Update Calumet?

[Soocom1]

Well, after looking over Toyos, Kodaks, Horseman, and others, I am wondering if it is worth it to upgrade my Calumet to something with a bit more to it.

I just never got around to buying a new one until I started horsing around with other functions like the Canon adapter and other things.

Experiences? Advice?

 

[Derrel]

Well, after looking over Toyos, Kodaks, Horseman, and others, I am wondering if it is worth it to upgrade my Calumet to something with a bit more to it.

I just never got around to buying a new one until I started horsing around with other functions like the Canon adapter and other things.

Experiences? Advice?

Calumet is still capable/stay with it.

 

[IanG]

Depends on which Calumet camera you have, their cameras were very varied, from early US made models to re-badged CAmbo's. The company was still trading it only went bankrupt in the US, they were bought by WEX recently in the UK some stores still use the Calumet name.

Ian

 

[Soocom1]

Given its about a 1950's era 4x5 grey, and parts are coming off, I am just thinking that something a bit more updated might be in order.

 

[Christie Photo]

is worth it to upgrade(?)

I suspect you're using it for pleasure and not for business. Is that right?

And... I wonder how often you use it.

There is a real joy that comes with using nice tools. So if you use it for pure pleasure and you use it regularly, then sure... I suggest looking around for something more.

If you use it only occasionally (or rarely) for work and it gets the job done, then maybe make due.

Just some thoughts.
-Pete

 

[IanG]

These days we're spoilt for choice. You need to decide what type (style) of 5x4 camera you'd like. Field, Technical. Monorail.

You need to decide how much you need in terms of movements and also what Focal Length lenses you prefer to use.

Initially (1976/7) I used a monorail camera but it wasn't practical for landscape work and backpacking so I bought my Wista 45DX 10 years later.More recently around 2008 I acquired a Graflex Super Graphic as well mostly for hand-held work when in Turkey & Greece (in areas tripods are banned). I was surprised that although the Super Graphic has few movements than my Wista they are enough for all my landscape work.

If it's possible it would be useful to be able to use your lenses on boards from a newer camera on your early pre Cambo Calumet. I've been making lens board adaptors for some of my other cameras, in my case mostly larger formats like Half Plate/7x5 and 10x8. That means I can use my 240mm Nikkor W and 300m Nikkor M on my Wista, Kodak Specialist 2, and Agfa Ansco Universal and Commercial View 10x8's. I can use the same lens boards with my MPP MicroTechnical cameras, or pre-Anniversary Speed Graphic as again I made an adapter.

Ian

 

[Tim Tucker 2]

If it were me, then I would. Looking at the pictures I assume that you have an old Calumet CC400. It's ok and does the job, but is a little limited.

The main problems are bulk and the fixed bellows. Monorail cameras are the most versatile in terms of movements but are restricted because you have to frame and focus through the ground glass screen. They are bulky in that they don't fold down to a nice regular sized package and are therefore difficult to carry anywhere away from the studio. I had a Sinar F2 and it was a very nice package, though difficult to carry in the field. One problem with all view cameras is the use of wide angle lenses because generally wide angle LF lenses don't use retro focus design and so need to be close to the film plane. With most LF cameras this either involves a set of bellows that are either interchangeable with a bag bellows, (Sinar is excellent as a modular system), or the use of recessed lens boards. Another thing to be wary of is EBay bellows as they tend not to last and are also a fair bit thicker than a good set so therefore tend to *bind* earlier.

The second set of cameras are the Field cameras, these can either be made of wood or metal. They are generally light and fold into a very convenient package that's far easier to carry. They still need to be focussed through the ground glass screen and so still need to be used on a tripod. Because they have fixed bellows you will need a recessed lens board to use 90mm lenses with sufficient movements which can be fiddly but ultimately workable. Movements are limited compared to a monorail but generally are more than sufficient for field work.

The third set of cameras are the press cameras. These are light and generally designed to be used without movement, but do have the unique advantage of a separate rangefinder focussing system and so can be used hand held with the film loaded. An offshoot of this design is the Technical camera which is like a press camera in that it has a rangefinder focussing system but also offers a fair range of movements and folds into a nice neat and cartable, (though slightly heavier than a Wista/Toyo), package.

 

[Soocom1]

it is an old CC400.
The wing nuts are breaking apart (Home Depot repair) and the bellows though still supple are starting to stiffen up a bit.

I know that the repairs are somewhat easy, but it doesnt have a Graflok on it and thus any adapters wont work unless you rig them like I am doing now with the home brew adapter.

 

[IanG]

The second set of cameras are the Field cameras, these can either be made of wood or metal. They are generally light and fold into a very convenient package that's far easier to carry. They still need to be focussed through the ground glass screen and so still need to be used on a tripod. Because they have fixed bellows you will need a recessed lens board to use 90mm lenses with sufficient movements which can be fiddly but ultimately workable. Movements are limited compared to a monorail but generally are more than sufficient for field work.

The third set of cameras are the press cameras. These are light and generally designed to be used without movement, but do have the unique advantage of a separate rangefinder focussing system and so can be used hand held with the film loaded. An offshoot of this design is the Technical camera which is like a press camera in that it has a rangefinder focussing system but also offers a fair range of movements and folds into a nice neat and cartable, (though slightly heavier than a Wista/Toyo), package.

A few corrections are needed here:

I don't know of any modern (1970's onwards) 5x4 field camera that needs recessed lens boards for a 90mm lens, I dont't need a recessed board with my 65mm and 75mm Super Angulons on my Wista. Most field cameras have a good range of movements and have Double Extension bellows - that's typically 300mm/12" - twice the standard 150mm/6" standard FL lens.

Metal bodied Technical cameras go back to the better AVUS style German 9x12 cameras most of which offered no more than rise and fall, and sometimes a little front shift. However a few top end cameras offered better movements rotating backs and interchangable lens boards, a good example is the Universal Silar sold by Porst and Meyer and manufactured by Perka Präzisions-Camerawerk between 1922 and the companies closure in 1930. So here's an early technical camera offering triple-extension bellows, rotating back, drop bed, and front rise, shift and tilt Another example is the ICA (later Zeiss) Juwell.

Linhof took over production after Perka closed and the Silar evolved into the Linhof standard and then the Technika. Post WWII brought International standards to plate and film holder dimensions and the Linhof Technika III was a 9x12/5x4 camera with an International back.

Technical cameras like the post WWII Technika III and later models, and the MPP Micro Technical cameras, offer a good range of movements, and are more robust than wooden field cameras, designed for tripod or hand held use, and often fitted with a range-finder. They have triple extension bellows allowing easier use of longer focal length lenses and close up work, but they tend to be heavier than a wooden field camera.

Metal bodied 5x4 field cameras started with the Rittreck View in 1965 which was a 7x5 with a 5x4 reducing back, although Kodak made a metal bodied 10x8 field camera a little earlier. Rittreck ceased trading in 1972 but production started again as Wista.

Press cameras like the Speed Graphics were derived from the earlier British and American wooden bodied Hand/Stand cameras which offered few movements. so unrelated to the German derived Technical cameras. After WWII Graflex added limited movements to the Speed and Crown Graphics but they couldn't compete with Linhof and later MPP outside the US. The Super Graphic with more movement and a revolving back was their answer. When Graflex ceased trading the tooling and rights were bought by Toyo who continued to produce the Super Graphic in Japan.

That's where we come full circle and the Super Graphics are close to becoming a metal bodied field camera. I was looking for a Toyo 45A to replace my Wista 45DX when I came across my Super Graphic at a bargain price. At the time there were Toyo 45A cameras around at low prices now demand has driven prices up.

Ian

 

[Soocom1]

Opinions on toyo?

 

[Christie Photo]

Opinions on toyo?

Brand names? Really?

In it's most basic form, a camera holds the lens standard and the film standard. What we have to settle on is what movements we want and how well the camera does them.

Toya is a fine camera. So is Calumet. So is Deardorff. And so on.

Each brand makes (made) a selection of cameras ranging from entry-level to their best effort.

So long as a particular camera is in good working order, you're good to go. What matters more is the lens/shutter we equip it with and the way we use it.

-Pete

 

[Soocom1]

The Toyo has both front and rear lift-fall movements. The Calumet does not.

The Toyo also has the Graflok back, where the Calumet does not also.

The same can be said also over the Horseman and a few others.

Parts can be had somewhat readily for the Toyo and Horseman, not so much for the Calumet.

 

[Derrel]

I would like the Graflock back. I see little use for rear fall in most situations.

 

[IanG]

The Toyo has both front and rear lift-fall movements. The Calumet does not.

The Toyo also has the Graflok back, where the Calumet does not also.

The same can be said also over the Horseman and a few others.

Parts can be had somewhat readily for the Toyo and Horseman, not so much for the Calumet.

That depends of th type of camera and the specific model. The Toyo 45A I mentioned is a metal bodied field camera and has no rear ris/fall whereas a Toyo monorail camera does.

I would like the Graflock back. I see little use for rear fall in most situations.

If you have front rise you don't need rear fall, I guess in extreme architecture photography both might be useful but I've never needed those extremes.

Strangely I've never used the Graflok backs on my 5x4 cameras that have them. My Wista 6x9 roll film back fits under the back of my 45DX and has a screen protector, I've not used for over 20 years though. However with most 5x4 cameras a Graflok back is a necessity for a roll film back, or maybe a 6x17 back.

The OP needs to think what style of camera first before deciding on the make and model. I'd go to somewhere and see and handle a few cameras first.

Ian