"If you can't pay, you can't play."
All kidding aside, large format photography has the tendency to become expensive. When you add the cost of a focusing loupe, dark cloth, film holders, tripod, carrying case, etc., the cost begins to add up very quickly.
If you thought the image on the ground glass of that 4X5 monorail was impressive, wait till you get a glimpse of the image on an 8X10 ground glass. You'll be hooked and realize that there's no turning back.
[QUOTE=walter23;450615]Yes, with a 90mm lens you will need a bag bellows for any real movement. This isn't a bad thing - I consider it a good thing (other cameras may give slightly more movement with the stock bellows but then don't have a bag bellows option, so you lose out in the end).[QUOTE]
I was playing around with the Chamonix 045n-1 last night, with various lenses and the universal bellows just to see what it's capable of.
As Clement stated previously, with the universal bellows, the Chamonix can easily handle full movements with most 90mm lenses. You can easily get a full 45mm of rise (max. permissable direct front rise) with a 90mm lens focused at infinity with the universal bellows. The only 90mm whose coverage MIGHT be limited by the universal bellows is the 90mm Super Angulon XL.
For lenses shorter than 90mm, the only readily available lens whose coverage MIGHT exceed the movement capabilities would be the 72mm Super Angulon XL. Most other lenses this wide, have rather limited image circles (typically 163 - 195mm). For these lenses, you'll run out image circle before you reach the limits of the universal bellows.
The reason, I used MIGHT in reference to the two Super Angulon XL lenses is that I don't currently have either to perform a test and provide a definitive answer.
So, on 4x5, unless you are using one of the two Super Angulon XL lenses with extreme movements, the universal bellows will not be a limiting factor.
If you shoot roll film formats and AND require extreme movements with lenses shorter than 90mm, the bag bellows would be the best solution.
As Clement mentioned in his post, for most 4x5 users, the Chamonix universal bellows really IS universal. And, if you buy it, in place of the standard belllows, when you purchase your camera, it's only a $22 adder over the cost of the standard bellows.
Kerry Thalmann
Really Big Cameras
"As Clement mentioned in his post, for most 4x5 users, the Chamonix universal bellows really IS universal. And, if you buy it, in place of the standard belllows, when you purchase your camera, it's only a $22 adder over the cost of the standard bellows."
I would be nice of Chamonix to mention that on their site. Had I known that, I would have done so.
While I understand the theory behind your aversion to wooden cameras, as someone who lives in a wet climate (Oregon, it rains a LOT here), in practice I have never had a problem with a wooden camera caused by moisture.
In theory, metal cameras may be more durable and more resistant to the elements, but again, I have never had any problems in these areas with any of the many wooden cameras I've used (Zone VI, Anba Ikeda, Wisner, Canham).
And, while some cameras, like the Canham and Chamonix may use wood in the construction, they don't rely on the precise fit of these pieces for operation of the moving parts. The wooden Canham is basically a metal chassis with a wooden skin. The chassis of the camera is metal, but wood is used for the frames and bed.
The Chamonix has a carbon fiber base and a carbon fiber focusing bed that is driven by a metal lead screw and rides on metal sliders. All of the movements on the Chamonix are metal-on-metal. These parts, like on any metal camera, are CNC milled to very precise tolerances. The only wooden parts on the camera are the front and rear frames. Not only does the wood look nice in these locations, it's also makes the camera lighter than if these frames were made from metal.
That said, every camera is different in terms of features, specs, price, etc. I'm not claiming a wooden camera, let alone any specific brand, is right for everyone, but I would not exclude one from consideration just because wood is one of the materials used in the construction.
Kerry Thalmann
Really Big Cameras
Kerry, can I use the Horseman 612 with the chamonix 4x5, thanks.
I couldn't agree more with everything you've said. I've been shooting 4x5 since 1951, and I love doing it, but with rare exceptions the actual results have been pretty pedestrian.
I'm sure that you're aware of PC lenses for your 35mm. My 28 and 35mm PC Nikkors are by far my most used prime lenses. I've never found tilt to be necessary. I believe that 24mm PCs are now available for some brands.
If you don't have PC lenses, you can always just tilt the camera and correct for the resulting perspective distortion in printing by tilting your easel or if you're printing digitally it is easily done in Photoshop.
One other thought -- instead of all those very expensive field cameras with movements that you'll never use, your needs may well be met with a nice used Busch Pressman (model D). Lots of them on eBay, less than $300.
Wilhelm (Sarasota)
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