No. Flash sync is poor. Not worth $3500 Even I bought another camera with repairs still under in price. Pentax 17 is currently available everywhere and has gotten bad reviews By AeroLiberator
If someone wants a large format camera with movements that is inexpensive, there is intrepid. The Smartflex camera is a SLR camera, which is completely different than something like the Intrepid (or most other large format cameras) which use a straight through view to a ground glass. "Shoot on Film" by Ari Jaaksi features many film cameras, including the original 4x5 SLR camera. He shows some very interesting things you can do with a camera like that. Why buy a new one? The very old cameras break down, and if you need to make a new shutter can you do it? If you need to replace some screws can you get them? What about documentation, etc.?
I own an original Graflex 3x4 Series D, let me tell you this if I had the disposable income to buy the Smartflex I would switch over in an instant. This system has been my main driver for shooting large format because trading movements for portability was more important for me to be able to go out and shoot rather than focus on something that I rarely used in the first place. This camera is good at two things, portraits and landscapes which it doesn't just do good it EXCELS at them. The Smartflex is in every way an improvement over the original camera. They aren't going to stop at 4x5 either, as they have already prototyped a 5x7 and 8x10 SLR. While it's fair to have concerns about the long term durability of 3D printed parts it doesn't change the fact that they aim to manufacture new parts for this camera which hasn't been done since the 1960's, it benefits every Graflex user for this project to be successful.
I visited the Smartflex factory. Originally, they are making digital photo boothes (they still do). I think they make the best photo booths in the world. The Smartflex project wasn't intended for commercial purpose. It was a fun project by the owner. He modified a lot of large format cameras for himselves and friends. Overall, it is highly rated by users in China who receveid the preproduction version during the past few months. But I think Smartflex will face some challengaes in quality control as their camera is way more popular than expected, and they need to build distribution network around the world (at least in EU and North America) to handle after sales problems. I wish them a very successful launch.
I worked in a well known film only camera store for 7 years and have been shooting film for over 15. From experience, dedicating a large portion of my life to this I have been watching Smartflex with eager anticipation. In my time we have appreciated, bought, sold and repaired, attempted to repair MANY old Greflex Reflex models. Almost all of them had some kind of major issue such as broken, or torn shutters (good look trying to get replacements), worn mechanisms with slipping gears causing inconsistencies or misfires with the shutters, pinholes in the bellows, cracked ground glass, delivering mirrors... The list goes on forever. As an expert in the field, I'll say this one thing. If you don't want to pay the money, don't. Nobody is forcing you to, but understand that this is a very specialised piece of equipment and that is expensive to produce. If you don't already own an original, ask yourself why first, before complaining about the price of a camera you weren't even interested in its predecessor. Lastly, in regards to the movement complaint, these cameras were never designed to have them. They were press cameras originally, with a simple focus. There was no need or want for more complications. If you want a fancy new 4x5 with movements but a technical field camera or monorail. Thank you for coming to my Ted Talk.
Throughout the years between dozens of other cameras I had a Graflex Speed Graphic + Kodak Aero Ektar 178/2.5 combo, it was way too effort intensive to use it with a tripod, so got rid of it after a while and ever since I have always dreamed about being able to afford John Minnick's Aero Liberator (a Graflex RB rebuilt with new wood, new paint/varnish/bellows and a lens for $5000-6000) or one of the 20thCenturyCamera Graflex RBs modified with a huge viewfinder (also very expensive), but his workshop caught on fire and most of the stock is gone forever... I was always scared of just buying an RB off of eBay cause it's a big gamble, most of them are broken and it's difficult to find someone to fix it/CLA it... and you say there will be an option for a NEW WITH WARRANTY + spare part stock + servicing + one point of contact solution at a fraction of the price? Sign me in! I'm THAT weirdo who's been waiting for years to have this :D
@@Braxtonwallis also it might just be me, but loads of people being all negative about niche products seem to lack self awareness. We're already in a niche to the vast majority of people who's only contact with photography will be their phone camera app. Think it's a safe assumption that we don't expect them to shit on us because we have niche interests. We would probably consider those normies as assholes if they start shitting on our beloved niche interests. So why do people feel so justified and entitled to shitting on stuff that is a niche within a niche? I try to have some humility and be aware that my hobbies are not popular ones so I need to tread carefully and with respect to other weirdos with unusual hobbies, I don't know their stories and their mileage will vary 99.99% of the time. Is it really that hard?
@@JohnMinnicks I would as well, if I had the budget 😂 glad to see you're still active! Checked your website and IG linked to, they both looked abandoned, got me worried there!
It is so exciting to see a thoughtful, informed, well-spoken young person. That fact that you're obviously excited about photography is a beautiful thing. I shoot film for fun, and digital for my business. It has been a long time since I've found a customer willing to pay the price, and wait the wait for film. It's been a while since the last time I took my Graflex for a walk. It's getting harder and harder to get parts for the repairs that I can do myself, and much harder to find someone to do the repairs that I can't. This is the first I've heard about the Smartflex. It looks promising. Thank you for calling this to my attention, and for doing it in such a relatable, eloquent fashion.
While I whole heartedly agree with virtually everything you say, I cannot agree that the “whole point” of film photography is to be expensive, inconvenient, and niche. Those are certainly traits. One could argue, convincingly, they are inherent. But I cannot accept, having practiced photography for over 50 years, that film photography’s very existence is based on cost, ease, and accessibility. For me, in the end, it is the photograph. You either want the analog process, in its entirety, involved in film photography or you don’t. But you better make damn sure, film or digital, that your photographs are compelling, engaging, evocative, and true. Otherwise, you’re just jacking off.
I mean i agree that final product matters the most but I think what I'm trying to get at here is in a digital world where cost effectiveness and convenience is in high supply, film benefits most from being the opposite of that. I can take great images with either medium. But I feel like I'm at my best when I'm shooting film because the "inconvenient" process makes me slow down and be more intentional
@@Braxtonwallis I get that. I look at authors for a comparison. These days there are authors who write their works in long hand. Bic pens, quill pens, pencils… That is their chosen process. It works best for them for whatever reason they state: slows them down, meditative, the physical sensation of putting one material physically onto another… Then there are those who use typewriters. They push down keys on an old mechanical typewriter, or maybe they prefer the whir and purr and clatter of an electric version. Faster, easier. Whatever they use, perhaps they prefer this tool as it’s what they used in the beginning of their writing career, or they love the sounds of pounding out page after page, or they feel a connection to Jack Kerouac (or Jack Nicholson’s character in The Shining). Still other writers use some form of high tech, a computer. Maybe it’s a laptop, or a tablet. Maybe they prefer to work on a desktop set up in an office or studio or bedroom or living room. They find the ease of built in tools (spell check, grammar check, editing tools…) to simplify the process so they can concentrate on plot lines or character developments. Fine. Great. It’s simply terrific to have all these and possibly other processes, tools, methods, and options to choose from! In the end, it does not matter one iota. Who cares? When someone goes to a bookstore or library or an online seller to choose a book, they don’t filter their choices by how the author write the manuscript. “I only want to read books written on a 1954 Royal Quiet Deluxe.” No one gives a rats ass how it was written. The only thing they care about is the story. Is it compelling? Is it a page turner? Does it transport the reader to another time or world? Does it evoke a deeper understanding of their own life? Is the book any good? So, yes, it matters to the creator what tools they use. What process does the photographer use? Collodion? Glass plate? Large format? Digital? I once was talking to a gallery owner. He was telling me of a photographer who had recently brought in a portfolio of platinum prints made from wet plate large format negatives from a vintage 8 x 10 camera. By looking at the prints, the gallery owner could see this photographer had spent a lot of time mastering the process, the tools, and the materials. The prints were gorgeous. Yet, the photographs were boring. Cliches. Re-makes. Nothing new. The gallery owner passed on giving them a showing. The photographer was incensed. He felt the owner couldn’t see just how much effort he’d put into these photographs! “Are you blind? Do you know how long I worked on them? How much blood, sweat and tears, how many years it took for me to make these?” “Yes. All that is easy to see in your work. What I can’t see is WHY you did that. The photographs are beautiful, but they’re not interesting. I’m sorry.”
@@ezpoppy55 You're totally right - the tools absolutely matter to the person using them. And, I am disappointed that photographers think that the effort they expend is somehow relevant to the quality of their work. It is not necessarily the case, and never has been. Even kids understand this, right?
Regardless of the price, the ability to use 6x9, 6x7, 6x6 or 6x12 backs is absolutely handy. I've been happily using all of the aforementioned (except the 6x12) with my Crown and Technika III for several years. Edit to add - forgot to mention my MPP MkII, built like a tank. Glad to see another 4x5 appear.
This is a fantastic video. Could not agree more with everything you said. It is incredible that a boutique company is coming out with a niche camera system like this, I sometimes wish people would stop and give flowers to people in just creating something cool whether it's for you or not.
Only reason I am not in line for this camera is I can't scrape together the funds. I really hope they stick around so I can get my hands on v2 when they make it.
I mean if they’re everything they seem to be I definitely think we’ll get to see a V2. The engineering, planning, etc around this camera has been truly top notch so I see them sticking around for a while
i am saving up for the smartflex camera. i currently own 3 graflex original ones and the argument of having a new one and the improvements are my main interests
I have a Graflex RB Super D and have shot with it (when not shooting with various other cameras from 35mm to 8x10). It is great for what it is and when it was made. I am very tempted to back this kickstarter for a new version of that RB, with a few improvements, mainly the graflok back vs the older slot base graflex back. I have not modified my RB’s back as I have instead acquired a number of older style film holders for it including some original 120 roll film backs - they all work just fine. It is purely price that has stopped me from jumping onto the Kickstarter for this new camera. I do not care that inflation adjusted it is about the same as the RB back in its day as I live in the here and now and compare it to here and now pricing and other needs for that same money. I may still pull the trigger, but it is not obvious to me to do so today. An issue is that I have other large format cameras that are also compact and very usable (think Crown and Speed Graphics) which already have graflok backs and even small amounts of movement. With a good handle, they are likely more hand hold able than the 4x5 SLRs (not that that matters to everyone, but I use them that way at times). In the end, this appeals to certain people (me included) who will have to decide if it is worth the price today. I am encouraged that anybody thinks it is possible to even do one run of such a camera via Kickstarter, and maybe even make more for retail sales after that. I suppose this is largely made possible by the “pre-sales” nature of a Kickstarter to at least guarantee an initial profitable or at least break-even run - something to overcome the upfront design and manufacturing process setup. I backed the Kickstarter from Intrepid for a new electronic large format shutter since I would like to see new shutters available and the price to back that made more obvious sense to me even though for what that is it also was not really cheap. The only other issue is that some Kickstarters I have back have delivered really great quality items, and many not so much quality (and a couple have delivered nothing at all - those a mix of actual failed attempts, and unfortunately a small number of complete frauds). So there is that too, asking for a risk of handing over $2K - $3K to something that does not yet exist without any knowledge of the end quality or existence. At least with an old RB, the risk is less (in that it does actually exist) and in original form or after a good CLA, it is of a known level of quality.
Right off the main problem--Impossible to shoot with wide angle and super-wide lenses. Unless there is a mirror lockup and deep recessed lens boards (which make it impossible to reach lens controls), you are stuck with maybe 127mm lens max. So, this looks like a specialized portrait camera for high end shoots. Where Graflex failed was their viewfinder/rangefinder system. Excellent and accurate viewfinder for 'field' work with the option of superwide shooting and tripod work . . . that's the perfect LF film camera.
Definitely a better point than most lol. It not being able to wide at infinity is definitely not ideal but again gotta weigh what's most important for you. Thankfully, with my work, shooting around 50 is perfect for me for most situations.
This is exciting! We need more sophisticated new cameras like this for film. I'm tired of seeing so many of these new cheap point-and-shoot film cameras. The price for this camera is not that high. Someone who buys this camera probably owns other large format cameras. I like the idea where you said you could shoot 6x12cm format with the appropriate back. I am a retired photographer and have used Graphlex and many types of monorail and flatbed cameras in 4x5 and 8x10, so I am as happy as a clam to see a new camera like this hitting the market. I shoot digital now, but am still interested in film. 4x5" film especially E-6 reversal films are so expensive. Sometimes you just want a high quality camera to shoot film with and I am glad to see this camera. I believe there is a lot of large format hobbyists out there that will buy this camera. This will be great for 2025!
I want one of these cameras!!!!!! I have owned 5 Graflex Super D's. So sorry to have sold the last one years ago...still look for them on ebayth thanks for discovering this camera!!!!
All the film camera inconvenience/convenience and wishlist points you made regarding new cameras totally speak to me. No analog camera is perfect for everyone, but I am sure everyone can find something that speaks to them. Suuuubed!
Just for information's sake, not every Graflex reflex is an RB, RB just refers to the ones that have a rotating back. For example: Graflex RB auto Graflex series B Graflex series D Graflex super D Graflex Home portrait etc there are many that dont have RBs for example early Graflex cameras did not have rotating backs like: Auto Graflex Press Graflex Graflex 3A Stereo Graflex And the many non reflex cameras. Also adding on, The smartflex has a focal plane shutter, thats what makes up a large portion of the cost, no modern 4x5 systems have one. Not to mention the fact its a reflex camera, once again, no modern 4x5 systems are reflex cameras. Anyone complaining about the price clearly isnt the target audience, if they just look at the Kickstarter they can clearly see it has completely surpassed its goal by many times and has reach its audience.
Your illustration of 4 x 5 usage shows the first one extending the bellows as a zoom technique. You might want to redo this one. Of course it’s not zoom-it’s focus. 😮
That's my fault! I definitely know its not zoom lol but when I was editing I needed a quick diagram that showed the movements and I only paid attention to the perspective and focus part. FWIW I have seen people colloquially refer to it as "zooming" the bellow in and out since it's the same motion but again I agree
Just for information, my 1960 MPP MK VII, can shoot 6X7, 6X9 and 6X12 with appropriate filmbacks. Sadly the future of film photography is very bleak for the simple fact that there are no new film cameras coming on the market, and the supply of working used film cameras is diminishing by the day. We need more affordable film cameras in all formats to ensure that film is being produced by the manufacturer
Every lens being tilt-shift has been a large reason why I've shoot large format. Of course, there is no digital camera that matches resolution of 4x5" film. So nice for landscape and architecture. I shoot with my digital nowadays mostly with tilt-shift lenses. Using tilt is so much more fiddly with small format digital though but I use shift constantly. That is quite interesting camera but not for me. Film slowing me down makes better photos. I don't think the cost is an issue really, if I travel somewhere, take a couple of well considered photos that end up in A2-A3 size on the wall, the cost of film sheet is small part of the total. Developing it is also very small part of the time, it may take say hour to get there, another hour back and probably half an hour to take the photo (or more). For snapping around I have always digital cameras to use. Way less keepers with digital for me.
I have the same/smiliar thoughts when it comes to buying expired film on ebay/etsy/etc., alot of people say "Oooh, that's not helping the film industry!! Bleh blehbleh!" but I see it as that Im still helping out the industry cuz I still have to get it developed by sending it out to a lab, so thats money in that labs pocket to so they can pay bills, buy more film/chems/etc., which shows that theres still a demand. Same thing for those who develop film at home, they still gotta buy the chems & other stuff from a film store to do it at home.
Movements... Well, if it had about the same amount of tilt/shift that Canon has in 35 mm, it would be way more attractive, since the tilt, especially, compensated for the limited DOF of longer lenses, and even a small amount of vertical shift is a huge help in architectural or agricultural photography. I wonder if anyone makes an automatic sheet film changer, so that you wouldn't have to muck about with film holders?
The RBs were mostly press cameras and therefore purchased by newspapers and news agencies. Just the cost of doing business for them. Tools, if you will.
I shot photos for liquor licenses in Newark NJ. I used a crown graphic a camera that has front movements (mostly to accommodate wide angle lenses) but people used the movements for other purposes. I took the photos hand held with Kodak Ektapan. The Smartflex would have been even better for what I was doing. If you are shooting people you can get along without movements.
Was next to buy an old Mentor, being in similar design like the Graflex RB. Only reason, I did not is that spend already so much in Medium, (Fuji&Bronica) large (Toyo) and (upcoming) ULF. camera and lenses that I hold back, due to further investment in already chosen paths. LIke (better) development and scanning solutions, an ULF bellows and finishing the ULF camera. So, unfortunately this Smartflex -- so interesting it is -- is at moment out of my scope.
@@FrankTitzeArt which Mentor? The ones I've seen before only had a 1/150s shutter tops and because of that they never were on my radar compared to 1/1000s with the Graflex Speed Graphic or Series D.
@@KNURKonesur The pre-war designed Mentor-Atelier--Reflex 12x12 (cm) Modell 304 . It has different to the 303 9x12(cm) also landscape back rotation. They offer up to 1/1500. Note that modern film holders do not fit. I had planned to exchange the back to enable the Mentor for those. I am also not sure if if can handle 4x5'' to 100% in focusing screen/mirror/backframe. Having planned to use it anyhow primary modern 9x12cm holders (being BTW much cheaper than 4x5'' and with outer dimension compatible) with xray film (cut from 18x24cm) that was not my concern. But be aware of this. I need to be honest that also the post-war Mentor Studio with it's 13x18 back is (without mirror) is interesting and a Speed Graflex competition. That others just 1/100 and later models only 1/30. See more at: zeissikonveb.de/start/kameras/mentor.html (written in German, but Google translate fixes it) On that site you find also other info to pre-war Germany and post-war GDR cameras and lenses.
Pretty good takes other than preferring a brand new camera over one from 50+ years ago. Yes they may be old and need a CLA but the manufacturing processes used back then were higher quality and hand processed as opposed to today’s lower quality and machine driven parts. Go feel a Leica MP/MA and then compare it to an M2/M3/M4 and you’ll be able to tell pretty quickly how much more quality the older mechanics feel…
I don't shoot film anymore. I have never shot large format. And I don't know what a Graflock back is. But I am absolutely enthusiastic about this camera. When I have some spare cash, I might buy one and try 4x5 for the first time in my life. And I might like it... BTW Large format has no more compression than small format. Lenses don't determine compression, distance does.
According to my research and with people I've talked with the B series came with a graflex back and getting them from factory with a graflok back was quite rare
Those who are looking for tilt and swing on a camera that's mainly designed to be used hand-held have completely missed the point. If you want tilt & shift on a 4x5 camera there are plenty used ones available at 1/10th of the price of this camera . . . just expect to use a tripod.
Much of the remarks about cost increase relating to tooling and training employees to generate a substantial out is not applicable. Over whatever its life may be, this camera will probably have a production of less than 500 units. They will be built to order. They will not need a warehouse. Allowing necessary recovery of R&D, having to manufacture their own shutter, and tooling for some of the larger parts, the price is not that surprising. IMO, they should have just copied the Gowlandflex, a 4x5 TLR, similarly made to order by a photographer located in Hollywood in the 1960s. A TLR design could be a bit lighter and much similar to build. Probably would be more reliable. Frankly, I doubt there is a market for use of this camera, although some will be sold to the curious and large format users who don't like to hike a 4x5 or larger rig.
You might have heard it pronounced ek SET ra, but this is incorrect. There is no “k” in et cetera, which is why “ek set ra” is not correct. Et cetera = etc.
@@Braxtonwallis a) In linguistics, grammar is the set of rules for how a natural language is structured, as demonstrated by its speakers or writers. Grammar rules may concern the use of clauses, phrases, and words. b) Phonetics is a branch of linguistics that studies how humans produce and perceive sounds. - from Wikipedia. It's a small point. Otherwise, very informative video, thanks.
I know some are skeptical because it is a kickstarter but FWIW they're affiliated with some pretty established people like Cinestill. Not to mention there are people who already have gotten one. There's actually someone in this comment section who says they've already gotten a copy. So all in all I feel pretty confident in this but I guess only time will tell for sure
I think you're taking too much stock in something just because it's new. A 4x5 camera is much the same as any other as far as being a light-tight box. The ground glass for focus is important, but new ground glass that is better is available at a reasonable price. Other than that, what do you have? Lens board and lens. That's it. A 4x5 camera is a simple thing. All those complex parts you show were for a 35mm, not large format. That's all in the lens, and you would be using the same lens for either camera. Beyond that, the only difference comes down to the movements that you're willing to sacrifice for "new." As wonderful as new might be, that is a terrific amount of money. We can compare the price using inflation calculators and justify the cost, I do that often enough, however; the problem lies in the fact that most peoples wages did not track inflation. In relative terms the price is technically the same, but the income being used to buy it is lower. Thus, though the price is the same it costs YOU more, you have to work more hours to gain the money to buy it. Consider a used 4x5 camera. They are cheap and as long as they keep the light out, perfectly fine. You can test it easy enough. Put a solid lens board in and expose a sheet of film to the interior of the camera to see how much light makes it in over a 3 minute exposure with the bellows racked out. If there's any light leaking in, it will be at the bellows and you will see it on the negative. The majority of used cameras out there will pass this test. If it fails a new bellows or different camera would be the options. Install a new screen and whatever lens you have and you're ready to go. New might be great for those who just want new. The big tradeoff is the lack of movements. I can't see how your new camera could hold a candle to an old Graflex View Camera, or even an old Speed Graphic or other variants of it. There's a good chance the cloth shutter will function properly too, but if not you could shoot with the shutter on the lens. The choice comes down to new or good. The new one is new, but the old antique Graflex View Camera (or any other like camera) isn't just good, but better. Your viewers should be aware of this and they would probably like an exploded view of a view camera just to be fair to them. Once you know it's light-tight it all comes down to the lens, viewing screen, and movements. For the last chapter of this book I'm writing, the large format camera requires one to stop and think about what they are doing. It's a long process to set up, choose the lens, compose and focus while under a blanket and burn the negative. It's a whole lot of thinking and effort, and with all that you don't want an image that goes in the trash. Probably the best thing about large format is that it makes you slow down and put more time into the image. You can't burn though 36 exposures in 15-20 seconds or use the "spray and pray" method like you can do with digital. Get the old camera and try out large format. It will either be cumbersome or you will love it. Once you're well acquainted with the methods and process decide whether you want to spend $3,100 before taxes. I have 3 old 4x5 cameras and have owned several more in the past. These cameras were used for most of my best work and I love them. I've been shooting for a long time and probably have 30 35mm cameras and well over 50 lenses for them. Most are Nikon and Nikkor. I also have three Nikon DSLR cameras because I can use all my Nikkor glass on one of them. If I want to shoot something special, I want to use the large format. I'll take a DSLR with me and shoot a bunch of images with that, sometimes to help with the composition and exposure while most often for the instant gratification of seeing the results then and there. The End. :)
Except you are talking about it like this is the only option for what you want out of a large format camera. It is not. The large format film camera market is not dead and intrepid and other companies have such better options than this or way way less money. This camera frankly ignores where the market currently is and is trying to drag it into a over specialized hell scape that the film Market was in in the 80s and 90s. Throwing money at new cameras because it is new is not a health way to grow the film market back. We want value in the space because that is what bring new people in. I’m sorry but says “well if u want value and convenience just shoot digital” is not a well thought out statement to convince people. Maybe the struggle for the image is something you are in to but that does not attract mass adoption of a format. So if we are supposed to rethink our skepticism of this product than do you really think “well just suck it up” is going to do that? Products should have value for the end user or they are not worth bringing to market, it is that simple. But the market itself should vote with their dollars on what they see value in as a whole. A product having. Value for a very small % of its users is a bad product very if it is really valuable to that small %. You can get all the value of the smartflex from an intrepid 4x5 for a fraction of the price, plus the added value of the movements and portability of the collapsing design. I can build out a version of the 3k pledge for less than 1k with intrepid with all new products (minus the lens but only because of the in and out availability of new old stock)
Respectfully this makes no sense. 1)Intrepid makes view cameras which is entirely different from this camera. I speak about this in the video lol. 2) You put quotes around a quote that I never said. I never said anything about value. I spoke about cost effectiveness, convenience, etc but not value. Value will always be subjective to the user. 3) You say this "ignores the market" but yet it has raised over $200,000 USD on kickstarter? People have "voted with their dollars". I mean I can keep going but bottom line is this way of thinking will kill film faster than what it needs to.
@ 1) no it is really not. It is a modular camera that can be anything you want it to be. U want it to be a roll film camera u can put a roll film back on it, u want it to be a range finder than you mount a range finder on it, you want it to be a slr u get a mirror back for it. U can make an intrepid into any of these for way way less than this crap. 2) you really need to go back to English 101 if u don’t know that “” can indicate more than just a quote. They are went to indicate a change of voice. They do not mean a direct quote by their very nature. That being said English is also a living language and not a fix set of rules locked stone. Language is meant to flex and reform based on our usage I it, not the other way around. 3) 200,000 is like the spit in the bucket to what they would need to bring that camera to market and turn any kind of profit. The tooling alone would cost more than that. Like most ks intended for the mass market this number serves only to bait in investors to cover the real costs. Maybe if they get the backing of a existing brand but that is not saying much about “the market”
NO! Who be so Stupid in getting this $$$$$ expensive Paperweight?? One I also work at a Camera Store in San Francisco, as I seen another person saying that he work at a camera store for 7 years, Well I work for the camera store for 33 years!. Second If I want to get a TRUE 4x5 Camera I would get a Toyo, or a Cambo with a good lens like a Schneider or a Rodenstock lens. But I got myself a Graflex Speed Graphic Kit with camera refurbished, 12 holders, flash gun, filters, a 4x5 Grafmatic holder with 6 film holders and a Leather Case for $499.00, And Still Have it, and use it.Also I got the Lomoback to do Fuji Instax Shooting. After looking at the photos on Kickstarter it looks like a Recycle Graflex D with Recycle parts - $3000 Grand Or you insane??? I do not trust cameras coming from China, in working at the camera store that we brought those Seagull medium format TLR, and Roll cameras WE LOST OUR SHIRTS in bringing those pieces of SHIT cameras. Get a True View Camera. And looks like that you might know about shooting view camera shooting? I do not think so. When I started taking photo classes at CCSF, First semester is using View Camera Techniques, as I had to haul a 4x5 Calumet but I enjoy it, then lead to the 2nd art school to get my degree, as again I got a Graflex XL and mostly using it throughout semester leading in getting my 4x5 camera. Oh he's alittle tip, Start reading the following: Ansel Adams, Edward, and Cole, and Kim Weston, Wynn Bullock, Henry Jackson, Edward Curtis, Richard Avedon, Shinzo Meada, and my favorite Weegee the only person that shot Street Photography in using a 4x5 Graflex in the 1930's 1940's. As They All use Large Format Gear. This Smartflex camera will not give you Professional Photos at a price like that. This camera is more like for Boys With Toys item. Think about it $3000 grand you might consider a better camera, Not a Three Grand Instamatic... And that's my Opinion.
@@Braxtonwallis Who are you going to Believe? A Person that has been photography since 1972 as my first camera was a Praktica 35mm SLR, and still have it OR a person on You Tube saying I just got a M6, and I am a professional photographer, and I all thanks to my M6 - Yea Right Remember this saying: "No Photographer Is as Good with the Simplest Camera" - Edward Steichen - 1955
What a lot of nonsense to justify shooting on film. Because it's expensive, inconvenient and niche? You can shoot slow on digital too if you don't suffer from compulsion. Any photographer who made his history with film will find such reasons stupid and at best a pathetic snobbish and fetishistic justification. Do you want to feel "special" for shooting on film? Film has particularities that are not expressed here, in historical and aesthetic terms that can perfectly be placed in the 21st century, without a bunch of nonsense. p.s. supporting bad cameras like the Pentax 17 just to support the film industry is stupid. If it's a bad project, why would they support it? The industry sees the potential in snobby people without criteria and produces products that are bought compulsively just because of the level of alienation and fetishism of the merchandise.
You can buy a intrepid that's not 3d printed like this one, for a fraction of the price. And it will collapse to be portable. This kickstarted is insanely overpriced. And giant making it cumbersome to carry.
if you're referring to the intrepid 4x5 thats a view camera and is completely different use case so the comparison is invalid. Also the whole point of this camera's construction is that its very light for its size making it quite easy to carry. If you go look at their instagram story they have a video of someone holding it no problem with one hand
@Braxtonwallis the comparison is shooting 4x5. For the price of that you can get an intrepid, several lenses, film and a tripod. It's a no brainer. The intrepid can fold down and fit into a messenger bag. Meanwhile this camera is the size for a 1980's kitchen TV.
Respectfully, I disagree with you. It's too expensive, there are better options out there. I will support the new project but they have to come with something worth supporting!
Anyone else excited for the Smartflex?!
No. Flash sync is poor. Not worth $3500
Even I bought another camera with repairs still under in price.
Pentax 17 is currently available everywhere and has gotten bad reviews
By AeroLiberator
If someone wants a large format camera with movements that is inexpensive, there is intrepid. The Smartflex camera is a SLR camera, which is completely different than something like the Intrepid (or most other large format cameras) which use a straight through view to a ground glass. "Shoot on Film" by Ari Jaaksi features many film cameras, including the original 4x5 SLR camera. He shows some very interesting things you can do with a camera like that.
Why buy a new one?
The very old cameras break down, and if you need to make a new shutter can you do it? If you need to replace some screws can you get them? What about documentation, etc.?
I see no lies here
@@danncorbit3623 +1
I own an original Graflex 3x4 Series D, let me tell you this if I had the disposable income to buy the Smartflex I would switch over in an instant. This system has been my main driver for shooting large format because trading movements for portability was more important for me to be able to go out and shoot rather than focus on something that I rarely used in the first place. This camera is good at two things, portraits and landscapes which it doesn't just do good it EXCELS at them. The Smartflex is in every way an improvement over the original camera. They aren't going to stop at 4x5 either, as they have already prototyped a 5x7 and 8x10 SLR. While it's fair to have concerns about the long term durability of 3D printed parts it doesn't change the fact that they aim to manufacture new parts for this camera which hasn't been done since the 1960's, it benefits every Graflex user for this project to be successful.
I visited the Smartflex factory. Originally, they are making digital photo boothes (they still do). I think they make the best photo booths in the world. The Smartflex project wasn't intended for commercial purpose. It was a fun project by the owner. He modified a lot of large format cameras for himselves and friends. Overall, it is highly rated by users in China who receveid the preproduction version during the past few months. But I think Smartflex will face some challengaes in quality control as their camera is way more popular than expected, and they need to build distribution network around the world (at least in EU and North America) to handle after sales problems. I wish them a very successful launch.
So cool!!! I could see it happening but they seem to have a pretty good grip on things from what I can see and hopefully they have a smooth launch
I worked in a well known film only camera store for 7 years and have been shooting film for over 15. From experience, dedicating a large portion of my life to this I have been watching Smartflex with eager anticipation. In my time we have appreciated, bought, sold and repaired, attempted to repair MANY old Greflex Reflex models. Almost all of them had some kind of major issue such as broken, or torn shutters (good look trying to get replacements), worn mechanisms with slipping gears causing inconsistencies or misfires with the shutters, pinholes in the bellows, cracked ground glass, delivering mirrors... The list goes on forever.
As an expert in the field, I'll say this one thing. If you don't want to pay the money, don't. Nobody is forcing you to, but understand that this is a very specialised piece of equipment and that is expensive to produce. If you don't already own an original, ask yourself why first, before complaining about the price of a camera you weren't even interested in its predecessor.
Lastly, in regards to the movement complaint, these cameras were never designed to have them. They were press cameras originally, with a simple focus. There was no need or want for more complications. If you want a fancy new 4x5 with movements but a technical field camera or monorail.
Thank you for coming to my Ted Talk.
Throughout the years between dozens of other cameras I had a Graflex Speed Graphic + Kodak Aero Ektar 178/2.5 combo, it was way too effort intensive to use it with a tripod, so got rid of it after a while and ever since I have always dreamed about being able to afford John Minnick's Aero Liberator (a Graflex RB rebuilt with new wood, new paint/varnish/bellows and a lens for $5000-6000) or one of the 20thCenturyCamera Graflex RBs modified with a huge viewfinder (also very expensive), but his workshop caught on fire and most of the stock is gone forever... I was always scared of just buying an RB off of eBay cause it's a big gamble, most of them are broken and it's difficult to find someone to fix it/CLA it... and you say there will be an option for a NEW WITH WARRANTY + spare part stock + servicing + one point of contact solution at a fraction of the price? Sign me in! I'm THAT weirdo who's been waiting for years to have this :D
hahahah I'm also that weirdo 🤝 Can't wait to get my hands on it!
@@Braxtonwallis also it might just be me, but loads of people being all negative about niche products seem to lack self awareness. We're already in a niche to the vast majority of people who's only contact with photography will be their phone camera app. Think it's a safe assumption that we don't expect them to shit on us because we have niche interests. We would probably consider those normies as assholes if they start shitting on our beloved niche interests. So why do people feel so justified and entitled to shitting on stuff that is a niche within a niche? I try to have some humility and be aware that my hobbies are not popular ones so I need to tread carefully and with respect to other weirdos with unusual hobbies, I don't know their stories and their mileage will vary 99.99% of the time. Is it really that hard?
Im sticking with the Aero Liberator .... nice to see some Interest in the Graflex Slr World ... bravo !
@@JohnMinnicks I would as well, if I had the budget 😂 glad to see you're still active! Checked your website and IG linked to, they both looked abandoned, got me worried there!
It is so exciting to see a thoughtful, informed, well-spoken young person. That fact that you're obviously excited about photography is a beautiful thing.
I shoot film for fun, and digital for my business. It has been a long time since I've found a customer willing to pay the price, and wait the wait for film.
It's been a while since the last time I took my Graflex for a walk. It's getting harder and harder to get parts for the repairs that I can do myself, and much harder to find someone to do the repairs that I can't. This is the first I've heard about the Smartflex. It looks promising.
Thank you for calling this to my attention, and for doing it in such a relatable, eloquent fashion.
thank you for watching!!!❤️
wish I could put money into this Kickstarter this the dream 4x5 honestly..
Hopefully at some point there will be some deals on the secondary market!
@@Braxtonwallis in 2035 :D
@@Braxtonwallis honestly been debating selling some extra gear I don't use often just to fund it part of the way... but selling can take ages.
Buy an Aero Liberator
@@Zetaphotography isn't an Aero Liberator like $5000? +tax... +customs... +Import fees... +International shipping...
While I whole heartedly agree with virtually everything you say, I cannot agree that the “whole point” of film photography is to be expensive, inconvenient, and niche.
Those are certainly traits. One could argue, convincingly, they are inherent.
But I cannot accept, having practiced photography for over 50 years, that film photography’s very existence is based on cost, ease, and accessibility.
For me, in the end, it is the photograph. You either want the analog process, in its entirety, involved in film photography or you don’t.
But you better make damn sure, film or digital, that your photographs are compelling, engaging, evocative, and true.
Otherwise, you’re just jacking off.
I mean i agree that final product matters the most but I think what I'm trying to get at here is in a digital world where cost effectiveness and convenience is in high supply, film benefits most from being the opposite of that. I can take great images with either medium. But I feel like I'm at my best when I'm shooting film because the "inconvenient" process makes me slow down and be more intentional
@@Braxtonwallis I get that.
I look at authors for a comparison.
These days there are authors who write their works in long hand. Bic pens, quill pens, pencils… That is their chosen process. It works best for them for whatever reason they state: slows them down, meditative, the physical sensation of putting one material physically onto another…
Then there are those who use typewriters. They push down keys on an old mechanical typewriter, or maybe they prefer the whir and purr and clatter of an electric version. Faster, easier. Whatever they use, perhaps they prefer this tool as it’s what they used in the beginning of their writing career, or they love the sounds of pounding out page after page, or they feel a connection to Jack Kerouac (or Jack Nicholson’s character in The Shining).
Still other writers use some form of high tech, a computer. Maybe it’s a laptop, or a tablet. Maybe they prefer to work on a desktop set up in an office or studio or bedroom or living room. They find the ease of built in tools (spell check, grammar check, editing tools…) to simplify the process so they can concentrate on plot lines or character developments.
Fine. Great. It’s simply terrific to have all these and possibly other processes, tools, methods, and options to choose from!
In the end, it does not matter one iota. Who cares?
When someone goes to a bookstore or library or an online seller to choose a book, they don’t filter their choices by how the author write the manuscript. “I only want to read books written on a 1954 Royal Quiet Deluxe.”
No one gives a rats ass how it was written.
The only thing they care about is the story. Is it compelling? Is it a page turner? Does it transport the reader to another time or world? Does it evoke a deeper understanding of their own life?
Is the book any good?
So, yes, it matters to the creator what tools they use. What process does the photographer use? Collodion? Glass plate? Large format? Digital?
I once was talking to a gallery owner. He was telling me of a photographer who had recently brought in a portfolio of platinum prints made from wet plate large format negatives from a vintage 8 x 10 camera. By looking at the prints, the gallery owner could see this photographer had spent a lot of time mastering the process, the tools, and the materials. The prints were gorgeous.
Yet, the photographs were boring. Cliches. Re-makes. Nothing new.
The gallery owner passed on giving them a showing.
The photographer was incensed. He felt the owner couldn’t see just how much effort he’d put into these photographs! “Are you blind? Do you know how long I worked on them? How much blood, sweat and tears, how many years it took for me to make these?”
“Yes. All that is easy to see in your work. What I can’t see is WHY you did that. The photographs are beautiful, but they’re not interesting. I’m sorry.”
@@ezpoppy55 You're totally right - the tools absolutely matter to the person using them. And, I am disappointed that photographers think that the effort they expend is somehow relevant to the quality of their work. It is not necessarily the case, and never has been. Even kids understand this, right?
Regardless of the price, the ability to use 6x9, 6x7, 6x6 or 6x12 backs is absolutely handy. I've been happily using all of the aforementioned (except the 6x12) with my Crown and Technika III for several years.
Edit to add - forgot to mention my MPP MkII, built like a tank.
Glad to see another 4x5 appear.
good points, just be happy they are even making any film cameras these days, count your blessings
Couldn’t agree more
This is a fantastic video. Could not agree more with everything you said. It is incredible that a boutique company is coming out with a niche camera system like this, I sometimes wish people would stop and give flowers to people in just creating something cool whether it's for you or not.
Only reason I am not in line for this camera is I can't scrape together the funds. I really hope they stick around so I can get my hands on v2 when they make it.
I mean if they’re everything they seem to be I definitely think we’ll get to see a V2. The engineering, planning, etc around this camera has been truly top notch so I see them sticking around for a while
i am saving up for the smartflex camera. i currently own 3 graflex original ones and the argument of having a new one and the improvements are my main interests
and yes i shoot from instax and 6x9 all up to 4x5 formats and that's a big plus for me with this camera
Seems like we’re on the same page 🤝🏼
@@Braxtonwallis totally, i agree with everything u said in the video
@@Braxtonwallis i am also exiting about the development project of the conflict camera guy (that is the next on my top of wishlist)
I have a Graflex RB Super D and have shot with it (when not shooting with various other cameras from 35mm to 8x10). It is great for what it is and when it was made. I am very tempted to back this kickstarter for a new version of that RB, with a few improvements, mainly the graflok back vs the older slot base graflex back. I have not modified my RB’s back as I have instead acquired a number of older style film holders for it including some original 120 roll film backs - they all work just fine.
It is purely price that has stopped me from jumping onto the Kickstarter for this new camera. I do not care that inflation adjusted it is about the same as the RB back in its day as I live in the here and now and compare it to here and now pricing and other needs for that same money. I may still pull the trigger, but it is not obvious to me to do so today.
An issue is that I have other large format cameras that are also compact and very usable (think Crown and Speed Graphics) which already have graflok backs and even small amounts of movement. With a good handle, they are likely more hand hold able than the 4x5 SLRs (not that that matters to everyone, but I use them that way at times).
In the end, this appeals to certain people (me included) who will have to decide if it is worth the price today. I am encouraged that anybody thinks it is possible to even do one run of such a camera via Kickstarter, and maybe even make more for retail sales after that. I suppose this is largely made possible by the “pre-sales” nature of a Kickstarter to at least guarantee an initial profitable or at least break-even run - something to overcome the upfront design and manufacturing process setup.
I backed the Kickstarter from Intrepid for a new electronic large format shutter since I would like to see new shutters available and the price to back that made more obvious sense to me even though for what that is it also was not really cheap.
The only other issue is that some Kickstarters I have back have delivered really great quality items, and many not so much quality (and a couple have delivered nothing at all - those a mix of actual failed attempts, and unfortunately a small number of complete frauds). So there is that too, asking for a risk of handing over $2K - $3K to something that does not yet exist without any knowledge of the end quality or existence. At least with an old RB, the risk is less (in that it does actually exist) and in original form or after a good CLA, it is of a known level of quality.
Nice breakdown, Braxton! Really like how you put this together 🔥
Right off the main problem--Impossible to shoot with wide angle and super-wide lenses.
Unless there is a mirror lockup and deep recessed lens boards (which make it impossible to reach lens controls), you are stuck with maybe 127mm lens max.
So, this looks like a specialized portrait camera for high end shoots.
Where Graflex failed was their viewfinder/rangefinder system. Excellent and accurate viewfinder for 'field' work with the option of superwide shooting and tripod work . . . that's the perfect LF film camera.
Definitely a better point than most lol. It not being able to wide at infinity is definitely not ideal but again gotta weigh what's most important for you. Thankfully, with my work, shooting around 50 is perfect for me for most situations.
I’m already on board with it, been following the project long before it was mainstream community talk. It being an SLR makes it so exciting.
I actually for whatever reason only found out about it fairly recently but man am I excited to!
This is exciting! We need more sophisticated new cameras like this for film. I'm tired of seeing so many of these new cheap point-and-shoot film cameras. The price for this camera is not that high. Someone who buys this camera probably owns other large format cameras. I like the idea where you said you could shoot 6x12cm format with the appropriate back. I am a retired photographer and have used Graphlex and many types of monorail and flatbed cameras in 4x5 and 8x10, so I am as happy as a clam to see a new camera like this hitting the market. I shoot digital now, but am still interested in film. 4x5" film especially E-6 reversal films are so expensive. Sometimes you just want a high quality camera to shoot film with and I am glad to see this camera. I believe there is a lot of large format hobbyists out there that will buy this camera. This will be great for 2025!
I want one of these cameras!!!!!! I have owned 5 Graflex Super D's. So sorry to have sold the last one years ago...still look for them on ebayth thanks for discovering this camera!!!!
All the film camera inconvenience/convenience and wishlist points you made regarding new cameras totally speak to me. No analog camera is perfect for everyone, but I am sure everyone can find something that speaks to them. Suuuubed!
❤️❤️❤️
Just for information's sake, not every Graflex reflex is an RB, RB just refers to the ones that have a rotating back.
For example:
Graflex RB auto
Graflex series B
Graflex series D
Graflex super D
Graflex Home portrait
etc
there are many that dont have RBs for example early Graflex cameras did not have rotating backs like:
Auto Graflex
Press Graflex
Graflex 3A
Stereo Graflex
And the many non reflex cameras.
Also adding on, The smartflex has a focal plane shutter, thats what makes up a large portion of the cost, no modern 4x5 systems have one. Not to mention the fact its a reflex camera, once again, no modern 4x5 systems are reflex cameras.
Anyone complaining about the price clearly isnt the target audience, if they just look at the Kickstarter they can clearly see it has completely surpassed its goal by many times and has reach its audience.
for sure! I use the example of the RB because the smartflex will also have a rotating back. Totally agree though!
Wish I knew as much about anything as you do about film.
The burden of knowledge is heavy 😔
@@EricFloberg get a Smartflex, Eric. You'll like it!
I need movements very often. So a used Linhof Technika or a cheaper field camera is more my kind of camera
Your understanding of Smartflex is truly impressive.
哈哈一眼AV哥❤❤😂😂
With all the affiliate links you posted you DIDN’T post the Smartflex kickstarter link?
Totally my fault! I thought I had copied it over but guess I should've double checked. Thank you for pointing it out its fixed
Your illustration of 4 x 5 usage shows the first one extending the bellows as a zoom technique. You might want to redo this one. Of course it’s not zoom-it’s focus. 😮
That's my fault! I definitely know its not zoom lol but when I was editing I needed a quick diagram that showed the movements and I only paid attention to the perspective and focus part. FWIW I have seen people colloquially refer to it as "zooming" the bellow in and out since it's the same motion but again I agree
Just for information, my 1960 MPP MK VII, can shoot 6X7, 6X9 and 6X12 with appropriate filmbacks. Sadly the future of film photography is very bleak for the simple fact that there are no new film cameras coming on the market, and the supply of working used film cameras is diminishing by the day. We need more affordable film cameras in all formats to ensure that film is being produced by the manufacturer
For sure!!
Interested but I would need to sell a few cameras - and I don't tend to want to hold a 4x5 or use a high ISO film or push...
Every lens being tilt-shift has been a large reason why I've shoot large format. Of course, there is no digital camera that matches resolution of 4x5" film. So nice for landscape and architecture.
I shoot with my digital nowadays mostly with tilt-shift lenses. Using tilt is so much more fiddly with small format digital though but I use shift constantly.
That is quite interesting camera but not for me. Film slowing me down makes better photos. I don't think the cost is an issue really, if I travel somewhere, take a couple of well considered photos that end up in A2-A3 size on the wall, the cost of film sheet is small part of the total. Developing it is also very small part of the time, it may take say hour to get there, another hour back and probably half an hour to take the photo (or more). For snapping around I have always digital cameras to use. Way less keepers with digital for me.
I have the same/smiliar thoughts when it comes to buying expired film on ebay/etsy/etc., alot of people say "Oooh, that's not helping the film industry!! Bleh blehbleh!" but I see it as that Im still helping out the industry cuz I still have to get it developed by sending it out to a lab, so thats money in that labs pocket to so they can pay bills, buy more film/chems/etc., which shows that theres still a demand. Same thing for those who develop film at home, they still gotta buy the chems & other stuff from a film store to do it at home.
Dang never thought about it like that. Awesome!!
Movements... Well, if it had about the same amount of tilt/shift that Canon has in 35 mm, it would be way more attractive, since the tilt, especially, compensated for the limited DOF of longer lenses, and even a small amount of vertical shift is a huge help in architectural or agricultural photography.
I wonder if anyone makes an automatic sheet film changer, so that you wouldn't have to muck about with film holders?
I've got my smartflex and the smartnon for weeks , everything is great except its paint smell
So cool!! Are you based in China/Japan? I've heard there's a few early versions floating around over there
The RBs were mostly press cameras and therefore purchased by newspapers and news agencies. Just the cost of doing business for them. Tools, if you will.
I shot photos for liquor licenses in Newark NJ. I used a crown graphic a camera that has front movements (mostly to accommodate wide angle lenses) but people used the movements for other purposes. I took the photos hand held with Kodak Ektapan. The Smartflex would have been even better for what I was doing. If you are shooting people you can get along without movements.
Was next to buy an old Mentor, being in similar design like the Graflex RB. Only reason, I did not is that spend already so much in Medium, (Fuji&Bronica) large (Toyo) and (upcoming) ULF. camera and lenses that I hold back, due to further investment in already chosen paths. LIke (better) development and scanning solutions, an ULF bellows and finishing the ULF camera.
So, unfortunately this Smartflex -- so interesting it is -- is at moment out of my scope.
So cool!!
@@FrankTitzeArt which Mentor? The ones I've seen before only had a 1/150s shutter tops and because of that they never were on my radar compared to 1/1000s with the Graflex Speed Graphic or Series D.
@@KNURKonesur The pre-war designed Mentor-Atelier--Reflex 12x12 (cm) Modell 304 . It has different to the 303 9x12(cm) also landscape back rotation. They offer up to 1/1500.
Note that modern film holders do not fit. I had planned to exchange the back to enable the Mentor for those. I am also not sure if if can handle 4x5'' to 100% in focusing screen/mirror/backframe. Having planned to use it anyhow primary modern 9x12cm holders (being BTW much cheaper than 4x5'' and with outer dimension compatible) with xray film (cut from 18x24cm) that was not my concern. But be aware of this.
I need to be honest that also the post-war Mentor Studio with it's 13x18 back is (without mirror) is interesting and a Speed Graflex competition. That others just 1/100 and later models only 1/30.
See more at: zeissikonveb.de/start/kameras/mentor.html (written in German, but Google translate fixes it)
On that site you find also other info to pre-war Germany and post-war GDR cameras and lenses.
Price wise, it's not so, so expensive, compared to high end digital bodies.
I couldn't get a feel if you could use different lenses?
lol, your comparing an empty film box to a digital camera lol
Great video!
Thank you for watching!
Pretty good takes other than preferring a brand new camera over one from 50+ years ago. Yes they may be old and need a CLA but the manufacturing processes used back then were higher quality and hand processed as opposed to today’s lower quality and machine driven parts.
Go feel a Leica MP/MA and then compare it to an M2/M3/M4 and you’ll be able to tell pretty quickly how much more quality the older mechanics feel…
Art has always been expensive, inconvenient and difficult to do. That what sets it apart. Art isn't cheap.
I don't shoot film anymore. I have never shot large format. And I don't know what a Graflock back is. But I am absolutely enthusiastic about this camera. When I have some spare cash, I might buy one and try 4x5 for the first time in my life. And I might like it...
BTW Large format has no more compression than small format. Lenses don't determine compression, distance does.
Another mistake- The Graflex had a Graflok as a factory option. Mine has it.
According to my research and with people I've talked with the B series came with a graflex back and getting them from factory with a graflok back was quite rare
Those who are looking for tilt and swing on a camera that's mainly designed to be used hand-held have completely missed the point. If you want tilt & shift on a 4x5 camera there are plenty used ones available at 1/10th of the price of this camera . . . just expect to use a tripod.
1099 usd for a 4x5 neg camera? that's cheap.
You can get one for a few hundred 😂
That's affordable to me. I have a Deardorff 8x10 that costs more
Digital cameras also involve a lot of mechanical parts...
definitely not to the extent of film cameras though. Not to mention that digital camera manufacturing is a much easier process to automate than film
@ yes of course ;)
It is a press camera, not a field or studio camera.
I hadn't even heard of this thing! I'm so out of the loop!
Much of the remarks about cost increase relating to tooling and training employees to generate a substantial out is not applicable. Over whatever its life may be, this camera will probably have a production of less than 500 units. They will be built to order. They will not need a warehouse. Allowing necessary recovery of R&D, having to manufacture their own shutter, and tooling for some of the larger parts, the price is not that surprising. IMO, they should have just copied the Gowlandflex, a 4x5 TLR, similarly made to order by a photographer located in Hollywood in the 1960s. A TLR design could be a bit lighter and much similar to build. Probably would be more reliable. Frankly, I doubt there is a market for use of this camera, although some will be sold to the curious and large format users who don't like to hike a 4x5 or larger rig.
please buy me one too
I'm on it dad
@@Braxtonwallis we need an Oprah meme with you and Smartflex cameras being handed over to us :D
Bahahahaha
You might have heard it pronounced ek SET ra, but this is incorrect. There is no “k” in et cetera, which is why “ek set ra” is not correct.
Et cetera = etc.
sorry i'm from the south grammer isn't my strong suit
@@Braxtonwallis a) In linguistics, grammar is the set of rules for how a natural language is structured, as demonstrated by its speakers or writers. Grammar rules may concern the use of clauses, phrases, and words.
b) Phonetics is a branch of linguistics that studies how humans produce and perceive sounds.
- from Wikipedia.
It's a small point. Otherwise, very informative video, thanks.
I am currently using a Lumix G9. I will never go back to film
All the kickstarter projects I've seen never go anywhere.
They just die after raking in money.
I know some are skeptical because it is a kickstarter but FWIW they're affiliated with some pretty established people like Cinestill. Not to mention there are people who already have gotten one. There's actually someone in this comment section who says they've already gotten a copy. So all in all I feel pretty confident in this but I guess only time will tell for sure
I think you're taking too much stock in something just because it's new. A 4x5 camera is much the same as any other as far as being a light-tight box. The ground glass for focus is important, but new ground glass that is better is available at a reasonable price. Other than that, what do you have? Lens board and lens. That's it. A 4x5 camera is a simple thing. All those complex parts you show were for a 35mm, not large format. That's all in the lens, and you would be using the same lens for either camera. Beyond that, the only difference comes down to the movements that you're willing to sacrifice for "new."
As wonderful as new might be, that is a terrific amount of money. We can compare the price using inflation calculators and justify the cost, I do that often enough, however; the problem lies in the fact that most peoples wages did not track inflation. In relative terms the price is technically the same, but the income being used to buy it is lower. Thus, though the price is the same it costs YOU more, you have to work more hours to gain the money to buy it.
Consider a used 4x5 camera. They are cheap and as long as they keep the light out, perfectly fine. You can test it easy enough. Put a solid lens board in and expose a sheet of film to the interior of the camera to see how much light makes it in over a 3 minute exposure with the bellows racked out. If there's any light leaking in, it will be at the bellows and you will see it on the negative. The majority of used cameras out there will pass this test. If it fails a new bellows or different camera would be the options. Install a new screen and whatever lens you have and you're ready to go.
New might be great for those who just want new. The big tradeoff is the lack of movements. I can't see how your new camera could hold a candle to an old Graflex View Camera, or even an old Speed Graphic or other variants of it. There's a good chance the cloth shutter will function properly too, but if not you could shoot with the shutter on the lens.
The choice comes down to new or good. The new one is new, but the old antique Graflex View Camera (or any other like camera) isn't just good, but better. Your viewers should be aware of this and they would probably like an exploded view of a view camera just to be fair to them.
Once you know it's light-tight it all comes down to the lens, viewing screen, and movements.
For the last chapter of this book I'm writing, the large format camera requires one to stop and think about what they are doing. It's a long process to set up, choose the lens, compose and focus while under a blanket and burn the negative. It's a whole lot of thinking and effort, and with all that you don't want an image that goes in the trash.
Probably the best thing about large format is that it makes you slow down and put more time into the image. You can't burn though 36 exposures in 15-20 seconds or use the "spray and pray" method like you can do with digital.
Get the old camera and try out large format. It will either be cumbersome or you will love it. Once you're well acquainted with the methods and process decide whether you want to spend $3,100 before taxes.
I have 3 old 4x5 cameras and have owned several more in the past. These cameras were used for most of my best work and I love them. I've been shooting for a long time and probably have 30 35mm cameras and well over 50 lenses for them. Most are Nikon and Nikkor. I also have three Nikon DSLR cameras because I can use all my Nikkor glass on one of them. If I want to shoot something special, I want to use the large format. I'll take a DSLR with me and shoot a bunch of images with that, sometimes to help with the composition and exposure while most often for the instant gratification of seeing the results then and there.
The End. :)
but its a 4x5 and we already have tools and 3D printer theres no need for this camera , i feel like youtube shooter aren’t really locked in.
Except you are talking about it like this is the only option for what you want out of a large format camera. It is not. The large format film camera market is not dead and intrepid and other companies have such better options than this or way way less money. This camera frankly ignores where the market currently is and is trying to drag it into a over specialized hell scape that the film
Market was in in the 80s and 90s. Throwing money at new cameras because it is new is not a health way to grow the film market back. We want value in the space because that is what bring new people in. I’m sorry but says “well if u want value and convenience just shoot digital” is not a well thought out statement to convince people. Maybe the struggle for the image is something you are in to but that does not attract mass adoption of a format. So if we are supposed to rethink our skepticism of this product than do you really think “well just suck it up” is going to do that? Products should have value for the end user or they are not worth bringing to market, it is that simple. But the market itself should vote with their dollars on what they see value in as a whole. A product having. Value for a very small % of its users is a bad product very if it is really valuable to that small %. You can get all the value of the smartflex from an intrepid 4x5 for a fraction of the price, plus the added value of the movements and portability of the collapsing design. I can build out a version of the 3k pledge for less than 1k with intrepid with all new products (minus the lens but only because of the in and out availability of new old stock)
Respectfully this makes no sense. 1)Intrepid makes view cameras which is entirely different from this camera. I speak about this in the video lol. 2) You put quotes around a quote that I never said. I never said anything about value. I spoke about cost effectiveness, convenience, etc but not value. Value will always be subjective to the user. 3) You say this "ignores the market" but yet it has raised over $200,000 USD on kickstarter? People have "voted with their dollars". I mean I can keep going but bottom line is this way of thinking will kill film faster than what it needs to.
@ 1) no it is really not. It is a modular camera that can be anything you want it to be. U want it to be a roll film camera u can put a roll film back on it, u want it to be a range finder than you mount a range finder on it, you want it to be a slr u get a mirror back for it. U can make an intrepid into any of these for way way less than this crap. 2) you really need to go back to English 101 if u don’t know that “” can indicate more than just a quote. They are went to indicate a change of voice. They do not mean a direct quote by their very nature. That being said English is also a living language and not a fix set of rules locked stone. Language is meant to flex and reform based on our usage I it, not the other way around. 3) 200,000 is like the spit in the bucket to what they would need to bring that camera to market and turn any kind of profit. The tooling alone would cost more than that. Like most ks intended for the mass market this number serves only to bait in investors to cover the real costs. Maybe if they get the backing of a existing brand but that is not saying much about “the market”
Waiting for the 4 x 5 Digiback 🎉
that would be so sick
Some people have not retained their Latin. LOL
NO! Who be so Stupid in getting this $$$$$ expensive Paperweight?? One I also work at a Camera Store in San Francisco, as I seen another person saying that he work at a camera store for 7 years, Well I work for the camera store for 33 years!. Second If I want to get a TRUE 4x5 Camera I would get a Toyo, or a Cambo with a good lens like a Schneider or a Rodenstock lens. But I got myself a Graflex Speed Graphic Kit with camera refurbished, 12 holders, flash gun, filters, a 4x5 Grafmatic holder with 6 film holders and a Leather Case for $499.00, And Still Have it, and use it.Also I got the Lomoback to do Fuji Instax Shooting.
After looking at the photos on Kickstarter it looks like a Recycle Graflex D with Recycle parts - $3000 Grand Or you insane??? I do not trust cameras coming from China, in working at the camera store that we brought those Seagull medium format TLR, and Roll cameras WE LOST OUR SHIRTS in bringing those pieces of SHIT cameras. Get a True View Camera. And looks like that you might know about shooting view camera shooting? I do not think so. When I started taking photo classes at CCSF, First semester is using View Camera Techniques, as I had to haul a 4x5 Calumet but I enjoy it, then lead to the 2nd art school to get my degree, as again I got a Graflex XL and mostly using it throughout semester leading in getting my 4x5 camera. Oh he's alittle tip, Start reading the following: Ansel Adams, Edward, and Cole, and Kim Weston, Wynn Bullock, Henry Jackson, Edward Curtis, Richard Avedon, Shinzo Meada, and my favorite Weegee the only person that shot Street Photography in using a 4x5 Graflex in the 1930's 1940's. As They All use Large Format Gear. This Smartflex camera will not give you Professional Photos at a price like that. This camera is more like for Boys With Toys item. Think about it $3000 grand you might consider a better camera, Not a Three Grand Instamatic... And that's my Opinion.
dang aren't you a ray of sunshine
@@Braxtonwallis Who are you going to Believe? A Person that has been photography since 1972 as my first camera was a Praktica 35mm SLR, and still have it OR a person on You Tube saying I just got a M6, and I am a professional photographer, and I all thanks to my M6 - Yea Right Remember this saying: "No Photographer Is as Good with the Simplest Camera" - Edward Steichen - 1955
its a kickstarter ofc its a scam
What a lot of nonsense to justify shooting on film. Because it's expensive, inconvenient and niche? You can shoot slow on digital too if you don't suffer from compulsion.
Any photographer who made his history with film will find such reasons stupid and at best a pathetic snobbish and fetishistic justification. Do you want to feel "special" for shooting on film? Film has particularities that are not expressed here, in historical and aesthetic terms that can perfectly be placed in the 21st century, without a bunch of nonsense.
p.s. supporting bad cameras like the Pentax 17 just to support the film industry is stupid. If it's a bad project, why would they support it? The industry sees the potential in snobby people without criteria and produces products that are bought compulsively just because of the level of alienation and fetishism of the merchandise.
You can buy a intrepid that's not 3d printed like this one, for a fraction of the price. And it will collapse to be portable. This kickstarted is insanely overpriced. And giant making it cumbersome to carry.
if you're referring to the intrepid 4x5 thats a view camera and is completely different use case so the comparison is invalid. Also the whole point of this camera's construction is that its very light for its size making it quite easy to carry. If you go look at their instagram story they have a video of someone holding it no problem with one hand
@Braxtonwallis the comparison is shooting 4x5. For the price of that you can get an intrepid, several lenses, film and a tripod. It's a no brainer. The intrepid can fold down and fit into a messenger bag. Meanwhile this camera is the size for a 1980's kitchen TV.
Respectfully, I disagree with you. It's too expensive, there are better options out there.
I will support the new project but they have to come with something worth supporting!