Large format considerations
I have an art project that I have recently gotten involved with, that calls for ending up with nearly 400 portraits, in 4×5 negative. My initial plan was to use my Speed Graphic for the work, but I’m starting to have a number of problems with it that are making me consider other camera options.
First, though, I need to take a step back and think about both what I need specifically for this project and what I need and want for my large format photography work in the future. I’m beginning to think there’s two routes to go camera wise. The project requires a number of portraits/photographs that may be in tight environments, which could make working with a tripod mounted camera awkward. With that in mind, I’m considering one of the Polaroid 110B 4×5 conversions. Probably one of these cameras from Alphenhause. The big advantage with this camera is I can shoot with it like a large rangefinder. I’ve grown rather fond of rangefinder shooting over the past few months with my Leica. With this camera I can shoot 4×5 negatives or large polaroids happily – and I can probably, in some circumstances, get away with handheld shooting which is also something i’m going to need. Depending on how things go with the project, I may be able to get away with shooting tri-x and developing in diafine, giving me iso 1250-1600 with my shooting!
However, while this camera will be useful for a number of the portraits that I need for my Project[tm] (more thoughts/details about that in a future post most likely), I don’t think it falls in line with what I want in general from large format photography. I want to play with bellows and movements and all the ways that I can image the world through them. I’d like to play around with macro photography on a very large scale. I like the (much) slower process of composing and making an image with the 4×5.
I made the decision at one point that I prefer field cameras to monorails, mostly because of a simpler setup. It doesn’t hurt that the field cameras tend to be gorgeous pieces of work, but not having to deal with the setup of a monorail is the big win for me. I think it’s down to four cameras for me. The Chamonix 4×5, the Shen Hao HZX 4×5-IIA, the Tachihara 45GF, and Zone VI class camera (no ready link available – I have some ebay links but they will disappear shortly).
The Zone VI stands out from the pack because it has an insanely long extension – over 450mm, which would be fantastic for doing macro work. The downside to the Zone VI is that it is limited to tilt/swing for rear movements. No shift/rise/fall on the rear standard.
The Chamonix comes close on extension, with 395mm, and has a similar set of movements to the Zone VI. The advantage with the Chamonix is I would be getting a new one, vs. rolling the dice with a used Zone VI. It’s also a bit lighter than the Zone VI.
The Shen Hao i’ve read a fair bit about recently as well. The Shen-Hao gives me all movements on the back standard, sacrificing shift on the front standard. I’ve read a number of good things about the Shen Hao cameras online, and they seem promising.
The tachihara, I think, is coming off of my list – as it doesn’t provide much in the way of shift, either front or rear. There are times that I want/use the ability to shift, and while it seems like i’ll need to go to a monorail camera to get shifts on both front and rear standards, I think i’d want a field camera that could shift on at least one or the other.
So that leaves me with the Shen Hao, the Chamonix, or the Zone VI, and now that I’ve done more writing out about it – I think it comes down to a showdown between the Shen Hao and the Chamonix. Time for more reading/research on my end before I pull the trigger on this one. I know I want one or the other, but I don’t believe I have the resources to buy both, pit them against each other, and then sell off the loser.
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