Hi, All. I'm a newbie, thinking of giving 4x5 a go. I've shot 6x6 and 6x9 film off and on over the years along with digital, but I kind of like the idea of slowing down even more. I'd be interested in knowing if folks would suggest something like a new Intrepid, vs a used Tachihara or similar in good condition? Prices seem more-or-less similar. Thanks! Joanna in Topsham
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Hello from Devon, and a newbie question
- Thread starter HonoHonu
- Start date
- Joined
- Dec 20, 2017
- Messages
- 153
Hi Joanna,
You're in the right place for friendly and expert advice.
From me it will be just friendly, as I am still in the early stages of building my 5x4 knowledge.
One thing is can chip in is to consider what type/s of 5x4 photography you think you would enjoy most.
I have used an Intrepid and think that as a field camera the light weight would be helpful, but the crude movements and (in my opinion) flimsy construction put me off.
For architecture cameras with good strong (geared sometime?) rise, fall, shift and tilt should be prioritised - others can make suggestions if you indicate that is a priority.
Finally a good friend has a monorail Sinar camera because he does mostly still life, and is content that the camera is not ideal for landscape or portraits, which he also creates.
Personally I use an MPP which was a bit of an all round camera, bit heavy but strong.
Hope you ask lots of questions before you buy as a camera that puts your back out or otherwise blocks your workflow will add another problem to your learning.
Robert
You're in the right place for friendly and expert advice.
From me it will be just friendly, as I am still in the early stages of building my 5x4 knowledge.
One thing is can chip in is to consider what type/s of 5x4 photography you think you would enjoy most.
I have used an Intrepid and think that as a field camera the light weight would be helpful, but the crude movements and (in my opinion) flimsy construction put me off.
For architecture cameras with good strong (geared sometime?) rise, fall, shift and tilt should be prioritised - others can make suggestions if you indicate that is a priority.
Finally a good friend has a monorail Sinar camera because he does mostly still life, and is content that the camera is not ideal for landscape or portraits, which he also creates.
Personally I use an MPP which was a bit of an all round camera, bit heavy but strong.
Hope you ask lots of questions before you buy as a camera that puts your back out or otherwise blocks your workflow will add another problem to your learning.
Robert
- Joined
- Aug 14, 2016
- Messages
- 242
For your money, any used camera as suggested above is a WAY better option than an Intrepid (disclaimer; I bought their 10x8 and sent it straight back, total junk). Not least because you won't lose money if and when you eventually need to upgrade or sell. Look for any used tachihara, wista, gandolfi, chamonix etc etc.
Welcome Joanna ,
there is a lot of choice with large format cameras , and some basic things that can trip you up with both new and used cameras , It is quite important to do some tests for focus and light leaks with any camera setup that is new to you so that problems
can be ironed out before spoiling the experience when it matters more.
Also the amount of other gear needed kind of builds up .
Things to think about.
- loading film into the film holders can be done in a changing bag but it helped to have something to make an air space in there a cardboard box with an open side as big as will fit with the zip shut helps organise things . The pope tent types are quite nice. Sacrifice a sheet of film and use it to practice in daylight to get the feel of loading as its very common to get film miss loaded at first go in the dark.
- Developing your own film is vastly more economical than using a lab , for B&W its easy there are quite a few daylight tank solutions.
- Scanning by flat bed or with a camera gets good results but is another workflow to consider.
The kind of subject you envisage tends to nudge towards certain types of camera , but they all need a tripod, lens and film holders
a dark cloth can be improvised , a focussing loupe can help as well , A light meter can be on a phone or another camera.
There is a lot of knowledge here so feel free to ask anything .
there is a lot of choice with large format cameras , and some basic things that can trip you up with both new and used cameras , It is quite important to do some tests for focus and light leaks with any camera setup that is new to you so that problems
can be ironed out before spoiling the experience when it matters more.
Also the amount of other gear needed kind of builds up .
Things to think about.
- loading film into the film holders can be done in a changing bag but it helped to have something to make an air space in there a cardboard box with an open side as big as will fit with the zip shut helps organise things . The pope tent types are quite nice. Sacrifice a sheet of film and use it to practice in daylight to get the feel of loading as its very common to get film miss loaded at first go in the dark.
- Developing your own film is vastly more economical than using a lab , for B&W its easy there are quite a few daylight tank solutions.
- Scanning by flat bed or with a camera gets good results but is another workflow to consider.
The kind of subject you envisage tends to nudge towards certain types of camera , but they all need a tripod, lens and film holders
a dark cloth can be improvised , a focussing loupe can help as well , A light meter can be on a phone or another camera.
There is a lot of knowledge here so feel free to ask anything .