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Author Topic: Pros and cons of Cambo Actus DB2 vs Phase cameras / Alpa etc  (Read 1415 times)

NickJB

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I'm working on a new project on urban landscapes, images that will often have people in the frame. I'm looking for best quality sensors with great dynamic range and highly accurate color, so while I love the idea and price point of, say, the Fuji GFX 100S, I'm leaning more and more towards a Phase digital back. I'll be looking at used Phase backs, probably in the 80-100MP range to keep in budget. First question, am I right in believing the Phase Backs are significantly superior, especially in real use dynamic range, than the Fuji's?

So next question is what camera and lens system to put this on? I love the idea of using a "normal" handheld camera, like the Fuji, Hassleblad or even Phase, but I keep going back to shooting with 4x5 field cameras back in my film days, so considering the Actus, Alpa, even Arca Swiss. I also feel these camera's are a lot cheaper than, say, the Phase or 'Blad's as they're essentially just black boxes.   

Camera. While I will be using a tripod, I like being mobile. I like moving from spot to spot capturing a range of different angles and viewpoints, so weight, the ability to lock the camera off quickly, keeping it on the tripod, using a smaller, lightweight tripod so I can move to another viewpoint quickly is very important. I'm not necessarily looking for lots movements. I would use perspective controls for images with buildings for sure, but I'm not shooting commercial architecture or in studio product, so movements don't need to be extensive.
 
Lenses. I shoot mostly medium wides and wides, nothing really super wide. I'd rather have two really top quality lenses than 4 or 5 good lenses. As the project progresses, I can add another lens or two if needed. The disadvantage of using a technical camera is that lenses for them are rarely found in rental houses

Photographers to reference: Richard Misrach, Ed Burtynsky, Simon Roberts. Lot's more I could reference, but these three are the closest in terms of the way they shoot, the equipment they use and the way they want viewers to experience looking at their work.

Budget is absolutely an issue. I would rather spend project funds (self funded) on travel rather than on equipment, but without the right tools, I won't be able to create the quality of images that I want to.

Any feedback on your experiences with the various camera systems, especially the Cambo Actus DB2 which is where I'm leaning, would be much appreciated. Also direction on lenses to look at. I haven't shot large format with digital backs before, so I'm still trying to figure out what technical lens brands and models are best with a very good digital back.

Thanks!
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TechTalk

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Re: Pros and cons of Cambo Actus DB2 vs Phase cameras / Alpa etc
« Reply #1 on: May 09, 2022, 04:52:31 pm »

You're kind of all over a rather vague map...

You're "looking for best quality sensors with great dynamic range and highly accurate color"—that leaves a lot to interpretation. What do you consider to be great dynamic range and highly accurate color? You need to figure that out for yourself, especially when it comes to what appeals to you regarding color reproduction.

Next you need to decide what "I love the idea and price point of, say, the Fuji GFX 100S" and "I'm leaning more and more towards a Phase digital back" means to you, by trying some equipment for yourself. You need to find a way to get demos from dealers or manufacturers, borrow or rent equipment, and decide what works for you.

"am I right in believing the Phase Backs are significantly superior, especially in real use dynamic range, than the Fuji's?" Which Phase One backs are you referring to? Which Fuji cameras? They're not all the same. Dynamic range compared under what conditions? Low ISO with bright sunshine and short exposures? High ISO and long exposure in low light? You need to build some personal experience in evaluating these things thru your own use.

The same applies to questions regarding cameras and lenses. You seem to be looking for the best compromise between light weight and mobility and optimum image quality. The best compromise for you is not necessarily the best compromise for numerous other individuals online or elsewhere. It's something that you discover by personal experience. Then there's that budget thing which only you know because you've only made vague references to having one.

"Photographers to reference: Richard Misrach, Ed Burtynsky, Simon Roberts. Lot's more I could reference, but these three are the closest in terms of the way they shoot, the equipment they use and the way they want viewers to experience looking at their work." Here's what I can tell you about your references, "the way they shoot" and "the equipment they use" was gained thru their personal experience and use of a very wide range of equipment — and to show that I'm actually trying to assist you, I'll provide some links to interviews and quotes from them for you to peruse.

Here's a quote from an interview with Richard Misrach: “The work in the show, which spans 40 years,” Misrach notes, “has been made with a number of cameras: in the 1970s a Hasselblad and a slightly wide-angle lens; an 8×10 Deardorff view camera with a normal lens (1980s to around 2005); a Hasselblad and a telephoto lens (2005 to the present); and an iPhone. The pictures look the way they do not so much because of the camera I use, but rather because of where I set up and shoot in relation to my subjects.

Here's an interview series with Ed Burtynsky from Luminous Landscape in which he discusses equipment choices at various stages of his career and the evolution of his shooting style at some length. An Interview with Edward Burtynsky – Part 1 of 3 [evolution as an artist], Part 2 of 3 [evolution of equipment choices], Part 3 of 3 [printing and other output]. You will likely enjoy this series of interviews as he covers in detail much of what you seem to be most interested in discovering. He talks at some length about his evolution from 4x5 and 8x10 film cameras to the present using a Hasselblad H6D-100c. I hope that you find some inspiration and insight.

For any photographer or other artist producing interesting work, "the way they want viewers to experience looking at their work" is a personal vision developed over time; drawn from and expressing their inner thoughts and feelings about their subjects. That's what artists generally strive for in their work. Imitation of an artist is one way to build some knowledge of skill and craft and a well from which to draw some inspiration. Once acquired, it then needs be turned into your own vision.

I've probably given you nothing even remotely close to what you're looking for, but best of luck to you. Enjoy your journey.
« Last Edit: May 10, 2022, 03:24:58 pm by TechTalk »
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TechTalk

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Re: Pros and cons of Cambo Actus DB2 vs Phase cameras / Alpa etc
« Reply #2 on: May 13, 2022, 07:50:35 pm »

I would rather spend project funds (self funded) on travel rather than on equipment, but without the right tools, I won't be able to create the quality of images that I want to.

If I had to weigh budget priorities, I'd choose spending money on the time and travel needed to find and capture interesting subjects using decent equipment over better equipment but with less money available to support time and travel expenses. It's been my experience that having more time to spend with subjects generally has more impact on my satisfaction with images than the use of better equipment. Naturally, that's a purely personal choice.

In my personal view, great images rarely rely on great equipment. Most of the time, good equipment is more than sufficient. I've often appreciated great images where the equipment used would make little difference in the quality of enjoyment derived from the moment or subject that was captured.

Once again, best wishes to you in your search for images that you enjoy creating and find satisfying to view.
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AndrewMcD

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Re: Pros and cons of Cambo Actus DB2 vs Phase cameras / Alpa etc
« Reply #3 on: May 19, 2022, 01:21:45 pm »



"Photographers to reference: Richard Misrach, Ed Burtynsky, Simon Roberts. Lot's more I could reference, but these three are the closest in terms of the way they shoot, the equipment they use and the way they want viewers to experience looking at their work." Here's what I can tell you about your references, "the way they shoot" and "the equipment they use" was gained thru their personal experience and use of a very wide range of equipment — and to show that I'm actually trying to assist you, I'll provide some links to interviews and quotes from them for you to peruse.

Here's a quote from an interview with Richard Misrach: “The work in the show, which spans 40 years,” Misrach notes, “has been made with a number of cameras: in the 1970s a Hasselblad and a slightly wide-angle lens; an 8×10 Deardorff view camera with a normal lens (1980s to around 2005); a Hasselblad and a telephoto lens (2005 to the present); and an iPhone. The pictures look the way they do not so much because of the camera I use, but rather because of where I set up and shoot in relation to my subjects.

Here's an interview series with Ed Burtynsky from Luminous Landscape in which he discusses equipment choices at various stages of his career and the evolution of his shooting style at some length. An Interview with Edward Burtynsky – Part 1 of 3 [evolution as an artist], Part 2 of 3 [evolution of equipment choices], Part 3 of 3 [printing and other output]. You will likely enjoy this series of interviews as he covers in detail much of what you seem to be most interested in discovering. He talks at some length about his evolution from 4x5 and 8x10 film cameras to the present using a Hasselblad H6D-100c. I hope that you find some inspiration and insight.

For any photographer or other artist producing interesting work, "the way they want viewers to experience looking at their work" is a personal vision developed over time; drawn from and expressing their inner thoughts and feelings about their subjects. That's what artists generally strive for in their work. Imitation of an artist is one way to build some knowledge of skill and craft and a well from which to draw some inspiration. Once acquired, it then needs be turned into your own vision.

I've probably given you nothing even remotely close to what you're looking for, but best of luck to you. Enjoy your journey.

I really appreciate the links back to previous interviews.

I'm struggling with sort of similar decisions in my own work. Helpful reminders that my intentions as an artist help drive the equipment I choose.
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vjbelle

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Re: Pros and cons of Cambo Actus DB2 vs Phase cameras / Alpa etc
« Reply #4 on: May 31, 2022, 07:59:48 am »

You mention that you shoot normal to medium wide to wide and that you are interested in using a 100s on an Actus.  Please be aware that the Actus is limited on the short side to the Schneider 72mm Digitar with movements or the Schneider 60mm XL without or with very limited movements. 

I own two complete Actus systems and have been shooting with them for years.  I also own an Alpa STC which I have also used for years.  If your goal is to stay modern with the 100s then know that for anything wider than 72mm you should rely on using the 100s as a stand alone camera without movements.  As one alternative you can use the 72mm in portrait and shift 18mm LR and that lens will then have an effective fov of a 47mm lens - but that is it for wides using LF lenses.  There are also the shift lenses from FF that can be used on the 100s with adapters but I have no experience with them.

A pancake camera with a DB will give you the largest selection of lenses including wides but you can only use a DB. 

Victor B.
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