It was actually the other way around .... and years apart. I had a beautiful late model Sinar F2 which was a dream to use but a nightmare to carry to a location. I head that Tim Bauer was after one and I had set me heart on a Toyo 810M so I bought the Toyo in the belief that Tim would buy the Sinar. It never happened. I ended up selling the Sinar with its bits and pieces at Camera Exchange in Melbourne. An opera singer named Steve bought it.
In turn I moved and had to forego the print room so I then sold the Toyo to Murray Fredericks. It is a bit gut-wrenching to see him with it on his telly docos. He is happy for me to have it on a sort of permanent loan basis and I am tossing over whether or not to take him up on the offer.
This later 10x8 Sinar was a bit of a dog really. It was an F-series conversion kit which I put onto the 4x5 F2 I have. But you really do need the bigger bearers of the F2 specifically made for 10x8. They are kind of pneumatic which is nice.
I labour a lot over whether to 10x8 or not to 10x8. At the moment, a couple of days after a studio shoot of extracts from a nude figure I can really appreciate the manoeuvrability of the smaller rig. What happens with facility with a 240mm extended to get close is an obstacle with a 450mm extended on 10x8 ..... and with a live subject, such messing about can impede fluency and momentum.
"Photography was not a bastard left by science on the doorstep of art, but a legitimate child of the Western pictorial tradition." —Robert Galassi