Making the leap into large format (possibly)...

This is my first time in the large format forum, so be gentle on me.

I'm considering venturing into architectural photography. Obviously, I need a view camera. I've started probing around the internet for info and as you may suspect, there is more information than I can absorb. I basically want to be able to shoot buildings and structures with the proper movements. I want to be able to shoot interiors also. I will probably be doing macro and product photography also, so I hope the camera can handle those problems as well. My price range is the main problem: I want to get started for less than $1000 for a whole kit (hopefully, much less, like around $500). I'd love to have a camera that uses roll film instead of 4x5 mainly because of expense (especially since I'll be making a lot of mistakes in the beginning and I don't want them to be costly). I have many other questions, but I'll wait to get some responses first.
Ara

Sinar F or F1, bag bellows and regular bellows, normal lens (something like a 150 symmar convertible) and a rollfilm back should be the thing in that price range. It would be good to have a 90mm lens as well. A 90/8.0 Super-Angulon is probably the most bang for the buck.

It looks to me like you probably want to get a monorail for what you are planning on shooting. They will have more movements, usually quite a bit longer bellows, and the movements usually work better. That is actually really good news for you since there are very nice monorails out there for about $200 or even less that will do the trick for you. I have had a Cambo SC2 and it was very nice, I got rid of it because I was doing landscape and it is a pain to lug around compared to a field camera.

As for lenses, you might want to start with a wide angle for the architecture, perhaps 90mm or so. A good one might cost a little bit, but this is where to spend you money. You want the best coverage you can get so that you can use the movements on your camera. A 210mm will most likely cost less and would be nice for the tabletop work and the like. You will probably not be able to keep around $500 if you get a 210 as well as a 90.

If you are not averse to eBay, I would consider keeping an eye on packages that people list. You can probably get most of what you need to get going and it will likely set you back a lot less than buying the items seperately.

I haven't really looked at roll film backs, so I will leave that to someone else to discuss, but they are available to work with most cameras.

I just noticed this on eBay : Depending on how much further it goes up, this looks like a very nice deal. The lenses include a 90mm and 210mm Caltar, probably made by Rodenstock.

David's suggestions are spot-on. There are a number of cameras which you can choose from that aren't too expensive, at least for monorail cameras. I have an old Omega 45D, which has worked well over the years, and can be picked up fairly cheap. There are a number of roll film backs, but a good one like the Horseman will set you back a bit more.

A used calumet 400c series is probably the least expensive route. The cameras are always available on Ebay and can be had for about $150-$200.
they have full front movements, rear swing, tilt and shift and accept roll film backs. They are extremely rugged, and due to their popularity with pros in the 50s and 60s there are hundreds still in use by hobbyists and amateurs.

Weight wise they are little heavier then a Sinar or Horseman but virtually indestructible.

That would leave a good chunk of change left over for one or two lenses from the used market.

Concur the above info is sound advice.

Roll film will offer you more opportunities for bracketing exposure.

However it will be harder to adjust perspective since you are using a portion of the GG. Also lenses will be effectively longer, so a struggle for the interiors and when trying to get a whole building in shot from a restricted distance. Sadly lenses wider than 90mm and associated centre filters are not cheap.

If you decide to go ahead and use 5x4, then 2 sheets of each shot where you process the first and compensate on second should you decide that processing it at all is necessary works well for me. Developing a method/workflow that suits you, without the pressure of time initially, will reap rewards.

I'd skip the sinar F or F1 and go for the F2 or Norma. The front standard of the f/F1 is near worthless and if you bide your time the F2's sell on ebay as low as 5-700.00 leaving enough left over for a good newer normal lens or a couple older com ektar lenses.

Some of the older, heavy monorails are just painful to use. If money is a real issue get a Crown Graphic (~ 200.00) and put all your money into lenses and a handful of holders. When you outgrow the graphic the holders and lenses will be fine with the new camera.

Toyo rail cameras (D,E) can be had used for as little as $150.00 in fair shape and make a good place to start, you can upgrade after you have some experience and develop some preferences. Don't cut corners on your lenses. One great thing about LF is if you upgrade to a better camera you can switch lenses over also.

Baxter Bradford said:

However it will be harder to adjust perspective since you are using a portion of the GG. Also lenses will be effectively longer, so a struggle for the interiors and when trying to get a whole building in shot from a restricted distance. Sadly lenses wider than 90mm and associated centre filters are not cheap.

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So true. You would need something much wider than the 90 for the roll film back - essentially you would need two lenses, one for 4x5 and the other for 120.

If I was going to do architecutural photography, I would spring for the Schneider 110XL, which has a huge image circle. But, it is about $1700 US, plus you need the center filter ($325 US) for it.

You will need lenses wider than 90mm a) if you are going to use a roll film holder and b) if you are shooting in Europe: remember that space is much tighter in European cities. I can't remember right now what the image circle of Schneider's 47mm (non XL) is, but together with a 6x9 roll film holder it would give you, in 135mm terms,the approximate equivalent of a 21mm lens with some movements. It is a cheap but fine lens.

While I agree with much of what has been suggested, I'll take a different approach, which may lead you in a different direction, camera-wise.

The uses you describe, Ara, are sort of at oppsite ends of the feature spectrum. For architectural work, you'll want a wide lens for much of the work. As importantly, you'll also want a short rail. Cameras like the Calumet, older B&Js, etc. that have fixed end caps on the rail will be a pain in the chest (or, someplace farther south). For table-top and macro, you'll probably want a normal or slightly long lens and as much bellows extension as you can get.

Thus, I'd suggest something you can swap the rail, as well as having interchangeable bellows (bag for architecture, long pleated for macro).

Used Toyo 4x5 monorails are a good balance between function, build, and economy. Plus, there are different rail lengths available. Some rail models can be screwed together to give more extension, and there are long bellows available, too.

The Sinar and Arca Swiss cameras offer greater flexibility in some cases, but at more of a premium price.