I made my purchase is to be able to use this [ , being able to take high res images digitally and stitch later into huge files is very appealing.

Just got a graflex crown graphic special at a yard sale for $25, the first glass panel in the hood is cracked as seen in photo, what should i do? Will it affect photos? .

Honestly u can still rock it. But i’d def get a new ground glass when u can. 100-200$ - really not that bad all things considered. It's just the focusing screen/ground glass and won't effect the image on film. That said you can actually find some decent replacements on eBay if you wanted, just search for graflex focusing screen or graflex ground glass. This guy Holga Mods is the master of custom camera parts and accessories. Check out his ground glass. should be able to get a close enough match at any place that sells stained glass supplies, or make your own with regular glass and some 400 or 600 grit silicon carbine sand paper. It's done for. Send it to me for recycling. put some scotch tape on it..I used one like that for years.. new ground glass for it..or ground glass kits are available on ebay if it bugs too much. tape it with clear tape until you find a replacement on ebay..probably will cost you as much as the camera though.

Redwood Twins, Oakland, California. Intrepid 4x5, 210mm, Arista 400, D76. .

I never like soft-contrast pics, but it really works well here. Nicely done!

The Room (Tachihara 4x5, Schneider Super Angulon 75mm f/5.6, Portra 400). .

[deleted]. nice! i would love to see it with the white balance corrected. Hi Mark!

Resuable flashbulbs. Hi All! I have a Speed Graphic Anniversary edition, and a working flash unit with 3 unused GE #5 flashbulbs. My problem is fairly simple- due to the rare nature of these old flashbulbs, I am looking for a more reusable solution, since I want to use the flash for a large volume of photos for a project. If a reusable bulb doesn't exist, is there a source of reasonably priced flashbulbs that I can buy in bulk? Thanks in advance.

I don't think anybody makes flash bulbs anymore, they are all new old stock. Your best bet would be to get a hammerhead flash. The best solution is to get a bare-bulb electronic flash that would mimic the look of a flash bulb. There are a [number of new options]( The Sunpak 120J can occasionally be found used. Avoid the Polaroid PL-135 - it was really inexpensive and the quality was supposedly pretty bad. You'll need to figure out how to do x-sync with your particular Graphic. Later versions will have a standard pc connector on the lens shutter; older ones will have a two-post connector and there are some other odd variations; still older models won't have x-sync at all. I made an adapter cable to connect a modern (well, probably 80s) electronic flash; and then awkwardly rest the flash sideways on top of the camera. It could probably be done better. I saw something similar sold online at some point. So if you just want flash (rather than flash bulbs specifically), some way to connect an electronic flash is probably your best bet. All you need is to connect the two pins on the Speed Graphic to the two on the flash. You might consider flash powder if it's the right situation! I've had luck taking the guts from a vivitar 283 and putting them into a graflex flash unit. The capacitor fits perfectly into the flash unit tube and you can get flash tubes really cheaply so it looks nice. You must disconnect the battery and drain the main flash cap before taking anything apart, to avoid killing yourself.

Take Me to Church (Tachihara 4x5, Fujinon W 125mm f5.6, Ilford HP5). .

Love it, great shot! Need to add some contrast.

4x5 Ektachrome on the Intrepid mk.3. .

Is this an old Ektachrome or the new one? I read they were introducing the new one for 120 and LF by end of year so I was curious if you got your hands on some.

Valley of shadow and dust. .

Maybe crop out the building on the left.

Viewfinder to flip image the right way up. Hi all. I have an Ebony 4x5 but I'm wondering what do people use to flip the image on the ground glass the right way up? Is there an attachment or viewfinder that can achieve this? Or some sort of hack? Thank you.

In order to see the image flipped vertically, you need to project it on an angled mirror. Look at how a tlr's viewfinder works. It's the same thing, but you will either need to custom build it or find an extremely expensive and rare viewfinder for your camera. Search for 4x5 viewfinder on eBay and hopefully you'll find one to match your camera. They seem to cost between $100 and $300. I've got one for my Cambo Wide 650 and I think it's quite nice to have. Although it makes the whole camera quite bulky. I know it is not what you asked, but most people just get used to the reversed image. I'd recommend learning to see upside down. A lot of folks feel it helps with composition as your brain tends to ignore the details and instead focuses on the placement of elements. Thanks everyone for your comments.

Digital prints from sheet film. Where do y'all get your film scanned? I want to start making inkjet prints from my 4x5 negs but having a tough time getting decent scans. Unfortunately I don't have the time/ money to buy a decent scanner and scan them myself right now.

I have never been happy with paid film scanning. I bought my own scanner and a wet-mounting kit and the results are breathtaking. Ultimately, scanners are slow, and time is money. If you are willing to pay $100/frame to get a high-rez scan, then there are many places that you will be happy with. If you don't have hundreds of dollars to use to pay someone else to babysit the machine... there is no choice but to buy your own. Scanners have not changed in years, so they are super cheap on eBay. Another option is to put the frame of film on a light table (cheap on Amazon) and take a picture of it with your phone. The results are fine. You don't get a 100MP image to blow up to the size of the moon... but for a couple prints, it's cheap. This doesnt answer your question, but I use the Epson v800 with silverfast software. Retail is $800 for the scanner. Im not sure how much scans cost to get a shop to do them, but my mindset has always been to take the large non-recurring upfront cost rather than a recurring cost. I use a Fuji digital camera with a vintage Nikon macro lens + a copy stand to scan the negs. Once you nailed down the setup it's very quick and the quality is stunning for a given price point. Depending on the quality reqs I usually split a frame to 4-6 pics then import the raw files into Lightroom, Stich them together as a pano and I use NegativeLab Pro plugin to convert. A 60-100 megapixel image is in the "good enough" range. There aren't many shops that will scan 4x5 film. Flatbed scanning is too slow so labor is expensive (a decent quality flatbed scan from a shop will cost $30 plus per sheet), and drum scanners are expensive and slow so those might be $100 per sheet. Northeast photographic does amazing sharp and beautiful scans for me. $10 for developing and scanning-would highly recommend them! I use a Canoscan 9000. It’s not perfect, and doesn’t do 4x5 in one shot, but I’ve been plenty satisfied by stitching two scans together. I can get about 3000dpi out of a scale which is a ton. It’s also cheap at around $200 new. before I got my Epson v800, I had a ..old Acer I think it was, that could do up to 5x7.. the first one I had was scsi, but I later found one that was usb... the scans were pretty decent.

A Fun little Self Portrait [Toyo Omega View 45D / Kodak Tri-x (I think?)]. .

Very nice! Dig the composition. Maybe an extra half stop or so would have been nice :). Why are you under the dark cloth after you put the filmholder into the camera? There is nothing to see anymore! Haha.

My first venture into large format. .

Lovely! Give us the deets! Film, lens, planning etc? You expect us to believe that this perfectly exposed, composed, focused, processed, and scanned image is your first ever large format shot? Yeah, either you're a prodigy or this is a big fat fib! Hey, really great exposure! How far away from your subject would you say the camera was for this shot? I have a 180mm I intend to use indoors but maybe it’s a little long!

First 4x5 contact print - need help. [Contact print]( [Original Negative ]( Last night I attempted to make my first contact prints. It didn’t go overly well, to say the least. I tried three prints, two of which looked really foggy, and this one, which has lost all details in the highlights. I used a 25W bulb about 15 inches above a sheet of Ilford grade 2 enlarging paper. This was intended to be a test strip, with exposures from 10-16 seconds. Since there are no “strips” visible, I clearly did something wrong — I’m just not sure what exactly that may have been. I developed for 90 seconds in a tray using Arista paper dev, constantly rocking the tray. Today I bought a 7.5W bulb and will also try to get the light source higher above the paper. Any advice would be greatly appreciated.

Hi! Photographic paper has a lot less dynamic range than negatives. That’s why in a normal enlarging process you hold back light in certain areas or expose certain areas more. In a contact print it’s normal to lose dynamic range. Regarding the „test stripe“ it might not have worked because there was too much stray light. I experienced best result with a flash with same height (about 40cm) but adjustable intensity and a layer of newton glass on top of the negative (on top of the paper). How did you expose the negative? What were you metering for? How did you land on grade 2 enlarging paper? I think the \*paper scale may not match the contrast in the negative. \*got it backwards \*\*edit 2so you are not getting enough light through to the dark parts (the rocks in the composition). Getting the correct amount of light would then make the darks too dark (no detail). SO, my advice to you, 1st I would try a longer exposure time. Secondly, you would probably need to dodge the trees and burn in the rocks a little bit by holding back light (dodge) and adding extra (burn). you can cut out little masks of paper that are roughly that size and move them around. It's difficult to see where/what you're doing with contact prints, be forewarned. If that doesn't get the desired effects I would try to use a lower grade of contrast paper. edit 3: discussion on diffusion paper to dodge and burn a contact print here: [. The negative looks pretty dense but good. The difficulty i see is using a fixed contrast paper. With that paper you can't easily get a balance in contrast as you would with multicontrast paper, you have to dodge and burn extensively to get a compromise that would be somewhat soft in contrast. Since your negative looks pretty hard you would have to choose between having deep blacks and losing the whites on your prints or keeping the whites and greying out the blacks. Pretty normal to lose dynamic range in a contact print, which is why I usually do mine with multigrade paper at a very low contrast (grade 0 equivalent generally). Gives me a good idea of how much detail is available in the negative, more so than a grade 2 contact print would do. Honestly if you don't have an enlarger to use for making contact prints, a photographic flash is probably better than a lightbulb. Easier to control exposure that way. Oh and BTW from what I can see, that neg looks great, so I suspect it's your process, not your negatives, causing the problem.

Understanding aperture calibration in shutters. I've been using a Fujinon 180mm f/5.6 lens with my Intrepid 4x5 for about a year, and have really been enjoying it. Unfortunately, I recently managed to drop the lens, and while the glass is totally fine, the shutter is damaged --- it still fires (and the timing seems accurate) but the shutter release is inconsistent, and won't work on the Bulb/Time settings. I should be able to simply replace the shutter by purchasing a new one of the correct size, which I believe is a Copal #1. However, the bit that I'm unsure of is the aperture scale, which is a part of the shutter. Since the physical aperture pupil size, at, say, f/16 is a function of the focal length, it would seem like the aperture scale on the shutter would need to be marked specifically for the lens to ensure accurate metering --- but perhaps I'm misunderstanding something? Thanks for the clarification.

also [x-posted]( to /r/AnalogCommunity. I don’t see a relationship between focal length and aperture. If that were the case then light meters would be focal length dependent. Please correct me if I’m missing something! The way I understand it is you will need to get a new aperture scale for the shutter, and it's dependant on the lens. I'm wondering, though, if you can't find a shutter that used to be married to the same lens you use with a scale already marked? Also consider that if you're going to use a different shutter, the spacing between each element and the iris need to be the same, too, which is not automatic. I've had lenses remounted in new shutters but they had to machine spacers to get the element spacing right. There is a website that can help. I can’t remember the name though. You send in the lens and shutter, and they dial everything in for you. buy the same shutter - and swap top plates.

Digitising 5x4 Negative. Hey there, wondered if anyone can recommend a scanner for 5x4 negatives. I have used an Epson V370 for 35mm before, as it has a holder. As long as the scanner has rear illumination it should be fine, right? I’ve been looking at the V700 / V800 but as I will be using large format very infrequently I wasn’t sure about dropping €5-600 on a scanner. What do you guys use?

V700, but I'm not in love. I'm very intrigued by the digital camera copy stand method, but haven't gone digital yet. The Epsons are really the best bang for your buck. Not even sure of any reliable cheaper options, and you probably won’t notice the difference on a better scanner unless you’re printing them large. I used a V600, which costed me less than a third of the price of the V700/750/800/850. Only issue is that I needed to stitch the two halves of the frame. I then bought a second hand 4990. It has a scanning area that covers up to 8x10. Check the second-hand market. Nothing new has been invented in the film scanner department in the last 20 years.

Aiguille du Dru - French Alps [4x5 contact print]. .

I went on my honeymoon last month and spent some time in the French Alps. Of course, I lugged my 4x5 a quarter of the way across the world, because why not? This is a crappy cell phone scan of a 4x5 inch contact print. I used variable grade paper with a grade 4 filter; 20 second overall exposure and I dodged the steps in the foreground for about 8 seconds. I feel like the steps and the large rock in the center foreground feel a bit "blah" still. I have tried a number of times, including split grade printing, and haven't been fully happy with that part yet. I like. I can’t get a sense for scale and size, which is something I’ll always appreciate. wow! makes me think of the book scrambles amongst the alps by edward whymper. Oh, your finally awake. Love this shot.

4x5 daylight tanks (i know they suck but I need one). I am at a point in my life where I am packing my stuff up and downsizing in preparation for a big move next year. My darkroom was one of the first causalities so I can't process 4x5 anymore. This has led me to looking at daylight tanks. I have owned a Nikor 4x5 stainless tank and it was terrible with uneven development. I am considering the FR development tank and the Yankee tank, I know there are a couple others out there. I can not use the ones built for a paterson tank because I no longer own a paterson big enough. Which tank would you recommend for daylight processing black and white film? My main concern is consistency. My primary method is using trays but at the moment that is not an option. Looking to buy one this weekend.

I'm using a Jobo 2509N Sheet Film Reel in a Jobo 2520 in my rotary processor. Quite happy with it and I got my process quite consitent (with all film formats). Downside is the processor is expensive / rare to find. I've been using an SP-445 for a while:. SP-445 or Yankee Agitank. The agitank can do 12 sheets at a time being it’s main advantage. It takes practice to get good using the agitank (I’ve done it, it does work well). If you don’t plan to process more than 4 sheets frequently, go with the sp-445. It loads a lot like a film holder and can be used a lot like a roll film tank during development. I wholeheartedly recommend the Jobo 2500-series tanks. Not the cheapest, but they can't be beat for versatility. I use the 2509N reels in a 2520 or 2551 tank. You can splash out for a processor if you want, but it's not really necessary for B&W - I used a cheap Unicolor roller base for years before getting a processor for colour work. Plus, with a different reel you can do 35mm/120 as well. For best consistency, load 4 sheets per roll on each 2509 reel, skipping the middle groove on each side. Paterson + Taco method. [deleted]. There’s not a lot of love for the Paterson MOD54 on here. It’s about the same price for both the tank and the 4x5 holder as the SP-445 and like half the Jobo setup. It can develop 6 sheets at a time, same as the Jobo I believe, and 3x more than the SP. Sure, it takes some practice to load but I haven’t screwed up once. Watch a few videos to understand how to do it and also how check to make sure the sheets are lined up right and you’ll be golden. It’s really not bad. I have reels for the Multi Reel 3 tank to develop 3 rolls of 135 or 2 rolls of 120 (or 4 rolls of 120 if you daring enough to double up on a single reel) as well so there’s that benefit if you’re shooting those formats, similar to the Jobo. I think it’s a great option for the price since it could be your catch all development tank. I use btzs tubes. Which allow me stagger dev times per sheet. They don’t take up much space i use a yankee tank for fix and another for rinse.

Golden Gate, Crown Graphic, Portra 160, Cinestill C-41, (Taco Method), HP G4050 Scan. .

Our first scan with the $40 HP G4050. Scanned at 4800dpi and down-rezzed here to 72. Yeah. No sharpening or color correction. Shoot a test target and make a color profile. The colors need some help. Really cartoonish.

What light meter do you guys use? I’m trying to find a good light meter for use with 5x4 for reflective and incident readings. I’m college I used Sekonic light meters, but they’re fairly expensive snd I don’t intend to use this camera a hell of a lot... In the past ive simply taken my digital camera with me and pointed it at my subject and then translated the readings to the analogue camera- however I want to avoid that as especially with random subjects I feel it takes away from the analog-ness of the photo. What is your solution? Or should I bite the bulletin and pay nearly 200£ for a sekonic??!

My two favorite options: * Gossen Digisix/Digiflash Can be found for around 100€ 2nd hand, very small and light, I use that most of the time because its so easy to take with you. Features are kinda limited, but it does the essentials. * Minolta Auto/Flash Meter IV Can also be found for around 100€. This one has all the bells and whistles, I even have the 5° spotmeter attachment for it. Very accurate, shows reading with 1/10 stop (good to get even lighting), bar graph to show contrast range, multiple meterings ... it can do pretty much anything you could need. The Flashmeter has some extra features for flash photography, but I would actually prefer the Auto Meter if I could choose. Runs forever one AA, the earlier ones needed buttons cells. MyLightmeter app. Good enough when shooting outdoor with enough light, with normal or wide lenses. Minolta. Good meter. Started metering by pointing it, later I started using the dome. Reliable flash meter. Point the dome at the camera, meter at the subject. Gossen. My current meter. Better for overcast days. Good flash meter. Dome only. I have a Sekonic and love it, but the only reason I have it is because I got the deal of the century on Craigslist when buying my camera. Otherwise I use my digital camera as a meter/"Polaroid". The dslr i use for scanning. After checking dxomark for the "real iso", measurements are spot on. A canon 200d. You have the "evaluative" ( whole scene metring ), and spot. You also have scene preview :) For example : iso 200 is actually 160. Perfect for portra 160. For iso100 film, i compensate the dslr with -1/3 stops at iso100. True that it seems to take away somehing from the analogue process, but it's simple. And you shoot LF, enough analog in that process. LF look is different from what you will get from a digital camera. So the jpeg's you get to keep in camera, are good as a log of the settings used, and nothing else. My 2 cents. I use a Seconic 308s incident meter and it’s been a workhorse. Simple, useable design with no frills. Batteries last forever. I like that I can toggle between reading in 1/3 stop increments, 1/2, or full stops. I’ve been using the same one for 10 years. I even lost one and bought the exact model again. I use a Polaris SPD100. They're out of production now, when they were new they sold for around $175. Not sure how much they are used nowdays. [I've switched between these two.]( [The Luna Pro with a spot attachment can be had for relatively cheap.](. I have a minolta flashmeter IV and spotmeter f and love both to death.

Testing my new 4x5 film, shot a Hosta leaf on Ilford Delta 100. .

Very nice, I like it. What developer/times? This is pretty high contrast, if you wanted some more detail in the highlights I would rate the film 80 in camera and pull it when developing, maybe 10-15% shorter dev time. But still, I like the high contrast look. As someone with sheet film to burn and a winter ahead of me, I'm wondering how do you set up these sorts of shots? I'm assuming you don't have a home studio and a throwing something together makeshift, of course. :).

How can I find sample images of photos from common large format cameras taken on 120mm roll backs? My google/Flickr skills are failing me due to the large number of variables I can't even get an idea of what photos taken on this format (120mm back on large format 4x5 camera) may look like. I'm just trying to build a loose concept here. I'm fully aware things will change significantly with various lenses and hardware. Any samples of that combination are appreciated. I'm looking at getting an entry level camera like a Horseman VH with an entry level lens like a Topcor 90mm or maybe an entry level Rittreck, wista 45 or similar. I'd be starting out with a 120 back exclusively and hopefully doing true large format in the future, but I want to know if the 120mm results are anything special.

I would think they would only look 'special' if movements were applied to the image, which normal medium format images would lack. Check out Nick Carver on YouTube and check out his website. He shoots a lot of that. I 've used a 6x9 back on my toyo 45gx. The results kinda sucked because the only lens I had was a 150mm. It's like trying to use a 50mm on a crop sensor DSLR. Good for portraits, not good for landscapes. I've recently bought a 65mm which already looks much more promising. I just haven't had a chance to get out with it yet. Just an FYI, it’s 120 film, not 120mm film. The film itself is only 60mm wide. From one 4x5 flickr group: 6x7: 6x9:. the only thing you will be testing is the lenses as the film will be the same as with a hassy or mamiya ​ I guess maybe the flatness of the various rollbacks too..maybe. Here is an image shot with Busch Pressman Model D, Xenar 135/4.7 and Calumet 6x7 film back on Delta 100 some tilt movements were applied. There are few more images entitled "Into the woods..." taken on the same combo.

Thoughts? First tries shooting, developing and printing large format [Cambo 4x5 Monorail, HP5+]. .

Are these darkroom or digital prints? I am enjoying the third picture of the stump. Personally I would print it as a tighter crop on just a section of the surface of the stump with the needles. Turning the negative over to place the white fungus on the wood in the top of the image with a bit harder contrast in my opinion make for an interesting abstract. Third one is definitely the strongest IMO. Nice work! I think it might benefit from a bit more contrast, but it's hard to tell if that's the print or just the scan/photo of the print. Nothing quite like shooting and printing 4x5. Just wait till you see some enlargements. An 11x14 looks every bit at sharp and detailed as a contact print IMO.

It’s still weird to me to think of 65mm as basically an ultra wide angle, but hooked up to 4x5 film, it is. Crown Graflex with the bed tilted down. Schneider Super Angulon 65mm f8. South Mountains State Park, NC. .

Now go get a Schneider Super Angulon XL 47mm :D. I really like your shot! Fantastic dark tones in your scan. What film did you use? The super angulon is such a small, cheap and sharp lens, it's a shame that it doesn't allow for movements on 4x5. Sweet with a 6x12 back tho. I have mine attached to a diy handheld wideangle 4x5 camera with diy focus helical but on the graflex it is a very cool lens too since you cannot move much with the compressed bellows anyway. For 4x5 i use a 75mm Nikon since its almost as wide and gives like 2cm of movement on my shen hao. Problematic on the graflex tho since the inner rails are a bit to short. If you havent allready, get a fresnel lens for your ground glass (there are really cheap a4 size fresnel loupes on amazon, just cut the center part for 4x5 and attach to to the viewing side of the gg). It helps a lot with framing the shots on uw lenses. I have a crown graphic with build in og fresnel and the diy loupe fresnel i use on shen hao works just as well! Edit: re title: I find 300mm beeing a mild telephoto/portrait lens equaly as strange :). Just wait till you try 8x10 or bigger ;). I have a copy of this lens, super fun! I need to get a lens board for my wista. I think.. it might not go well, but worth a shot. ​ Great photo!

Schneider Tele-Xenar f5.5. Anyone with any experience with a Schneider tele-xenar f5.5 lens for 4x5? Good or bad experience? I’ll shoot mainly portraits. Any recs for what shutter I should get to go with it? Somewhat new to LF so not sure if focal length/ lens type/brand is related to what kind of shutter I can get for it. Would be using with a linhof-type board.

I suppose it's up to preference, working distance, and framing but I have a Nikon 360mm and 210mm and I prefer the 210mm for portraits on 4x5. I think it's a Copal #3 lens at that aperture but I might be wrong... Couple questions - what focal length? In shutter or in barrel? That aside, the Tele-Xenar is a rather antiquated design dating from the 1950s. Accordingly, it is not known for being particularly contrasty or sharp, even stopped down - which may or may not be desirable to you. As befitting its age, most in-shutter examples you find will have old shutters that may no longer be working consistently and may not be serviceable. FWIW, you can find a modern-ish 240mm or 300mm plasmat in the $300 range if you look hard and I'd have one of those over the Xenar any day. The 300/5.6 Fujinon-W is a great lens and is usually on the bottom end of the pricing scale. They're big lenses in big Copal 3 shutters, if you need portability you can drop down to a 210/5.6 in a Copal 1.

First 4 Shots for my Upcoming Portrait Series, any advice for nailing focus? .

Use an old school trick- take a string with a measured length like 10 feet and pull it from the camera to your face. If your lens has a distance chart on it, set your focus to match your string length and pull the string to your eyes. Then drop the string, hold still, and take the picture. I've been shooting a series of [large format portraits]( for four years, getting ready for the fifth year this December. Your subjects need to understand that it's a slower process. A lot of people are interested in the camera and seeing how it works so often I'll show them what I see in on the ground glass and explain all the steps I have to go through to take a single picture. They should be in a pose that's easy to maintain for the time between focus and shooting. Arrange them and ask if they're comfortable in the position. When you begin to focus let your subject know they can't move from this point on. Focus on the nearest eye - I look for eyelashes in the loupe, they pop into focus nicely. If you suspect the subject has moved don't waste film, go back and check. If you're shooting a series of pictures of the same subject take breaks. Use the smallest aperture you can. I shoot with a 210mm at f/22 or f/32 with a flash and the DOF is still super thin. Shooting more than one person at a time is much harder - their faces need to be in the same plane, or use a front swing. Plus more people = more chances for subject movement. The old guys used to literally clamp peoples necks and heads into position from behind! There were special chairs made for sitting in photo studios as exposure times in the old days could run to seconds since emulsions were slower and lenses had more bellows draw to compensate for the focal length. These days just reminding your subjects that it’s a slow process and not to move at all is usually sufficient. I shot tons of portraits when I was shooting LF and loved them. Another way to get better depth of field is to shoot with big strobes. I did that from time to time but the feeling of razor thing DOF is one of the things that attracts me to LF in the first place so I often won’t got for much more than an f 5.6 when I shoot portraits. Just use a good loupe on the back when you focus, focus on their from eye and tell them to relax and not move. It takes some practice, both for you and the subject, but you’ll get it.

TIFU by wearing my Apple Watch in my changing bag. Fuck.

Funny story time. Teaching elementary age school kids photograph and we’re going into the darkroom. I close the doors and hit the lights and I keep seeing some rainbow flickering. I turn the lights on and look around. Lights back off and the flickering is back. I realize one of the kids has light up shoes. I tell them they need to take them off (to hammer the concept of darkroom) other kids get jealous and they all want to take their shoes off. Fine! Let’s do it! All shoes off! At the end of the semester we’re going over what we learned and one kid pipes up “no shoes allowed in the darkroom!” You know, close enough. Let’s go shooting! I almost did this a few weeks ago! Sorry for your loss!

Calumet CC400 View camera film-backs. Does anybody know if the Calemut CC400 4x5 will accept single sheet film backs or is it just the 120film roll back?

Assuming that no parts are missing, it will take standard 4x5" sheet film holders. [This is a picture of the standard CC400 back with a 4x5 film holder inserted.]( Apart from the film holder, is that what the back of your camera looks like?

Some More 4x5 Portraits, I'm happy with then but im still having trouble nailing focus... .

I don’t know your setup, but LF is notoriously hard to focus at wide apertures, as you know. If stopping down a little isn’t an option, I’ve had moderate success with the following: 1. A cover. Throwing a dark sheet or light blanket over your head and the back of the camera so that the ground glass is the only light source you see. Stray light reduces the apparent brightness of ground glass so much it’s ridiculous. They’re much easier to work with in the dark. 2. A fresnel screen over the ground glass. This is more effective on some glass than others, but it might make a big difference for you if you don’t have one. 3. A good loupe. When I have trouble focusing, I’ll get under the blanket and press a loupe up against the glass and look through that. The magnification can make it easier to determine ideal focus. 4. Keep your subject still! Even in the course of standing unmoving in one place, our bodies tend to sway slightly as it maintains balance, and even a nearly imperceptible shift could be enough to exit the plane of focus with a really thin DoF. Don’t know how much of that you’ve tried, but that’s what I’ve got. :). Could you compose your shot with the lights on and then once you’re in focus turn them off? lil pump before he dropped out of school. If it's a portrait session session what I like to do is set up the 4x5 and then my digital camera directly next to it with live view on aimed at the spot I want to be in focus. Focus the 4x5 on the subject while looking at at the target through the loupe and reach over and hit autofocus. Then as long as you don't each touch either camera you can have a preview of your focus plane on the live view on the digital camera. I just have the subject rock their head slightly forward or back till I see it's perfectly sharp on the eyes and take the photo. Purists might hate it but I have perfectly sharp portraits at any depth of field 100% of the time. When I did studio work in NYC, if needed, we used a garage work light to focus, then turned it off before the shot. Also, for non people, we used newspapers placed at the focus area to focus on, then remove. Pics look good though, just a little practice. And also, find a loupe that will work for you. I think a 50mm lens backwards on the GG will work. I heard someone say they used to do that in a pinch.

6x17 Blurring on the edges. I got a shen hao 5x7 with the 6x17 back a few years ago. I have two lenses: ​ 1. Rodenstock sironar-N 1:56 f=180mm 2. Schneider superangulon 5.6/90 xl-110 I took it out and took this [photo]( and remember having issues of the image blurring at the edges. As you can see these chrystler building and all the buildings looks like they're smearing. Because this was a few years ago and I haven't touch it since I don't remember which lens it was, I believe it was the Schnieder. According to these [coverage charts]( they both seem like they should have coverage. Is there something obvious I'm missing or do I have a bad lens? Thank you!

Could be that just because it covers the area, it doesn't mean it's optically optimal. Or there could be a misalignment with your front/rear standards. Or the lens on the lens board/lens board on the holder, or with the 6x17 back adapter. Those would be my guesses. Both lenses should have perfectly adequate coverage for the format. This looks to me like field curvature rather than any optical issues or running out of coverage, assuming there were no shifts involved in the photo. Do you remember what aperture this was shot at? Did your camera have a centre filter? We took the Tomiyama Art Panorama 6x17 for a spin, but it didn't have the filter. Apparently it's quite helpful. [. Maybe the film isn't being held completely flat? Try tightening the knobs before the shot next time you use it, and see if it makes a difference.

Looking for recommendations for first large format camera. **Background Info:** I've always been interested in larger than full frame photography, but never made the leap to one of the medium format digital cameras because of cost (I currently have a 5D Mark 3). But I really like the idea of large format photography, and the massive images it can produce, the differences in the "perspective" / framing, and even the whole process seems cool. I also figure I want to go big or go home, and just get an 8x10 as opposed to a 4x5. I would mostly be interested in doing landscapes. ----- **Actual Main Question: Is there a generally accepted "best starter" camera that's a balance between cost and quality? This would include both old/used models and modern/new models.** I've seen the intrepid which would seem perfect but they have a 10-12 week lead time for orders which seems crazy. My budget is very flexible but I'd obviously rather spend as little as possible to get started (like under $1k ideally). However, if that's unrealistic I could afford something in the $2k-3k range, I'd just rather not if I don't have to (Down the line if I decide I love it, I figure I can always get a more expensive one). I also understand there will be significant further expenses on film, film holders, development tools, lenses, etc, but I'll count those costs as separate. --------- Update: I ended up buying a Toyo 45AII on ebay.

I think that for field/landscape work you neither A. require the full movements of a studio/monorail camera nor B. want the weight and bulk of carrying a studio/monorail like the ~~intrepid~~ (forgot these were field-style cameras) . I was able to get a Tachihara Field Standard 4x5 for $750 (used, great condition, at my local camera store) and a 210 mm Schneider for $150, plus film holders in the $15/ea range (both from [KEH.com]( I will probably get one or more lenses once I get more experience with the rig, like a 120mm and 300mm-ish lenses. The camera, lens, film, a tripod, a light meter (already had one but a cheap/old/bulky one will run $100 to $250-300 for decent/recent digital LM) fits nicely into a slim backpack and is relatively lightweight and hike-able for landscape shooting. Disclaimer: As an owner of both an Intrepid 4x5 and an Intrepid 8x10, I'm a little biased. But I'd bite the bullet and get an Intrepid 4x5. There's a lot to be said for having a company you can call if things go wrong and access to readily available replacement parts. It's a no-frills camera, and it's extremely lightweight: lighter, in fact, than my medium format Mamiya RZ67 (which is, admittedly, a beast.) It's also ridiculously cheap, yay! 12 weeks isn't bad - you're a large format photographer now; get used to delayed gratification :) As for 4x5 vs 8x10, I was given a good piece of advice when I got into large format: there are exponentially more and cheaper peripherals available for 4x5 than for other formats. Once you hit 8x10, every little add-on hits you right in the pocketbook. Plus, enlarging 4x5 negatives is doable; 8x10 enlargers, on the other hand, are really pretty specialized, so at 8x10 you'll mostly be making contact prints. The 4x5 is also much easier to learn on, and mistakes don't cost you $5 each. The one huge advantage of 8x10 (besides the obvious size increase) is that you can do lots of alt process stuff like cyanotypes, platinum-palladium, etc. straight from the negative, so if that's a big deal (as it is for me), the 8x10 is pretty cool to have. With a $1-2k budget you have a ton of options. I'd definitely recommend starting with 4x5 over a larger format. You'll have way more affordable lens and film choices. If your goal is to have a lightweight camera to take hiking then an Intrepid would be a good bet. Affordable and light with many movements. There are also many many brands of similar cameras from decades past (Seneca, Wista, Tachihara, Vageeswari). If weight is no issue and you don't mind limited movements then something like a cheap Speed or Crown Graphic or Linhof press camera would be fine. Lots of good info here, the one thing I'd add is to check out the [Large Format Photography Forum]( if you haven't already. Not only is there a lot of great information for new LF users there's also a very good classifieds section where you can often find deals on gear to get you started (and in my experience cheaper than eBay/KEH/pretty much anywhere else on the web). Please, please start on 4x5. Everything about 8x10 is much more expensive and a a bigger pain in the ass. I would recommend for a Toyo 45A or 45AII. They're a little heavier, but are built like tanks and not too difficult to use. For a standard lens, I'd go for a 150 Apo Rodenstock, Apo Schneider or Nikkor. For wide angle, a Nikkor 90mm 8.0 is a great lens and not too expensive. I've tried many kinds of 4x5 cameras. If I had your budget, I'd get a used Toyo Field camera. They are incredibly well designed. Pack down easily. And feel like they will last forever with minimal care. They are field cameras, but do have a pretty good movement options. My first 4x5 was a Crown Graphic and I immediately fell in love with 4x5. I still have it, but after a while I found that wanted a bit more flexibility and control, and when I came across a really good deal on a Wista 45 VX, I bought it and that was a considerable step up in the quality of camera. I did find myself wanting still for a bit more flexibility and control with very wide angle lenses (65 to 75mm) and a bit more length for longer lenses, and I found an insane deal on a practically brand new K.B. Canham DLC-45. I ended up selling the Wista because the Canham pretty much filled all of my needs and is lighter in weight. Sometimes I wish I still had the Wista because it really was a rock solid camera and very nice to shoot with if your lens range is between 90 to 210mm, which are the two lenses I use most anyway. the final image you get from 8x10 won't be significantly different from 4x5, but it will cost you 4x as much per shot, plus a much larger initial cost for gear or compromised quality to stay within budget, way fewer options and lower portability. [deleted].

Upper Big Tujunga Canyon Bridge [Seneca Improved View 8x10, Kodak 8.5" Commercial Ektar f/6.3, Tutti Frutti mixed collodion, Tintype]. .

Nice! Love the contrast. Would you say that’s down to tin type process or maybe it’s been boosted digitally? Amazing shot, I want to see the tintype in person!!

last leafs / Wista 45 / FP4 Plus 125. [deleted].

leaves*.

Looking forward to see his large format photos. .

Isn’t that David Burnett? That's definitely [David Burnett]( - he loves the Speed Graphic / Aero Ektar combo but he looks to be using the aptly-named Aero Liberator body in the video clip. He’s so fast! I imagine using a grafmatic back would be easier/faster, get more shots. At first I thought it was an old hasselblad but then I saw the dark slide and was like”Whoa!” In all the years I shot every format I knew about I never saw one of those. It looks like a 4X5 reflex camera. I’d love to see and shoot one of those!

First time buying a LF lens for a Calumet 4x5. Anybody have any recommendations for a lens? I’m looking for a general all purpose lens in the $80-$200 range. Are the Nikon lenses any good? This is my first time working with LF.

Here's my general opinion on LF lenses. LF was, in modern times, a format primarily for discerning professionals that needed the absolute best in image quality for print work or huge art enlargements. Accordingly, for the most part, LF lenses were all of very high quality and equally high price. Today we are buying them for a fraction of what they cost new. Consequently, any modern (ie. 1970s or newer, usually in a silver-ringed or black-ringed Copal shutter) multicoated LF lens from one of the major manufacturers (Nikon, Schneider, Rodenstock, Fuji) or rebrand thereof (Caltar) will be excellent. If you can find a focal length you are interested in that's in your budget, and assuming it is in good condition, it will likely serve you well. Many start out with a 150mm lens, which are generally the cheapest "normal" lenses for 4x5 and they approximate a ~45mm lens in 35mm terms. One thing to keep in mind is that you will need a lensboard that matches your news lens's shutter size (usually Copal 0,1, or 3). I’d just stay away from really old, like pre-1960s, lenses. Even many of those are very good, but newer ones are nearly guaranteed to be acceptable. It’s pretty hard to go wrong. Yes Nikkors are all very good. Even the not-so-good ones. I've occasionally found them in that price range, but no stellar bargains. Look for anything in a modern Copal shutter if you want reliability, but there are many excellent old lenses and shutters as well. One of my favourites is a 180mm/4.5 Schneider Xenar from 1931. The shutter is almost as accurate as my most moden ones, and the lens is nice and creamy. Name a focal range and you might get a few more recommendations. If you like data. Tons of good lenses out there, look for a 135mm f/5.6 as a general purpose lens. I like Fujinons and Nikkors. Rodenstocks, Kodaks, Schneiders, etc. Some of the old lenses are great buys. The only thing to keep in mind with older lenses is the coatings weren't as advanced so you have to keep an eye on flare and flag your lens. Often the shutters will need some repair, or at the very least compensation - one second on the dial may not actually be one second in real life. But that's true for a lot of old mechanical shutters, not specific to large format shutters. Nikkor, Rodenstock, Schneider, and Fujinon lenses are all excellent, assuming they are in good shape as well as their shutters. My favorite two LF lens to shoot with is the Nikkor 90mm f/4.5 SW and the Rodenstock 210mm f/5.6 APO Sironar S and they are both absolutely superb. I also have a Nikkor 75mm f/4.5 SW that is an awesome lens, but I don't find myself using it that much since 90mm is pretty much my ideal wide angle on 4x5. I do want to get the Fujinon 300mm F/8.5 C lens and I think my LF lens collection will be complete. For your price range though, I would start with a 120 to 150mm lens as they are very versatile and usually the most affordable. Basically the "nifty fifty" of the 4x5 world.

Another LF n00b. Is a Toyo field camera 45a a good place to start? I found one in mint condition from japan for $650. I’ve been shooting medium format for about 2 years and I’m ready to evolve. Yes, I am aware I’ll have to slow down my process significantly. Thoughts on the Toyo model?

I have a Toyo 45aii (nearly identical to the 45a) and it is a fucking phenomenal camera. I cannot say enough good things about it. It’s a great choice. One reason I was going to go with the Wista over the toyo is the ability to change the bellows to a longer one (or bag). Also the Rails can be extended (added on to) on the Wista. It's a great, solid camera. I've never used a Toyo camera, but everything I've heard and read about them is that they are very well made, very high quality cameras. I had looked into getting a Toyo 45A or 45AX, but I ended up getting a ridiculous deal on a Canham DLC-45. I have no doubt though, that if you got a 45A in good shape, you'd have one hell of a nice camera that will last for a very long time. My dream camera is a Toyo VX125. Maybe one day... i've shot quite a few 4x5 and 8x10 cameras and enjoy the Toyo-Field 45A enough to have bought it twice. i do enjoy range-finding with a crown graphic / speed graphic, but realistically, i use the ground glass almost always, and the 45A gives lots more options for movements than a press camera. further, 650 seems like a reasonable price for one in good condition, much less mint.

Wasn't Sure How This Would Turn Out... I'm Happy With It :) [Toyo 4x5 / Ilford Delta 100]. .

Very cool! Is that four exposures I’m counting?