Perhaps no other camera with such simple controls strikes as much fear and trepidation in the heart of photographers as a 4"x5" rail camera. These cameras boil photography down to its most simple: a lens, a film plane, and a bunch of dark in the middle. At the same time, these cameras appear very daunting and require new pieces of equipment like lensboards, film holders, and possibly separate shutters and lenses. With all of that, it may seem odd to have one of these cameras described as "entry level," but that's how Linhof marketed the Linhof Color Kardan 45s.
Although by the 1960s Linhof was well established in the large format photography world, the popularity of 4"x5" rail cameras prompted the company to produce a lower cost rail camera for the professionals and advanced amateurs who enjoyed the flexibility and precision that rail camera photography allows. With controls for rise, fall, tilt, shift, and swing, photographers could control the film and focus planes with extreme precision.
So what, you might ask, makes this camera entry level? In reality, not much. As with other Lihof products, the machining on the Color Kardan 45s is impeccable and the weight of camera allowed photographers to take this camera out of the studio and into the field for architectural or landscape photography. Compared to its competitors, the Color Kardan 45s was certainly not entry level at all. It was only when compared to the Lihof Kardan B and its additional movements that the 45s appear to be anything but professional.
If you have never tried a 4"x5" rail camera, the Linhof Color Kardan 45s can easily be your first and last rail camera. Seek one out and discover the feeling of total control over focus and framing. Your images will look much better than "entry level".
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Linhof Color Kardan 45S
We generally like to separate large format cameras into three types: rail, field, and press. We know this isn't a perfect set of groupings, but it describes the majority of cameras out there.
We'll start today with rail cameras, this image features the Linhof Color Kardan 45S. Rail cameras get their name from the main rail (or pair of rails in some cases) that serve as the spine of the camera. You've got a main rail that supports a front and rear standard. The front standard holds the lens while the rear standard holds the focusing screen and film holder. A bellows in between the two standards keeps things light-tight.
The big pro of rail cameras is versatility. They can do almost anything. Usually, each standard can rise, swing, tilt and shift. We're talking about a full range of movements, not just on a single standard, but both combined. They also work with pretty much any focal length lens. Wide angle lenses require a compression of the bellows that not all large format cameras can do, meanwhile telephoto (or close focusing) requires an extension of the bellows that many rail cameras can do to the extreme.
The other perk to these large format cameras is price. Rail cameras these days are the budget large format cameras. Oftentimes they will cost less than the lens you put on them.
The biggest con of rail cameras is their size and portability. They are large, cumbersome, slow to set up and use, and really don't travel well. They are great in a studio but are a pain outside of it. They also are meant to be used on a tripod - good luck hand-holding one of these!