Good reviews. A couple of notes for others who may be considering one. Mr. Tachihara made quite a few variations of the Hope "Fielstand" 4x5 (sic) over the years. Not all have the locking channel for the front standard on the rise-fall control; if not included, verticality, must be checked by feel, especially if the bellows is extended far enough to pull unevenly on top and bottom, as when the lens is tilted, raised, or lowered. Your model has a synthetic bellows, apparently. On the other hand, slight tilt in either direction can be quickly applied when bellows draw is moderate, though care is needed. My camera, purchased well-used some years back, had the original leather bellows, which I replaced last year with a synthetic one, due to irreparable light leaks. The rear standard's swing position (and this movement is called swing, as opposed to tilt, shift [side to side movement without changing the plane of orientation, which this camera does not feature], and rise/fall) is zeroed when the little edge marks on the side of the two friction plates line up vertically. They're visible in the video. This model, the basic one (I have seen triple-bed ones for longer bellows), has a max bellows draw of about 13 inches (320 cm). With a 150mm lens, close focusing without movements will produce about 1:1 magnification maximum; with a 210mm, about 1:2. With a 300, however, note that most the bellows will be needed just for infinity focus. On the other hand, with shorter lenses, higher magnification may be achieved. With a 135mm or shorter lens, it is necessary to move the rear standard forward to achieve infinity focus. I find setting the back all the way forward the easiest for calibrating for general field work, as I made a mm-measuring scale for depth-of-field calculation on the bed (probably the fastest technique; some prefer others).
I bought one well used. Stripped it down, refined and cleaned. I also replaced bellows. All work was easy and end result beautiful. I use large wrap and easystoage I small back pack. Super light, joy to use, my go to on the road 4x5! Love it.
This camera absolutely blew my mind, just got mine from Kamerastore a week ago and it's a beautiful piece of equipment in pristine condition. The serial number 04-117 written on the upper base of the back standard suggests it was the 117th camera made in 2004. Using this camera or any 4x5 camera brings you to the core of photography, it's like a ritual. You are so focused and absorbed by the process in a transcendental way that, for a couple of minutes, it's just you, the subject and the camera. Thank you for the explanatory video, it was easier to get to know it's functions!
I'm glad that I opted for the Chamonix F2: Not as nice looking, but practically the same features, plus right/left shift - which can be important even for landscape work (definitely for architecture). Oh, and the F2 has interchangeable bellows - also much more important than I thought at first. But maybe my subjects are a bit strange (e.g. old windmills, often from close quarters or standing high up).
Leave it to Nico to find the most niche and well displayed explanation of a camera, looking to pick one of these up and was super glad to see you had done a run through of this beautiful camera!
If I just bought this, I would expect in the instructions that they show this video, it's awesome. I want one of these and when I can sell a body part, I'll get it. Thanks for making me dangerous!!!
Nico, at 7:35 what the rear racking is for, is to enable wide angle lens use (ultra wide), which can see the bed, if you use the front rack for the infinity position; what this design enables (same on Chamonix/Shen-Hao/Toyo (45A)) is the front standard to go to the extreme end of the infinity rack, so no bed shows, but this rear rack acts as the infinity rack, for these wide lenses, decreasing bellows ext. so it can reach infinity focus, even if a 75 or 65mm lens is attached.
interesting that this has linhof board markings, but the reason for it, is Linhof technikas have an extra rail; most have two, but this has three, to do the infinity stop, to do a "tele", Wide and std range of focal length lenses, and the focus bed itself; the offset is to ensure the lens axis is on film center when set at zero, even with these extra features installed.
What vintage is that, Nico? Stunning workmanship. And some nice mechanical features like zero-position indents that certain modern manufacturers think are wasteful, or unnecessary….
good video nico, PS the knobs at 8:35 you could call cam locks, as they work like a tap on an urn, the pin is offset, so movement causes the bolt to rise and fall.
Ken Rockwell did have quite a favorable review from back in the day, and together with his pro Velvia 50 stance back in 2008-10 it is what got me into film. Nowadays I don't consider LF to be a thing for me but these cameras are masterpieces.
As usual, fantastic video. When you raised the front standard and took it out of the rail and used it for tilt, can it be centered and used as axis tilt that way requiring less re focusing than using it in the rail for base tilt? Does the centering mark then locking at that point properly set it for axis tilt? As a portrait photographer... loved your RZ,RB67 videos, It looks like this camera will do what I need in studio and on location. Although it doesn't have front shift, if I understand it correctly... This is a new world after the 645 and 67, by shifting both the front and rear standards towards the subject, that will give a shift effect? Yesterday, my RB pro s back stopped advancing at 9 but the center lever seemed to correct that, so with that camera, it had so many things mechanically that could jump up and bite me, whereas, with large format, it's pretty simple and the problems are operator error. Can you recommend a good book on large format, especially using for portraiture.
Have been using my HOPe 4x5 with the same setup for a couple of years. Please notice that these dome-shaped cap nuts covering screws holding those knobs come out very easily, You need to check their status often to make sure they are tighten enough. If you lose one nut, it is extremely hard to find one with a matching color.
I’m slowly trying to get into 4x5 but it’s so hard to figure out what to get for a basic setup on the cheap. So far all I have is film and a single lens
Thank you for sharing, while it is a beautiful camera, mine is dated as 1990 for year of manufacture. I checked the bellows and there are pin holes all over. I bought this from a camera dealer in 2021, it was ok then. But those crunchy bellows do go bad and have to be replaced. I paid 650.00 USD and it will cost 300.00 USD to do the bellows. That’s 950 USD for the camera, I think it’s always worth considering a newer camera like a Chamomix or Shen Hao, for 500.00 more, I could have had a newer camera and not be concerned with the bellows. While older cameras can be nice, that is something to think about. I think the bottom line to consider is the availability of parts to keep these older cameras going. I know that Linhof and Toyo are still around, but many others are no longer around.
Bought mine for $300. Stripped and refinished it. Bellows was shot gunned so I replaced it with a new one, $100, Ebay. I enjoyed doing the work, so for $400, I considered it a bargain.
Good reviews. A couple of notes for others who may be considering one.
Mr. Tachihara made quite a few variations of the Hope "Fielstand" 4x5 (sic) over the years. Not all have the locking channel for the front standard on the rise-fall control; if not included, verticality, must be checked by feel, especially if the bellows is extended far enough to pull unevenly on top and bottom, as when the lens is tilted, raised, or lowered. Your model has a synthetic bellows, apparently. On the other hand, slight tilt in either direction can be quickly applied when bellows draw is moderate, though care is needed.
My camera, purchased well-used some years back, had the original leather bellows, which I replaced last year with a synthetic one, due to irreparable light leaks.
The rear standard's swing position (and this movement is called swing, as opposed to tilt, shift [side to side movement without changing the plane of orientation, which this camera does not feature], and rise/fall) is zeroed when the little edge marks on the side of the two friction plates line up vertically. They're visible in the video.
This model, the basic one (I have seen triple-bed ones for longer bellows), has a max bellows draw of about 13 inches (320 cm). With a 150mm lens, close focusing without movements will produce about 1:1 magnification maximum; with a 210mm, about 1:2. With a 300, however, note that most the bellows will be needed just for infinity focus. On the other hand, with shorter lenses, higher magnification may be achieved. With a 135mm or shorter lens, it is necessary to move the rear standard forward to achieve infinity focus. I find setting the back all the way forward the easiest for calibrating for general field work, as I made a mm-measuring scale for depth-of-field calculation on the bed (probably the fastest technique; some prefer others).
I hope you dont mind if I pin your comment, thanks for the extra information!!
My pleasure.@@NicosPhotographyShow
I bought one well used. Stripped it down, refined and cleaned. I also replaced bellows. All work was easy and end result beautiful. I use large wrap and easystoage I small back pack. Super light, joy to use, my go to on the road 4x5! Love it.
This camera absolutely blew my mind, just got mine from Kamerastore a week ago and it's a beautiful piece of equipment in pristine condition. The serial number 04-117 written on the upper base of the back standard suggests it was the 117th camera made in 2004. Using this camera or any 4x5 camera brings you to the core of photography, it's like a ritual. You are so focused and absorbed by the process in a transcendental way that, for a couple of minutes, it's just you, the subject and the camera. Thank you for the explanatory video, it was easier to get to know it's functions!
I'm glad that I opted for the Chamonix F2: Not as nice looking, but practically the same features, plus right/left shift - which can be important even for landscape work (definitely for architecture). Oh, and the F2 has interchangeable bellows - also much more important than I thought at first. But maybe my subjects are a bit strange (e.g. old windmills, often from close quarters or standing high up).
Cherry wood , really made well . Light and with all the swings , tilts , rise and fall you would ever need .
Leave it to Nico to find the most niche and well displayed explanation of a camera, looking to pick one of these up and was super glad to see you had done a run through of this beautiful camera!
If I just bought this, I would expect in the instructions that they show this video, it's awesome. I want one of these and when I can sell a body part, I'll get it. Thanks for making me dangerous!!!
The goal is to show how to use these cameras that came out before the internet was a thing, to help people not make any mistakes.
Really, a beautiful camera!
It really is!
Nico, at 7:35 what the rear racking is for, is to enable wide angle lens use (ultra wide), which can see the bed, if you use the front rack for the infinity position; what this design enables (same on Chamonix/Shen-Hao/Toyo (45A)) is the front standard to go to the extreme end of the infinity rack, so no bed shows, but this rear rack acts as the infinity rack, for these wide lenses, decreasing bellows ext. so it can reach infinity focus, even if a 75 or 65mm lens is attached.
interesting that this has linhof board markings, but the reason for it, is Linhof technikas have an extra rail; most have two, but this has three, to do the infinity stop, to do a "tele", Wide and std range of focal length lenses, and the focus bed itself; the offset is to ensure the lens axis is on film center when set at zero, even with these extra features installed.
What vintage is that, Nico? Stunning workmanship. And some nice mechanical features like zero-position indents that certain modern manufacturers think are wasteful, or unnecessary….
Its a pretty amazing camera to be honest, if only it had Graflok.
good video nico, PS the knobs at 8:35 you could call cam locks, as they work like a tap on an urn, the pin is offset, so movement causes the bolt to rise and fall.
Thanks Andy! Wont remember that term, but will try.
Ken Rockwell did have quite a favorable review from back in the day, and together with his pro Velvia 50 stance back in 2008-10 it is what got me into film. Nowadays I don't consider LF to be a thing for me but these cameras are masterpieces.
Thanks for sharing this video. I think the cherry wood and gold trim is beautiful.
Is there a monorail version with more movements?
As usual, fantastic video. When you raised the front standard and took it out of the rail and used it for tilt, can it be centered and used as axis tilt that way requiring less re focusing than using it in the rail for base tilt? Does the centering mark then locking at that point properly set it for axis tilt? As a portrait photographer... loved your RZ,RB67 videos, It looks like this camera will do what I need in studio and on location. Although it doesn't have front shift, if I understand it correctly... This is a new world after the 645 and 67, by shifting both the front and rear standards towards the subject, that will give a shift effect? Yesterday, my RB pro s back stopped advancing at 9 but the center lever seemed to correct that, so with that camera, it had so many things mechanically that could jump up and bite me, whereas, with large format, it's pretty simple and the problems are operator error. Can you recommend a good book on large format, especially using for portraiture.
Yeah "latón" is brass , pretty cool camera look very high quality
Yeah, I got it after, it was 7am, so my words... Thanks Brian, hope all is well in Puerto Rico!!
The one I have has a rear bellows attachment for longer lens
Have been using my HOPe 4x5 with the same setup for a couple of years. Please notice that these dome-shaped cap nuts covering screws holding those knobs come out very easily, You need to check their status often to make sure they are tighten enough. If you lose one nut, it is extremely hard to find one with a matching color.
Forgive me for trivial correction, Nico, but the wood is cherry :)
No forgives needed! You would think me being an ex carpenter I would know…
Exactly , Nico, thanks for your good nature!@@NicosPhotographyShow
Very old cherry, too!
I’m slowly trying to get into 4x5 but it’s so hard to figure out what to get for a basic setup on the cheap. So far all I have is film and a single lens
Thank you for sharing, while it is a beautiful camera, mine is dated as 1990 for year of manufacture. I checked the bellows and there are pin holes all over. I bought this from a camera dealer in 2021, it was ok then. But those crunchy bellows do go bad and have to be replaced. I paid 650.00 USD and it will cost 300.00 USD to do the bellows. That’s 950 USD for the camera, I think it’s always worth considering a newer camera like a Chamomix or Shen Hao, for 500.00 more, I could have had a newer camera and not be concerned with the bellows. While older cameras can be nice, that is something to think about. I think the bottom line to consider is the availability of parts to keep these older cameras going. I know that Linhof and Toyo are still around, but many others are no longer around.
Bought mine for $300. Stripped and refinished it. Bellows was shot gunned so I replaced it with a new one, $100, Ebay. I enjoyed doing the work, so for $400, I considered it a bargain.
@@ericholmquist8966 in your case it sounds like a bargain.
Does the 8x10 version work the same?
Havent used one in a bit. Probably not too different.
Como el "Fotografía básica" de Michael Langford, pero en video 😂