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Really Big Cameras |
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Wednesday, 22 June 2005 |
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Page 2 of 6
The Cameras
Whether to
choose a new or vintage ultra-large camera isn’t an easy decision. Modern cameras
by Wisner, Canham, and Lotus are essentially scaled-up versions of their usual
field camera designs. For storage and transport, the front standard collapses
against the camera bottom and the rear standard folds over with the bellows
in the middle. All offer camera adjustments galore, lots of bellows extension,
and solid build quality. They fold to fairly compact size, and will set you
back big sums of money. Whether your taste runs to the polished traditional
look of Wisner, the hi-tech hybrid style of Canham, or the Euro-crafted Lotus
design, the oversize cameras in their lines run true to form. There are differences
in feature sets, weight, and design factors like the steps needed to fold or
unfold the camera, and the right selection is a matter of personal need and
preference. Hands-on experience with the different designs should be considered
mandatory before investing. Sizes available vary, with Wisner and Lotus offering
cameras up to 20x24 inches.
Used and even antique cameras are a viable alternative.
For the “there’s nothing like a Deardorff” crowd there are a few used Deardorff
banquet cameras around, built on the familiar design of smaller Deardorffs,
but they are rare enough to command premium prices. Other older cameras are
fairly easy to find and, in good condition, or after restoration, are likely
to cost less than half the price of modern cameras.
With the older cameras there
are trade-offs other than price to consider. Folmer & Schwing banquet cameras
are nicely made and very rigid (unless badly worn). They feature rear swing
and quite limited rear tilt near the film plane axis, generous front rise and
fall, but no front swing. A unique front forward tilt mechanism uses a second
bellows; it’s functional and a real conversation piece (see illo). This feature
was invented specifically to be used in combination with a lens fall to keep
focus on ranked seated groups from a high angle, but works perfectly to configure
the camera for a deeply focused landscape. Because the F&S banquet cameras were
originally designed for indoor group photographs with short lenses the design
offers only modest bellows extension, 24 inches on the 12x20 for example, so
it isn’t suited for close-ups or work with long or even normal lenses. The F&S
is most commonly found in 8x10 and 12x20 inch sizes. To store or transport an
F&S, you simply bring the front standard all the way back against the rear standard
and fold the focusing rail up. There’s no need to remove the lens. The F&S is
slightly lighter weight than modern cameras of the same size.
The Korona Panoramic
View camera is often seen in 7x17 and 8x20 sizes, and occasionally in 12x20.
The design style and folding mechanism are similar to the F&S, but Koronas feature
a much longer bellows and a second, removable focusing rail that attaches behind
the normal rear standard position. To use, the rear standard is walked back
onto the extension rail (see illo). This makes the camera potentially more useful
for close-up work and with long lenses. But Koronas, while light weight, are
also just plain flimsy. It’s possible to get perfectly sharp pictures with them
but it takes great care to avoid camera shake. Not a good candidate for shooting
in the wind. The design features rear swing, geared rear tilt, geared front
rise and fall, but no front swing or tilt. AWB Enterprises offers a Wind Stabilizer
Kit that weighs only a couple of ounces and can greatly increase the rigidity
of a camera like this, but makes it much slower to set up. I find a pair of
simple carpenter’s spring clamps can be a big help to steady the rail.
Burke
& James cameras were made in 11x14 as well as smaller sizes and can readily
be found for reasonable prices, but the design tends to be less than rigid,
especially in a sample that has seen a lot of use. Different B&J models have
drastically different feature sets. Patrick Alt and AWB Enterprises offer repair
and restoration of these and other vintage cameras and also can modify them
to add front movements missing from original designs. There are other antique
cameras from a number of long-gone manufacturers in a bewildering range of sizes,
far too many to detail here. Any of these could be useful if you find a clean,
or restorable, sample, but be sure to consider what will be needed to complete
an outfit with a really unusual camera.
Each photographer has to work out the
compromises of new and old, weight vs rigidity, big and small feature sets,
and price levels. Don’t be afraid to let simple personal preference play a role:
I admit to liking old cameras and have no intention of giving up my 8x10 Deardorff
for a more modern design. So bear that in mind while I describe the choices
I’ve made for even bigger cameras. I’ve settled on the F&S as my 12x20 camera
because of its strong and sturdy design combined with relatively light weight.
I prefer the folding rail design in a camera this size to the double folding
standards of the modern cameras. Since I use short lenses, never even a lens
of normal focal length with this format, the limited bellows extension doesn’t
bother me. Swings are convenient and usefully placed at the rear, where they
are most versatile. With the short lenses I favor, there’s no need for extensive
front movements because no short lens has the coverage needed to utilize them.
For 7x17 I’ve chosen the Korona. Its extreme light weight lets me carry it to
fairly remote locations with a lightweight tripod: the outfit in a backpack
weighs no more than my 8x10 set. The flimsy mechanics are a nuisance but in
fact I have lost very few negatives to camera shake. I bought the F&S in excellent
condition with new bellows, the Korona was in poor cosmetic condition but again
with new bellows, and together they cost me considerably less than a single
modern camera in these sizes.
Different requirements could dictate completely
different choices. If you use long lenses, not only will long bellows extension
be needed, the camera has to be rigid enough to handle that much extension.
You may want the full set of front camera movements offered by modern cameras
since long lenses often have the coverage to utilize these adjustments. Close-up
work also requires long bellows extension. Strength and rigidity become important
factors here unless the work will be done in the controlled conditions of a
studio, away from wind and other potential sources of movement and vibration,
and so one of the modern cameras would probably be the right choice.
A significant
advantage you get when buying a new ultra-large is that the modern cameras are
anything but mass-produced. The modern builders will treat your ultra-large
camera order with special attention. If you want your Lotus to accept vintage
holders designed for your Korona, they’ll make it that way. If you want your
Wisner or Canham to accept Deardorff lensboards they’ll be happy to set it up
that way for you. But be prepared to wait for delivery.
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Last Updated ( Thursday, 23 June 2005 )
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