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Choosing an 8x10 field camera?

jonpaul

New member
Specifically, I am trying to decide whether to go with a new (er) camera, such as a Tachihara double extension or Wehman, or if I should save a little and go with a used Deardorf. I have not handled a Deardorf, and know they have a great reputation. I just don't know them. I need a stable camera for field work shooting landscapes. They don't look solid, as they are quite aged, but I don't want to make an ignorant decision. Any input is appreciated as I narrow the search down.
Thanks!
Jon
 

Oren Grad

Active member
At the same price, I'd much rather have a Tachihara in good condition than a ratty Deardorff.

Don't stretch your budget to the point of discomfort solely because of "reputation". You should have a clear idea of what the extra money will buy for you and why you want it.

Deardorffs in good condition are fine cameras, but you shouldn't assume that they're necessarily superior to other cameras just because of the famous name. The particular design might happen to suit you, and if that's the case a good one is worth the money, but depending on your needs and tastes you might do as well or better with a different brand.

If you don't have any experience, I'd advise starting with a less expensive camera. It may turn out to be all you need. If it turns out to be not quite right, you'll know a lot more about what you need to look for next.

Tachihara is a reasonable choice for an 8x10 on a relatively modest budget.
 

Lars

Active member
Yeah any old Deardorff won't do you have to find a good one.

Shen Hao is another Chinese brand worth considering.

Personally I had a Wisner (returned), Gandolfi Variant (wrecked in a storm), and now two Toyo 810G monorails (one as a spare in case of another storm).

The Gandolfi was a very fine camera, pretty close to Ebony in build quality. Single extension only.

The Toyo monorails are great cameras but quite heavy at around 9 kgs just for the camera. If you want to shoot with 600mm lenses in windy conditions a monorail (and two tripods) is a must, though.
 

Jack

Sr. Administrator
Staff member
My favorite 8x10 to actually use in the field was an old Arca Swiss AB, and they're pretty cheap. The nicest looking 8x10 I ever owned -- and the most expensive, and the one that drew all the attention whenever I had it out in the field -- was a Lotus. The most awkward to use in the field was, surprise, a Sinar P -- solid and robust and assymetrical movements, but a total PITA as a field camera.

Deardorffs have incredibly tiny lock knobs. The Tachihara would be most similar to the Lotus I mentioned above, but if I were starting out in 8x10 now, I would seriously suggest look for an older Arca AB. Lars' Toyo is very similar to the Arca AB in use, though the Arca is more compact and easier to store in a pack.
 

micek

Member
Shen Hao built me an 8x10 camera to my specifications for the same price as their standard 8x10. My interest is architecture and environmental portraits, and the camera can mount lenses from 90mm to 450mm, all front movements (including 100mm rise) and a fixed back. Non-folding for quick deployment in unwelcoming urban areas. The weight is 3.4 kg.
 
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DougDolde

Guest
Just a thought, why 8x10 and not 4x5 ? The advantages are many and the increased resolution of the larger format may prove elusive. You'll be dealing with much less depth of field with longer lenses, slower shutter speeds due to smaller apertures trying to recover the lost depth of field, and that big wind catcher huge bellows.

Unless you just like the gestalt of it why bother ?
 

Jack

Sr. Administrator
Staff member
8X10 is a blast to shoot, and there is definitely a gestalt to it. OTOH, if I were getting back into large format, and given that now quick and ready loads have gone away and I'd be back to loading holders anyway, I'd likely buy myself a 5x7 --- great compromise for size, weight, lens availability and capture area. A 5x7 is roughly half the capture area of 8x10, and thus nearly double the capture area of 4x5, but still can use many of the same lenses as a 4x5. Also, with most any contemporary 5x7 (or even 5x8) camera, you can get a 4x5 reducing back, so get a two-fer...

My measly .02,
 

Lars

Active member
Doug, have you shot 4x5 and 8x10 so you are in a position to actually compare? I suspect from your comment that maybe you have, but it's not obvious.

I'd like to raise the question of 5x7/5x8 vs 8x10: One aspect here is digitizing options. With 8x10, if you want really good scans you have to either get into drumscanner territory or get a high-end flatbed to do wetmounted scans on. With 5x7 options are far more - Imacon has (had) one model that scans 5x7 and IIRC several midrange flatbeds can do 5x7.

Another aspect, as Jack points out, is lens selection. Lenses for 5x7 are inherently smaller and thus often cheaper, and selection of good recent designs is much wider.

Then again, a well focused 8x10 slide on a light table is almost impossible to match with any other capture or display technology. Call it gestalt if you want, but how else can you ever visually communicate such a massive amount of information? Certainly not in the digital display world, and with prints you'd have to get into wall-to-ceiling lightjet prints to come close. I did a presentation a week ago at a client, and while we discussed making prints, the slides on the light table is what put a permanent grin on the faces of everyone attending. 5x7 gets close; 4x5 is too small to impress anyone.

so - for slide film I'd prefer 8x10, for negs 5x7 unless contact printing is a priority.
 
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DougDolde

Guest
Actually no I never shot 8x10, but a lot of 4x5 until two years ago when I acquired an Aptus 75S.

It's only been the last six months since the longing to shoot film again has finally abated. 9/10 of the time I get a better result with the Aptus than 4x5 though the look is certainly different.
 

Jack

Sr. Administrator
Staff member
There is definitely something to seeing the larger tranny's on a light table. There is also something to composing on the larger GG's. For sure actual scheimpflug adjustments are easier to "see" on the larger GG's and focus does seem to pop in and out more clearly.

One thing we didn't mention re 8x10, is film flatness starts to become more of an issue as formats go up, and here is another benefit of the slightly smaller 5x7/8... Finally, at least for me personally, I find the almost 3:4 aspect ratio of 5x7 more pleasing compositionally than the 4:5, and in fact I usually cropped my 4x5's (and 8x10's) down a bit to get to 3:4 anyway...
 

jonpaul

New member
Thanks for the solid input everyone!
I actually shoot 4x5 and 6x17 cm on a 5x7 body. I am not going with 5x7 because I shoot color transparencies exclusively. I do believe the print quality from 8x10 is visible, at least for the educated photographer. I am sure I would use it selectively, but I would like to add it to my arsenal.
Unfortunately, I have a desire for the best equipment, but am being a bit frugal right now...and thus looking for a "good deal". I am actually considering the Wehman. All my other cameras are Canhams, which I love. I just don't have the budget tight now. This bothers me a bit, as Keith Canham is fantastic to deal with. We'll see what happens along.
Any other input is always appreciated.
Enjoy the View!
Jon
 

Jack

Sr. Administrator
Staff member
I have a desire for the best equipment, but am being a bit frugal right now...and thus looking for a "good deal". I am actually considering the Wehman.
The Wehman is affordable, but then so is an old Calumet 8x10 C folder at half the Wehman, and basically the Wehman is a sort-of Swiss-cheesed copy of the C1. Seriously, for what you would spend on a Wehman, you can get a really decent Arca AB in 8x10, and trust me, you'll be boatloads happier. No, it isn't a field folder like your Canhams, but you can move both standards onto on of the 6" rails, and remove that as an assembly from the base rail and stuff it in your pack in the same slot you'd use for a folder. Just leave the base rail on your tripod. Plus, used in this fashion, the set up and tear down is essentially as fast or faster than any field folder. (To wit, I could have the Arca out of the bag, on the tripod and zeroed way faster than my Lotus.) And the Arca is pretty darn rigid.
 

jonpaul

New member
What do you all think of my looking into an inexpensive monorail to try things out and see what I think? then I can try to get my hands on some field cameras to try. I know it would limit me to about 1 mile from the car, but perhaps it is the prudent way to go?
 

Jack

Sr. Administrator
Staff member
Uh, the Arca I mentioned IS an inexpensive monorail, but it certainly won't keep you close to the car. IIRC, mine weighed about 11 pounds total with the big base rail clamp which aint too bad for a rigid 8x10.
 

Lars

Active member
I paid $500 each for my Toyo 810G's and they are pretty close to the Linhofs in quality and rigidity.

The tricky thing is to figure out how to pack a monorail. I found a 150 mm rail section for Toyo which allows me to slide both standards together and pack the camera flat in my backpack.
 

jonpaul

New member
I hear you Jack. I just don't seam to be able to locate one. Also, an Arca specialist I know in Arizona warned me of issues with replacement parts he has had with customers that own those. i know there are aleays issues, but mostly, I just am not finding the cameras available. I'll keep trying.:)
 

Jack

Sr. Administrator
Staff member
Of course Rod is going to say that, he wants to sell you a NEW one! Bottom line is that the most of the replacement parts you'll ever need can be stolen from the same vintage 4x5 models. If the bellows are shot, you can have a new one custom made for around $300. Oh, and most of the older Arca 8x10's had bail backs which IMO are a HUGE benefit when working with 8x10 holders! :thumbs:
 
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