Goin' Large - I Bought a 4x5 View Camera
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- Опубліковано 10 лип 2024
- I recently purchased a Toyo-View 45G 4x5 large format view camera and in this video I go over some of the features of the camera and what my appeal to film photography is all about.
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enjoy, I've had a 45f for almost 40 years. built like a rock.
Congrats on the new purchase! I’m looking forward to seeing your journey into largeformat film.
Thanks Jay! Can’t wait to get some shots in on it
It looks beautiful and the movements look silky smooth.
Great Video and thanks for all you shared. I have an Omega 45D Camera. I used your idea of liquid electrical tape. I had a light leak in my bellows. Checked it out tonight with a flashlight and it’s now time to load film. Changing a bellows isn’t fun but when your through the camera means a little more to you. This has always been my escape. And gives me a chance to share what I see with others. But the escape is is rewording and a good image is the icing on the cake. I will be following your videos. I got some catching up to do. But they keep my interest well. I should refer to you as teacher. But thanks for what you do.
That's a beauty..! I've been shooting with a Sinar rail since 91. Always good to see more people getting into film!:) You will slow down now and enjoy the ride.
Thanks Steve! Sure will, it’s been a lot of fun already and I’m excited to share some images real soon!
Thank you. This is the best video I've seen as to why someone would want to shoot film. Over the years I've noticed that Digital Shooters have a problem with Film Shooters. Not the other way around. And it's because Digital Shooters know in their heart of hearts if it wasn't for the Instant Gratification of Digital, they wouldn't even bother.
Thanks Stan! Interesting that digital shooters would have issues with film.. I suppose tribalism is a thing pretty much everywhere these days.
Hi Chris, looking forward to more 4x5 content 👍🏻. Recently bought a Cambo SC.
Thankyou Chris. Starting my exploration of 4x5 film. Thanks for an honest conversation. I hve not dug into your channel yet. But plan to, to see if you've continued this series. Thanks again.
Thank you! I’m still here and still lugging a view camera around!
@@ChrisDarnell I've caught a few. I pulled the trigger yesterday on a Toyo monorail...ha! We'll see what we will see. I may reach out with a question or two if you don't mind. Continued success on the channel.
Brilliant video.
Thank you!
Hello. The best lab is yourself, full control on the process is key to satisfaction and you'll do it your own way avowing waiting and frustration. You already have a digital camera, so with a few items you can buy, and quickly you are scanning your own negatives with hight quality. Developing is not difficult but you have a lot to learn. the difference between to develop your own negatives and to know exactly what you are doing, keeps you entertained for decades. You found an expensive hobby but very rewarding. You are making your own photography, not a computerized process. Keeping your hands on and dirty, you have lots of alternative processes, no just on film, to choose from, how deep you want to go it’s your choice. Cheer’s mate
Thanks Rolando! Those are all great points and I appreciate the advice. In due time I do plan to explore developing myself, and I’m excited to see what I learn in the process!
Welcome to a world which is a lot slower paced then digital. There are great UA-cam channels for large format cameras. I develop my own film, it is not that difficult and is not too expensive once you own the tanks and other darkroom gear. Enjoy working in the field where most people have no idea what you are doing. Pick up a 4x5 field camera when you can. I use a Wista and will be buying a Tachihara very soon.
Wow!! A year ago I bought the exact same model of camera with the exact same lens and it was the most inspiring purchase that I did.
And yes, carrying this camera in a backpack is difficult, but it is possible.
And.. I really love my toyo 45g
Agreed! Large format has been incredibly inspiring for me too, as well as educational and rewarding. Shooting with the 45G has been a treat despite it’s size and I regret absolutely nothing. Thanks for watching!
Great camera and stable on a tripod.
I recommend developing at home. I develop 4x5 color at home and dslr scan and it cost me about $1.60 a shot. I dslr scan and get about 100mp files from stitched files from my D800. I don't know what the actual resolution of 4x5 is, but its plenty for all practical purposes. One big advantage of large format is perspective control. 4x5 film is now my go to choice for landscape primarily because I enjoy the process. It may be possible to get similar colors from digital, but I still think the look of ektar and velvia are unique, and I would rather make the choice of colors tones while I'm on scene and than behind the computer screen.... Anyway, large format is a journey and takes a while to get comfortable with. Nice camera and enjoy the journey.
Thanks Bryce, all great points there and I think developing at home is probably something I’ll experiment with in the near future. Most likely starting with B&W like a lot of folks and we’ll see where it leads. The cost savings and degree of control sure sounds nice!
I have to laugh in a good way, I've listed my 4x5 Toyo-View Omega 45F on e-Bay with a few accessories and thought it would be a good idea to add a good review. Okay, I watched and thoroughly enjoyed your video review thanks for that. The funny part is I think you sold me on my own camera. I am now having second thoughts of selling it, I also have a Graflex Crown Graphic Special I use as my field camera my monorail was used as a studioI camera. I use to process my own films but now have a local person running a lab and this will be the route I take going forward with film. I did hit the thumbs up and clicked the subscribe button looking forward to seeing your work in the near future.
Haha sorry about that Robert, whether you ultimately decide to sell or keep it I hope the video helps you out in either case. I have a couple cameras I meant to sell that keep finding ways to re-inspire me so I can imagine how it goes, haha 😂
For me, perhaps the main reason to consider large format would be that it would allow me to more cost effectively obtain exceptionally good photos, as a very occasional shooter. If I were a frequent shooter, a good quality digital might make more sense. Another reason might be for the "movements".
I'm taking a class in Photography in school. Because of covid we are online. We are watching videos' on famous photographers and a few actually use these cameras. That's how I got here. I wanted to learn more about them. I'm old school and prefer film anyway. Also, most of them develop there own film which looks pretty easy. You should look into that
Really nice presentation, great points. I just bought a Cambo SC and a 210 5.6 last week, used to shoot a lot of still life with the 4x5 and one thing also is how the lenses beautifully spread out the image on the film, it's just different than a Canon lens on a tiny sensor. 8x10 is even more dramatic. Just think, that 4x5 is about 4x the size of a Hasselblad square 6x6 and the detail available is astonishing.
Thanks Douglas! Congrats on the Cambo! Totally agree about the film rendering and the level of detail. I think I’ll end up doing a follow up to this video to discuss those very things because that’s what has really solidified large format in my mind. Can’t even imagine 8x10!
@@ChrisDarnell I've shot 8x10 but it's so unwieldy and expensive but hey if you're the next Richard Avedon with Richard Avedon budgets and 3 assistants....
Nice!
Just saw your video... LOVE the camera.... I use 2 places that i am very happy with.... Indy Film Labs down in Montgomery , Alabama, and Dodge Color in Silver Spring, Maryland. Indy Labs is by far my favorite, but they take time.... Dodge is faster (Maybe because i live 5 minutes from them...) but do great work though....
Thanks Mark! I haven’t heard of either of those so I’ll look into them. Always looking for more options since you never know when another film lab will call it quits. Thanks for the suggestions!
My original 45G cost $45, and it is a beautiful piece of machinery that will still be state of the art 20 years from now. I picked up a 5x7 back and other odds and ends, so I'm well above that original figure, but much, much less than a medium format digital camera -- that will become obsolete. Yes, film is expensive, but I'm not doing documentary work with film. I hope to make a few special prints, better than the ones I made in the darkroom as a student in the 1970s. I still have some of those prints from the 1970s. They mean much more to me than the thousands of digital images I have stored somewhere.
Totally agree. So far my satisfaction rate among my images taken on the 45G has been much higher than my digital work and I can completely imagine feeling the same way when these are decades old as well
This model is one of the most common to be found on second-hand market. Would love to see how you bring it around to take photo, maybe your bag packing setup. :D
Stay tuned Kelvin, the next couple videos I have in the works have a couple clips that demonstrate how I manage that!
Good luck using the 4x5 view camera.
I used this type of camera for forty years
Thanks Peter, that's quite a long time!
Yes, I'm interested in everything concerned with 4x5 ! I'm right now bidding on a Calumet CC 400 Monorail 4x5 that's in very
nice condition with extras for a very good price, right now anyway ! But, they're very affordable and there are great cameras out there for sure. People have decided that digital is the way to go these days, but I will do both ! Too me, large format is much more fun and interesting and a person can become a more intensional and focused photographer. You feel more like an actual artist, not just a point and shooter !
Great video, LarryMac
Thanks Larry! Hope things worked out for you on the Calumet. I agree it's a lot of fun and I also shoot both film and digital, I think they both have their strengths and I enjoy exploring both styles of shooting rather than being limited to a particular format. To me it's all great stuff. Thanks for watching!
Yes, it did work out and it's a real beauty ! The seller added a bag, a 90mm f8 wide angle lens, 3 film sleeves and a dark cloth. I've added a Calumet 6x9 film back and 2 Grafmatic 6 shot 4x5 backs. Really liking this camera, especially with more movements than my Graflex Crown Graphic is capable of doing ! But it really seems like it's more of a studio camera, a bit cumbersome and awkward. So, I'll eventually go with a view camera. I really like the Chroma models, so we shall see !
Regards, LarryMac
Chris that Pentax Spot meter you have is an awesome meter for the Zone System. You probably already know this but I will mention it if you don't know they have a printout label on eBay that you stick on your spot meter that helps you with the light meter reading with the Zone system. As you probably know to get to the different zones you either over expose or underexpose your film and overdevelop or under-develop your film. For this you need to do your own darkroom work and some experimentation with developers, temperature, and times for developing your film and getting the perfect negative. All this is outlined in Ansel Adams books like the Negative and the Print. When you take a light reading with any meter you get a reading of zone V which is middle grey. That is why once you get your development times, the temperature of the developer, taking a photo with a spot meter with the zone label on it to compensate for the exposure for that zone, and do the Plus or Minus development of the negative( over development or under development of film) you can get Ansel Adams quality photos. The view camera is ideal for the zone system because you specifically expose one negative to fit the situation and you can adjust for the zone of your subject which may be different in another subject that has different lighting and is a different grey scale. Anyway I am jealous of your Pentex light meter I have been looking for one for a long time and they are hard to find in working condition and are expensive. Good Luck with the camera.
Thank you! All good information there. I do actually have the zone sticker on my meter but I’m very much still learning the system. Your book recommendations are awesome, I’ll have to read those and get more familiar with Ansel’s technique. I think in the future once I’m more comfortable with using the camera I’ll experiment with developing at home and get into push/pull processing. Thank you for the input!
I got my Pentax Spot Meter at a pawn shop that was closing for $20 because it had no batteries in it and for $20, I took a chance and won. Been using it for years now and bought the Zone VI sticker as well for it. I use it daily. LarryMac
Great job Chris. Fun to actually see the camera and lens. Gosh it all looks pristine. Did you check for bellows leaks yet? Love your studio setup btw, looks really nice. Can't wait to keep following along to see your progress on all this. I think you're going to love it. And you know, even though that's not a backpacker, it would work fine down in the Zion washes where you're never too far from the car and it wouldn't be too much to carry around there. And just imagine all that fall color, at your feet detail you'll be able to capture. Exciting to think about. Take care!
Thanks Scott! I The camera really is in pretty good shape, all the geared adjustments are super smooth and it's a pleasure to look through. Haven't taken it out yet because I did find a couple really small leaks in the bellows. I watched your video on that actually (thanks for that!) and my mars black paint and brushes arrive tomorrow 😄
@@ChrisDarnell Cool! I don't know if you waded through all the comments on that bellows repair video but a lot of people commented there with other material they like better for this purpose than the paint. So, if you find that the paint repair doesn't last or work like you hoped, you can check those out. Most are material that is more flexible and probably longer lasting than the paint. One is liquid electrical tape and the other is a silicone RTV black adhesive sealant. Even though it's harder to find the spot, people recommend applying the patch material from the inside because the finish on the inside of many bellows is a fabric with more texture whereas the outside of many bellows is slicker or more glossy so the patch material is less likely to stick. Hopefully that all makes sense and good luck! I think this series of you getting into LF will be very popular because I bet a lot of people are considering it so watching all your steps, including patching the bellows if you decide to film that, will resonate with folks.
@@ScottWalton Thats a good thought.. maybe I'll try a couple things and do a sort-of shoot out..
Range of movements, the potential for Ansel Adams' like depth of field. Which with rigid cameras would require very expensive lenses which might not achieve it without distortion of diffraction.
I definitely agree, those are very good reasons to shoot a view camera and as I’m learning I’m really appreciating the flexibility of the camera movements!
You aren't limited to the resolution of a scanner if you use a camera for scanning with a macro lens (or a reverse mounted 50mm on extension tubes like I do) and stitch multiple photo's together in post. You can divide a film grain up into multiple pixels.
True.. no scanner = no scanner limitations. I used the camera and macro lens method when I was scanning 35mm negatives but I moved away from that when I switched to 4x5. I’m sure you can get much higher resolutions than I can with my flatbed but it’s too tedious for me. Cool stuff though!
@@ChrisDarnell That's cool, I see. That's why I'm building a arduino based automated system that moves the photo around like a 3d printer
@@misteragb7558 hey, did you build the system? How’s it working? Sounds pretty cool
Hi Chris, I just got into large format myself, with a plaubel monorail and 58, 90 and 150 Schneider lenses. I Develop the film myself in a Jobo cpp2 processor and stick to black and white. On the other hand I just tried the Fuji gfx 100s, which is cool, but not really pushing my envelope. Just more pixels. Keep them coming!
That 58 must be wide indeed! Did you have to mount it to a recessed board? I suspected the same when I contemplated the Fuji GFX cameras, lots of pixels but this large format camera has really pushed me to grow
@@ChrisDarnell Yes, it came with a recessed board and needs the wideangle bellows. The lenses have Prontor, not Copal shutters. They are self cocking and use a second cable release for previewing the image, I am in the process of setting everything up right now and let you know as soon as I have the first film developed ;))
It's a monorail camera. I had an MPP Micropress 4x5 monorail as a studio camera. I used Ektachome slide film and strobe studio flashes with a soff box.
I have a MPP Micropress 4x5 camera with a Schneider 135mm 4.7 lens for field and street work.
I use Fomapan 400 iso black and white sheet 4x5 film is £40 for 50 sheets here in the UK. As I have a permanent darkroom I develop in an open dish in total darkness.
The Darkroom in Cheltenham here in the UK is a good place to get 4x5 processed.
Thanks Neil for the recommendations!
On behalf of Camera-wiki :
Thanks for publishing your video !
A link to this video was added to the "Toyo View 45G" page on the Camera-wiki
Please note that no direct links could be given as that is against the UA-cam rules.
Thanks Hans, I’m honored!
You have very eloquently talked through the thought process I have just gone through! I have an Intrepid on the way and have just bought the same lens as you. Its the slow and deliberate process of making the photo that really appeals to me. I will watch your videos with interest!
Thanks Chris! Congrats on the Intrepid!
Hey Chris, your factor of 3 estimate for 35mm equivalent is a good rule of thumb. The standard lens for any frame size is the diagonal of the frame. So for 35mm that's 43.27mm. For 4x5 it's 6-1/4 inches or 158.6mm. So "technically" the conversion to 35mm is closer to 4:1. This also lets you get the equivalency for any frame size.
An astute observer will note that this means aspect ratio affects the standard lens length. Does the standard lens really change when I pop the 6x4.5 mask into a 6x6 camera? I lie awake at night pondering that very question.
Chris, do you sell the 3d printed tube you use for transport? I literally bought a 45G last evening and as I was driving home discovered your videos on your's... nicely done btw..
Thanks Mark, I’ve sent a reply to your email about that!
I recently picked up a standard camera 2.0 4x5, and a 240/6.3 lens. I’m looking forward to getting back to something that I’ve been missing since about 2012 probably. Building the camera myself was an interesting experience, though I do find myself already wishing I had a focus knob instead of just tightening and loosening the front and rear standards to focus. We’ll see what happens with my 10 shots of T-Max 100 and Tri-X 320.
I remember seeing those camera kits a while back but but I think you're the first I've heard of that built one. Would be really interesting to hear how it goes, best of luck!
@@ChrisDarnell The build was pretty easy, but I would class myself as a DIY enthusiast, so… it’s probably not for everyone. So far I’m one shot in, and I’m probably not going to develop myself, so… it’s going to be a few seconds…
I used my 45G yesterday!
How did it go?
@@ChrisDarnell Good day. Haven't use it for a while but love working with big cameras. I was using a Better Light 6k with a Rodenstock f5.6 120mm lens. Had problems with a stain on my cut filter that I tries to remove with alcohol to no avail. Normally I put the filter on the back of the lens which I did but I could still see some distortion. There is always tomorrow to work out the kinks. Cheers.
thank for the video - very interesting it seems to me the movements are more fluid respect to the folding as for example, and by the way does it fix the focus point and the movement in a sepcific point and furthermore does it accept 6x9 back also ? . thanks a lot
Thanks! The movements are a bit more fluid as compared to some folding field cameras I've seen since everything has geared adjustments and is machined out of metal. I don't personally have a 120 roll film back for mine, but I have seen 6x9 backs for the Toyo cameras on Ebay while browsing. Thanks for watching!
Very low budget Large Format "sheetfilms"
Put B&W bromide paper in the filmholder.
Multi Grade paper without colourfilter.
Or Soft or Normal graded paper.
About 3 ISO.
Develop 2 minutes, stop, fix ad rinse
Dry the paper, scan and digital reverse.
😅I love large format. It really is about slowing down and enjoying the process. Being more critical about what you setup and push the shutter button on, and being willing to learn and fail sometimes.
Sooo true, and something I’ve really come to enjoy so much about the format!
Would be nice to have a video on Tilt/swing and getting focus correct. I find it hard on GFX with all these modern aids like focus peaking so want to see how it works on these view cameras. Most folks don't mention it all. Shift is easy but Tilt can be hard.
Thanks Bobby for the suggestion, I'll add that to my list of ideas and see what I can do in that regard!
Look into the the dark room orange country Calif California for your film processing
Use black and white photo paper (Ilford for example) and develop your own pictures at home with safe light? Way cheaper.
I am all for preserving Vinyl, CD, Cassette, Tape and also anologue techniques in Photography, I think too soon we're chucking everything away and especially the photograpy that has
more character in contrast to the more sterile Digital (don't get me wrong I am pro-digital too) . However one must be realistic...where do all the fans of these analogue techniques find
material...for instance where do you find the film for this camera? Just curious cause I don't see a lot of firms selling this stuff.
But apart from that...wonderfull camera.
It somewhat depends on what film stock you’re looking for, but I’ve had pretty good luck getting film locally from my local camera store for the most part. The pandemic has made it harder for them to maintain stock but I’ve been able to plan ahead and stock up when they do have it. B&H photo’s website has been a great source as well, they tend to have a better stock but I like to support my local shop as much as I can. Film seems to be enjoying a bit of a rise in popularity lately and it’s actually made it a bit easier to find as a result
Panorama 4 x 5 view camera.
Devide the format in 2 x 5 inch.
Cover 50% of the film by a the horizontal 50% cut away darkslide.
For the second half; turn over the 50% darkslide.
Mind to rise or fall the optic/film corectly
another couple of advantages to LF you didn't mention, one the shallower depth of field, that the lenses offer, so can do selective focus, and EVERY lens is tilt\shift!!! no having to buy a separate one, in ONE focal length to do buildings, etc. one more advantage is that since NO batteries are used, or digital sensor, hence software!, so no planned obsolescence!- the thing will work 50 years from now!!!- just an oil change, and cleaning of the lens elements, and maybe refurbishing the bellows, it is that simple, nothing much can go wrong aka no worries about corrupt memory cards, or short circuits when using flash, as it is just a "switch", no electronics to fry.
All really good points, and things I've learned to appreciate as I've continued on my journey with LF!
Dear Chris,
In the video, the monorail has a screw on the closer side to you. When attaching the extension rail do you fix the extension with that screw or the screw is just for the cover knob to aesthetically close the open end when not using the extension rail?
That screw thread that you see closest to me is both where the extension rail screws in, and where the protective cap attaches. There is a threaded rod that goes through the rail and the knob to tighten them down is on the backside of the rail, farthest from me on camera. Hope that explanation helps!
@@ChrisDarnell Thank you! That is what I was exactly curious about! User manual is not clear about it and I forgot how I fixed it. It means mine is broken then. When releasing the knob, it just screws off as if it was a protective cap. It seems to be broken off the rod and can be just unscrewed as the knob on the other end, without any effect on the rod. Weird. Therefore, I cannot remove the extension rail. 🤦♂Thanks, it was a great help!
@@Djangodr0m oh no!! I have seen replacement rail pieces on eBay if you can’t get it fixed!
Also digital backs for medium/large format are prohibitively expensive!
Good video. I recently bought a Toyo 45AX field camera and love it. So, you should learn to develop your own film rather than use a lab. It's not that difficult - especially black and white.
Thanks David! Agreed, I think as I get more comfortable with the rest of the process I’ll experiment with developing as well. Congrats on the field camera!
Hey, Chris bought a 4x5 Intrepid field camera, that lasted a week, it's a total pile of junk. I'm thinking of going monorail, Toyo 45g, how heavy is it? is it a beast to carry into the woods and places you go?
Honestly, yeah it's a total beast, haha. It's manageable if you can find a way to pack the camera down flat into a backpack but the camera, rails, and tripod adapter are probably ten pounds heavier than the intrepid. I adore the geared and lockable adjustments on the Toyo but it's just hard to justify the weight lately..
I understand the result of front camera tilt, shift movements. When does a scene require rear camera movements that can’t be achieved with front camera movements?
For the most part you’re absolutely right, the same results can be achieved using front movements, although it’s nice sometimes to have the option of both. The one difference that comes to mind is the distortion you can get with heavy rear tilt. By tilting the film plane closer/further away from the lens you can selectively change the magnification factor and exaggerate or minimize the foreground/background for example, which is different than what you get by applying front tilt. Most cameras have at least rear base tilt that will accomplish this though, a monorail camera is certainly not necessary.
Thank you for explaining. To be honest, i can’t visualise that scenario in my mind. I guess if you what a topic your next video, rear tilt, swing and shift that can’t be achieved with front camera movements would be of great interest to many 35mm photographers that have never used a wonderful view camera. I appreciate you taking the time to make these videos. I’m sure it’s not easy.
Where did you get the stubby rail?
Hi Glenn, if I understand your question correctly the monorail for my camera is a two piece design that screws together, so in this video we’re seeing it on the tripod with only half of it in use.
Read Ansel Adams books and minor white for zone photography.
Which lab will develop your sheet films?
Do it yourself in your own darkroom.
Shoot black and white sheet film.
Amateurs should not shoot 4 x 5 colour.
Buy a 6 x 7 or a 6 x 9 rollfilm back for your Toyo..
Forget Ansel Adams and his Zone System; it is not a sacred formula.
Do not use a spotmeter; you will get a nervous brake down.
Learn to watch the light and use a Weston or a Sekonic.
Mind the factors 2X and 1/2X by choosing next optic.
For Portraits get a (very) old 300 mm or 360 mm.
For wide angle you get factor 1/2. So a 90 mm.
Dish developing the sheet films is no problem.
Use Ilford Ortho and a normal devoloper.
And can be done by a safe red light.
Make contact prints of your negs.
View cameras are not antique.
You still need a black cloth.
A protection UV filer.
A cable relaese.
Use FOMA.
B
Develop your own film. It's much easier than it looks. Even colour. You could get a 120 back for your 4x5 and start by developing 120. Cheaper on film and the tanks/reels are cheap. With 6x9 you still get a massive negative.
Agreed, I think experimenting with developing is definitely in my future. It’s just that large format is a massive change to my method of capturing images already so I’m taking it one bite at a time. The 6x9 back is a great idea, I’ve contemplated that a few times. Thanks for the tips!
Your Fuji 180 mm has been mounted at a Linhof board.
Make your PINHOLE Linhof boards yourself: cheap and simple.
crop factor is 3.5x, not 3x.
Expensive ? Shoot 35mm out of 36 shots maybe 5 keepers, shoot 120mm maybe 3 out of 10. Everything costs $50.
Ja 3/4 zdjec mam dobrych za kazdym razem
Zoom optic for a 4 x 5 view camera !
Focus 65 mm to 500 mm.
PINHOLE lensboard.
The distance between the lensboard and the filmholder is your focus.
The diameter devided by the focus is your aperture.
For wide angle you need an extra small hole.
Why film? Because it's a real object. Something I can hold in my hand. I can even look at it with my bare eyes. None of that is true for a file. Also if you think what will happen in 50-100 years, will you be able to open those files? Something to consider...
Very true, that's a benefit I've come to really appreciate myself, especially with my sheets of color reversal. Bit rot is also a real problem and probably something most people aren't protected against enough, definitely not over a timespan that long, so agreed it's nice to know that film neg is stored away.
You look like Aaron Crascall