u/robertraymer

Does anyone here have a Cambo Legend 8x10 that they shoot on location with? I love mine, but seem to have far more opportunities to shoot on location than I do in my makeshift garage studio, where it is sitting on a shelf when not in use. I really like the camera and do not really want to sell it to buy an 8x10 field camera, but as a rather large monorail camera it isn't the most portable. I was hoping that someone might have a good idea for a bag or case that would allow me to travel with it relatively easily. I have yet to find a bag or case that will both fit it and keep it protected so I was wondering what other people might be using. Im obviously not looking to go hiking with it or anything, but I would like to be able to at least get in to and from my car and from my car to and from wherever I am shooting. Thanks.

Looking to see if any portrait shooters have recommendations on continuous lights they like. Especially any lights that are portable. Specifically I am looking for lights that have enough output to get me in the ballpark of 1/60, 4.5 at 320 ISO. The brighter the better.

I know I can use flash (I have both a Profoto system I use with digital and Speedotron system that I use for collodion), but am hoping to find a good, portable light I can use with my barrel lenses on my Speed Graphic and RB Series D without having to use open flash. Bonus points if it has enough output to be used with a small octabox/beauty dish.

FWIW I have a StellaPro Reflex S I thought would fit the bill, and was working on a light test with it when it decided that the light did not want to work.

I have been looking at an Amaran 60x D S, which seems great for video but have seen conflicting measurements and am not sure if they are powerful enough for stills.

Any recommendations appreciated.

Speed Graphic Buying Guide

What to look for:

1. Intro
2. Size
3. Age/Type
4. Leather condition
5. Metal condition
6. Back type/Condition
7. Bellows condition
8. Front Standard
9. Lens condition
10. Shutter condition
11. FP Shutter condition
12. Accessories
13. Strap
14. Viewfinder/Sports Finder
15. Rangefinder
    1. Types

Intro

I have seen numerous questions here and in other places about buying speed graphic cameras. Often these questions are along the lines of wanting to know how to tell if the camera is working properly or not, how to tell if a camera advertised as “as is” is worth the price being asked for it, and how much repair might be required. Often the cameras in question are being sold by online sellers who know little to nothing about the cameras and where the buyer can’t physically examine the camera in person.

I do not pretend to be an expert in cameras, speed graphics, or camera repair, but I do have a bit of experience shooting with, buying, and refurbishing speed graphics. Information here is presented based on my own experience, but please don’t take everything as gospel.

Size

Speed Graphics were produced in 3 different sizes, 2 1/4 x 3 1/4 (often referred to baby graphics, or simply 2x3 or 23 graphics), 3 1/4 x 4 1/4 (often referred to as 3x4 for simplicity or as quarter plate graphics), and 4x5. The first thing you need to know when buying a speed graphic is what size you want. Once you know what size you want, you have to make sure that the camera being sold is that size. 

If you are lucky, the seller will actually know what they have and advertise accordingly and correctly. Often, however, sellers do not know what size they have and listings online are often inaccurate, with 2x3 and 3x4 versions frequently listed as 4x5. If the seller does not know what they have, or even if you just want to make sure they are correct, there are a few things to ask and look for.

The first thing is to actually measure the ground glass (or where the ground glass is supposed to be if it is missing). Because the cameras can use the ground glass to focus, the size of the ground glass will match the size of the negative. This is by far the most accurate way to get your answer. 

If you are considering an pre-anniversary or anniversary model, you can also look at the distance between the shutter control mechanism and curtain tensioner mechanism. 2x3 graphics will have roughly 1/4 inch between the 2, while a 3x4 will have roughly 3/4-1 inch (I don’t remember the exact number), and a 4x5 will have 1 1/2 inches. 

If the shutter speed plate is mounted between the two you will know it is a 4x5, because it will not fit in that space on a 2x3 or 3x4. A 2x3 will also be obvious, because the space between the two is so small. While the plate being mounted on the top, or elsewhere on the body is often a possible indicator that it is a 3x4, unfortunately you can not go on that alone, as many owners of 4x5 cameras, myself included, have moved the plates. 

Advice is often given that you can also determine size based on the lens that is on the camera or the film holders that come with the camera, and while this may work, I often see listings that have various size holders and lenses are so easily and frequently changed as to be useless as a good indicator.

Age

Speed Graphics were made from roughly 1912 - 1970 and can generally be broken down by era into Top Handle, Pre-Anniversary, Anniversary, and Pacemaker Speed Graphics. (I will not be discussing Super Speed Graphics, XL’s, or crown/century graphics).

Top Handle Graphics are not very common, and are notable for their top leather handles as well as their smaller lens boards. Pre-anniversary and Anniversary models are similar, both with the larger “C” type lens boards, but there are a few cosmetic and functional differences. The Pre-Anniversary models typically have only one focus control knob on the shutter release side of the body as opposed to both sides of the bed on later models. They also typically have a rounded top, flip up style of wire finder as opposed to the squared version that retracts into the front standard of the later models. The Anniversary and later models also have the ability to drop the front bed. 

The Pacemaker models have a completely redesigned shutter mechanism with simplified controls on the side and a shutter release integrated into the side of the body. They also utilize a different size metal lens board and some models have top mounted rangefinders. Pacemakers also have front standards that allow for tilt, as opposed to only rise/fall and shift on Pre-Anniversary and Anniversary models. 

While I typically stay away from top handle models because of their smaller lens boards and limited lens options, which model is right for you is mostly a matter of preference. I personally prefer Anniversary Models, though Pacemakers are newer and have features that are important to some people.

If you want to get a rough estimate of the cameras age, the serial number can typically be found stamped into the inside of the camera under the top of the body, or on a plate inside the front bed. This can be compared to lists found online to give a rough date range.

Leather

Once you know the size, age, and model that you want and/or are considering, it is time to start evaluating the camera. This starts with evaluating the leather. 

With the exception of some military versions that were covered with olive drab leather, most speed graphics were made from mahogany wood bodies and aluminum front beds covered in black leather. While the leather itself is not an integral part of the camera, evaluating its condition can tell you a lot. In general you are looking for any signs of discolored, dried, cracked, peeling, or missing leather or leather that has obvious signs of mold or corrosion from metal parts under the leather itself. 

While it is no guarantee that a camera with pristine leather will be completely in working order, or that leather with significant issues will mean the rest of the camera has issues, the general condition of the leather is an indication of how well the camera was taken care of and stored, and can be a good indicator of general camera condition.

While many people want a camera they buy/use to have the leather as nice as possible, I personally like the look of Pre/Anniversary models with the leather removed to show the mahogany body. So while leather that needs more than some basic conditioning/TLC may be a deal breaker for some, for others like myself the general condition is unimportant, as long as what was said above about leather being an indication of potential issues is understood. 

If you do consider removing or replacing the leather, know that it is not necessarily hard to do, especially if you have any leather working skills, but it does take some time and patience.

Metal Condition

The next thing to consider is the condition of all of the metal parts, primarily the front standard, the rails, the front bed, and the shutter/curtain controls as well as the focus knobs and other metal pieces. Typically what you are looking for here are any signs of rust and or corrosion. In some places, such as under the leather on the front bed, you may not always be able to tell the condition, however if there is corrosion or discoloring on the leather above/near metal, you can generally assume that the metal has at least some concerns.

If you are looking for a camera that is going to be functioning and ready to shoot as soon as you buy it, I would stay away from anything with more than a very small amount of rust and corrosion. If you are looking for a project camera, or are ok with doing some amount of cleaning, you would need to evaluate where the rust/corrosion is, how much it affects the actual use, and whether or not addressing the issue is something within your skill set/budget.

In general I am not very concerned with rust/corrosion to more cosmetic areas like the handle hardware, or even the front bed, as they are primarily cosmetic concerns, and can easily be sanded away if you so choose. Issues with the standard, rails, or shutter controls are more concerning as they can have varying levels of impact on the camera function from being a slight inconvenience to causing the camera to be inoperable. 

Almost all issues with metal CAN be overcome, as most parts can either be restored or replaced, but the condition of the metal parts that impact functionality, especially the focal plane shutter controls, will significantly impact how much I would offer for a camera.

Back Type/Condition

The next thing I look at, as it impacts how I can use the camera, is the type if back the camera has as well as the condition of the back and ground glass. Pay attention, because the names are similar and it can be confusing which is which.

While is possible that you may find a GraFLEX Back that accepts only slotted film holders (common on Graflex SLR cameras) on a speed graphic it is unlikely. If I did I would probably pass automatically, as they have limited functionality and slotted film holders are getting herder to find. Most Speed Graphics will have either a GraPHIC back (also called a spring back) or a GrafLOCK back.

The GrafLOCK back is the newer, more functional, and generally more desirable back. It consists of a removable, spring loaded focusing panel as well as 2 tabs that can be used to secure multiple accessories like (mostly useless now) film pack adapters, grafmatic backs, and roll film backs. It can also, obviously accept regular film holders.

The GraPHIC back is similar, but without the removable focusing panel, and the tabs to use  other accessories, and as such is slightly less functional. While it will still accept film holders and some smaller roll film holders, as well as the grafmatic back, can fit under the springs, it is a tighter fit and more difficult to use those accessories than with the GrafLOCK back. Additionally, some accessories are unusable. 

While the type of back may affect how much I am willing to pay (more for the GrafLOCK than the GraPHIC), condition is more important here.

In general, you are looking for the same thing as the body. Keeping in mind that some backs are metal covered with leather and come are painted metal, the basics are the same. You should be looking for any signs of obvious damage (dents, missing pieces, broken springs, etc) as well as any signs of rust or corrosion. Again, concerns may range from merely cosmetic to significant and potentially affecting function, and your decision to buy or not and what to offer/pay should be guided by your level of comfort with any cosmetic concerns vs any potential functional concerns and your ability to fix/have the m fixed.

That said, both backs are easy to remove and replace, and both types are relatively easy to find, so a back is almost never a deal breaker for me. 

Note that I did not mention the ground glass here. Personally, the condition of the ground glass is not of much concern to me most of the time. If it is obviously missing or broken it will affect what I am willing to pay, knowing it will need replacing, but ground glass is so readily available that beyond that I do not worry about it.

Bellows Condition

This is where we start to move to the inside of the camera, with the inspection of the bellows. When evaluating bellows I typically look at 2 main things. How flexible/supple it is and how light tight it is. Any dried up, stiff, creaking bellows are an immediate cause for concern, especially if the outer leather has chipped or peeled away and exposed and cardboard making up the baffles. These are all indications of likely issues with light tightness which is my next test. 

After evaluating the cosmetic condition of the bellows, the next step is testing for light tightness. Unfortunately, if you can not physically evaluate the camera, you will have to rely on the above, but understand that just because bellows might LOOK great, it doesn’t necessarily mean they will be light tight. To test that you need a bright light and a dark room. Remove the lens board and look through the bellows while shining the light from all angles at the bellows to see if any light gets through.

Since the bellows need to be free from light leaks, bellows condition is a huge consideration when buying a camera. If there are only a few small pinholes they can easily be fixed with a little electrical tape or (even better) liquid electric tape, I am not often too concerned, though it will affect how much I want to pay. Anything beyond a few pinholes though will require you to repair or replace the bellows, and any price/offer should reflect that need. Keep in mind also here that the Model will also play a part in the decision here. 

Pre-Aniversary and Anniversary models have bellows attached to the front lens board with screws, but cemented and tacked directly into the back of the camera, which make them more difficult to replace than the Pacemaker Model, on which they are on a frame that attaches more easily to the back of the camera.

Front Standard

While the front standard should have already been looked at as part of the general condition of the metal pieces of the camera, there are a few specific things to look for here. First, again, ensure there is no rust or corrosion. Next you want to make sure that the whole standard moves easily up and down the rails, as well as making sure that the rails themselves move easily when you move the focus knobs (this could technically be a whole separate section). Then make sure that the tab with the “speed graphic” branding moves easily up and down to secure and release the lens board. After that, check that the standard easily rises and falls (you will need to loosen the knobs on the side) as well as tilts (on the pacemaker). Finally test to see if the standard shifts easily from side to side. I would also recommend checking that the sports finder moves easily, though I almost never use mine, so this barely registers as a concern for me.

Lens Condition

Obviously the lens is an important part of the camera, and evaluating a lens on a speed graphic is no different than on any other camera. In general you are looking for any sign of scratches, haze, mold, fungus, os balsam separation (older lenses) and coating loss (were lenses). Because lenses are interchangeable they are not a huge concern if they are in the best condition, but any need to replace them with another lens is always factored into any offer/purchase. Obviously if you do not have the camera in front of you you will have to rely on pictures and descriptions from the seller, so don’t hesitate to do so.

Shutter condition

After evaluating the lens itself I move to evaluating the shutter. Again, if the camera is not in front of you, shutter evaluation becomes more difficult, especially if the seller does not know enough about cameras to answer questions accurately.

The first thing you are looking for here is the condition of the shutter blades. They should be in good condition, be light tight when closed, and free from any obvious build up of oil or debris. The next thing I would look at is the physical condition of the outside of the shutter. While a shutter could be ugly cosmetically and still function perfectly, if you can’t actually test the shutter, cosmetics, like leather on the body, can be a good indication of likely issues.

The most important thing to test is going to be the function. You typically want to fire the shutter at all speeds to see a) if it fires and b) if the speeds are accurate. You also want to make sure that the shutter blades snap closed quickly at all speeds and do not lag. Do this with each possible way you can release the shutter. At minimum most shutters will have a shutter lever as well as the ability to use a shutter release cable. Some will also have a self timer (though if ONLY the self timer doesn’t work and everything else works well I personally don’t care).

Note that especially with old shutters it is not uncommon for speeds to be off, especially slow speeds. Most shutters are considered accurate if the shutter speeds are within 10-20% of their listed speed. It is also very common for many old shutters to have lagging shutters and/or slow speeds that are off due to build up of dried up oil on the slow speed escapement and shutter blades. A shutter with slow speeds that are off can be a concern, especially if you need a camera that works guaranteed right away, however understand that the slow speed issues is often easily fixable by yourself by simply flushing the shutter a couple times with Naphtha (instructions multiple places online). So while a slow shutter would definitely affect the amount I would be willing to spend on the camera, for the right price it is definitely not a deal breaker for me. 

That said, know that if flushing it out doesn’t work, or if there are issues with the fast speeds as well, a more involved repair, including removing the slow speed escapement, removing and cleaning gears, replacing springs, etc may be required. This should play a part in whatever decision you make.

Focal Plane Shutter Condition

For me this is the absolute most important part of the camera for a few reasons. First, the focal plane shutter, and its ability to allow one to use shutterless barrel lenses is one of the primary reasons most people want to use a speed graphic over other cameras. While you can still use the camera with a lens in shutters, a non functioning focal plane shutter takes away one of the biggest selling points. Another reason it is the most important part of the camera is that there are a number of possible things that could be wrong with it from a ripped shutter, to a shutter that is dry and brittle, to a shutter with pinholes, to a shutter that simply does not fire or whose speeds are off. Finally, a non-functioning focal plane shutter can be hard to trouble shoot, as the issue could be with the shutter itself, with the control mechanism, or with both.

While I would not automatically dismiss a camera with a few small pinholes in the focal plane shutter (they can easily be repaired with liquid electrical tape, much like the bellows), for most people I would not recommend buying a camera with known focal plane shutter issues, and would even be very cautions about cameras that you cannot evaluate in person that are listed as “as is” or “unknown”.

All that said, I have rebuilt shutters that had both pinholes and timing issues, so it can be done, and I am not necessarily afraid to buy a camera with focal plane shutter issues, but it would definitely impact how much I am willing to pay for one, especially if there is the possibility that the entire curtain needs replacing due to being too stiff, dry, or ripped. 

Accessories

There are a number of accessories that may or may not come on the camera. None are necessarily deal breakers if they are not there or are not functioning, but evaluating them is still important.

Strap

A good strap is nice, especially if you are planning on doing a lot of hand held shooting, but could also be completely unimportant if you will be shooting from a tripod all the time. Regardless, evaluation is simple. Evaluate all of the hardware as part of the evaluation of the metal parts of the camera, evaluate the leather the same way you would the leather body covering, and make any decisions from there. Know that all parts of the strap are very easily replaceable and are usually easy available.

Sports Finder

Typically consists of two pieces, a flip up sight on the back, that should have been evaluated as part of the evaluation of the back, and a flip up or pull up (depending on model) frame on the front standard. The only concerns there really could be here are corrosion to the metal parts and unless they prevent the finders from actually moving into place there concerns are entirely cosmetic. Personally this would have very little impact on my thinking about a camera.

Viewfinder

The viewfinder is a small tube on the top of the camera. It is made of plastic with a plastic lens on the front and space for a viewfinder mask to match the focal length of the lens you are using. It is meant to frame an image that has been focused with the aid of the rangefinder (if equipped). Other than the cosmetic condition of the parts there is very little to check here, and the as long as all of the parts are there the function will not likely be greatly impacted by cosmetic condition.

Rangefinder

This is usually the last thing I check, and if I am not looking at it in person it is hard to do more than check the outside condition. That said, there are 4 different types of viewfinders that you will find attached to speed graphics. 3 of them, the Hugo Mayer, the (uncommon) old style Kalart, and the newer Kalart are side mounted, and one of them, also a Kalart, is top mounted.

Of the 3 side mounted versions, the inspection is basically the same. First check the outside for cosmetic condition then look through the rangefinder to determine how bright and contrasty the split image is as well as whether or not it is properly calibrated (the images will line up when properly focused). An split image that is not bright and/or has low contrast may indicate issues with the beamsplitter mirror, which in the worst case scenario will mean the need to replace (and recalibrate) the rangefinder. An bright, but uncalibrated rangefinder may or may not be a concern, depending on which rangefinder it is, which is where the differences come into play.

The Hugo Mayer rangefinder can be calibrated, however it uses a single cam matched to a specific focal length lens. Unless you can be sure that the lens mounted is the same focal length, you will not know if it can be calibrated accurately or not, and if you can be sure, you will need to understand that that is the only lens you will be able to use the rangefinder for. 

Both Kalart side mounted versions allow you to calibrate any focal length lens from roughly 100mm to roughly 178mm with the same cam, though you can only calibrate one lens at a time. The calibration can be a bit tedious, but is not necessarily difficult, which to makes these the most useful rangefinders. The main difference between the tow is the method of calibration.

The Kalart top mounted rangefinder, like the Hugo Mayer, relies on an individual cam that must be matched to the focal length of the lens being use din order to be calibrated. Making it a bit more versatile than the Hugo Mayer, however, is the fact that you can change cams allowing you to calibrate multiple lenses so long as you use the appropriate cam for the focal length of the lens you are using.

Final Thoughts

One of the reasons that Speed Graphics (and Graflex SLRs) are some of my favorite film cameras is because of how reliable yet relatively easy to maintain and fix they are. As I mentioned at the beginning, I am no expert in cameras, but over the years have bought a number of Speed Grahics “as is”, just to practice diagnosing issues and trying to fix them While I never do more than I need to to any camera, over time I have done pretty much everything except build new bellows (though I have replaced them), and completely replace a shutter curtain (though I have fixed pinholes and completely disassembled/reassembled them). This is all to say that this guide is not so much a guide as to which cameras you should or should not buy as it is an overview of what you should be looking for, considerations you should take specifically if you cannot actually inspect the camera, and how what you find should impact your decision making.

Obviously someone looking to buy a camera that will be functional the moment they pick it up will have different considerations (and risk tolerances buying online) than someone looking for a project or willing to put time/effort into fixing concerns. SO the goal here is not to say what to buy or not to buy, but to get an idea of what to look for, understand how that should affect what you are willing to pay, and give a general idea of how much work fixing some of the concerns is likely to be. 

Hopefully someone finds it helpful.

I was looking for a project to keep me busy, so I bought an Anniversary Speed Graphic (1946 based on SN) with a 127mm Ektar in a Supermatic 2 shutter "as is" for pretty cheap, as well as a Kodak No. 31 Anastigmat in a Spermatic 3 shutter "not working", and also cheap.

On arrival the Anastigmat and Ektar lenses themselves were both clean, but both shutters were basically seized up and not working. The body of the camera had leather that was ok in some spots, but peeling with obvious corrosion in other spots, a rangefinder that was not calibrated, and a focal plane shutter that had no tension and stiff controls. The Spring back was in decent condition, but the ground glass was dirty and cracked. Luckily, though, both the bellows and shutter curtain itself were supple and light tight.

Step 1 was fix the Supermatic shutters. Both were flushed originally, but when that did not work they were both completely disassembled, the individual pieces cleaned, then reassembled. Both now work beautifully and all speeds appear to be accurate (though I do not have a shutter speed tester).

Step 2 was disassembly of the camera. It was stripped of everything with the exception of the bellows and front standard/bed. Had the bellows needed replacing I would have removed those as well, but since they were in great condition, and sine the back of the bellows are cemented and tacked in to the body on the Anniversary and earlier models, I was afraid removing them would be an unnecessary risk. The leather was a but tricky to remove, but getting it wet and using a lot of heat (and patience) got it off pretty clean. A bit of vinegar, and a bit more patience, dealt with all the residue. The strap, handles, rangefinder, back, and shutter are all easy to remove, I just had to keep careful of each part, especially which screws went where. Everything went in its own bag to keep it all separated and easily identified.

Step 3 was sanding and cleaning the body and inspecting, cleaning, and lubricating the shutter mechanism and tensioner. The sanding was easy, I just made sure to cover the front and back (since I left the bellows in the body) to avoid too much sawdust inside. After sanding, the inside was blown out and cleaned. Once this was done, some wood polish/conditioner was used on the body to bring out the beautiful natural color of the mahogany.

Step 4 was the shutter. Both the tensioner and shutter control were disassembled, cleaned, and lubricated, and as I did it I also decided to sand the black paint off of all the brass pieces, as I love how the brass looks with the mahogany. I did the same with the strap handle hardware, and also cleaned and polished the leather handle, which was in pretty good shape already.

Step 5 was painting the camera bed. I had considered putting a jade green leather over it, but I have no experience in leather work and because the bed is not flat (it has the rectangular bump in it) I was worried I would not be successful. Instead I sanded the aluminum bed, which also brings out the brass in the rivets. I then masked each rivet individually and painted the bed with a black hammertone paint. The masking tape was them lifted from the rivets and the paint allowed to dry. The result is the brass rivets being exposed, in contrast to the black paint, to match the brass hardware elsewhere on the camera.

Step 6 was shutter reassembly. Everything was put back into place, using shims to make up for the missing leather, and the shutter was re-tensioned. It is now running smoothly and appears to be at the correct speeds (though again, I do not have a shutter tester to confirm).

On inspecting the rangefinder, I noticed that the beamsplitter mirror was very worn, so I made the decision to replace the whole mechanism, though I am keeping the one that came with the camera to use for future projects once I source a good mirror for it. I also decided to replace the spring back with a graflock. I will also be keeping the spring back for future projects, but since I plan on using this camera a lot, I wanted a newer, more functional graflock back, which also has a Fresnel built in. The only decision there is whether or not to upgrade the ground glass with an extra Arca Swiss ground glass I have that has grid markings on it.

I am currently waiting for a lens board I am having made for the Anastigmat, since I prefer it to the Ektar, and once it arrives the only thing left to do will be to calibrate the rangefinder to it.

This was a far more involved restoration than I have ever undertaken before, but I did it specifically because I wanted a challenge (that didn't break the bank if it failed horribly), but I was surprised how well it all turned out.

As I got partway through it I realized that it would have been fun to have recorded the process better (video maybe?), but I did attach a few images of the process.

Enjoy.

https://preview.redd.it/ixer1viv1x5h1.jpg?width=3024&format=pjpg&auto=webp&s=094f808e42a1a8715c805aa4894937caaba04518

https://preview.redd.it/irqjywiv1x5h1.jpg?width=3024&format=pjpg&auto=webp&s=3afec6ca808199f6a176e3feaea8cf58818adc9d

https://preview.redd.it/qipz8uiv1x5h1.jpg?width=3024&format=pjpg&auto=webp&s=83bd2983c19e3260de95afb996af6ae5c159a234

https://preview.redd.it/ifyz4uiv1x5h1.jpg?width=4032&format=pjpg&auto=webp&s=c286982850a8f14371acca83c83c0bc00150bccf