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Introduce yourself, large formatters :-). Hi! I'm an Australian large format shooter. I shoot 4x5 and 8x10 on a beautiful wooden field camera and develop at home in trays. Although I'm no good, I love landscapes, but I'm better at portraits. I started with digital cameras about 7 years ago, then when I got up into the professional range of cameras, I was disappointed with the quality and got turned onto film. Now, the only camera I own which has electronics is in my phone! Your turn!

I was a hobby photographer for many years with a wide array of cameras from early Kodak digitals (640x480 was amazing!), a Diana, some box cameras, a few TLRs, multiple 35mm SLRs and more. I went to an exhibit of large format prints and was moved nearly to tears at the supreme detail and expansive nature of the shots. I researched large format for quite a while before finally picking up a Sinar P1 for really really cheap ($250). However, due to it's size, I have only taken it out twice for landscapes and prefer to try portraits instead. Sadly, life has gotten in the way and I only seem to use it rarely now. I would love to get more involved! Hey guys, i'm a university student in the U.S. I recently rented out a sinar (since i'm too poor to buy one!haha). I had been shooting almost exclusively on medium format (pentax 645). I really have been loving the 4x5 and the sharpness it gives me and would love to try out an 8x10. What drew me towards large fromat was not only the fine detail, but also how much thought i have to put into each image. I have three film holders, so six shots when i go out. It keeps me honest in getting the best composition possible! Looking forward to some great posts on here. Uh, a LF reddit, great! So yeah I have a Sinar F 4x5 and I'm only getting started with it. Began 10+ years ago with a small digital, then the EOS 300D, 50D, and a year ago started with fullframe film, medium format and now large. I need to get a sturdier tripod. Hey everyone, I'm a contemporary tintype photographer shooting with a 4x5 Calumet Woodfield and a Fujinon 135 lens with a film back adapted to shoot wet plate. I shoot 4x5 on a homemade camera that i rolled myseld. Amongst other LF pinhole cameras that i use. i took a break from photography for about a year or so, obsessing instead on home audio. upgraded my speakers, got my first mcintosh power amp, added a turntable. anyways, i have been wanting to rekindle a project i started two years ago doing portraits in 8x10. stumbling upon a box of contact prints, revisiting my old blog posts.. it's inspiring me. i live in san francisco and am part of a darkroom co-op. my main LF camera is a burke & james, that the previous owner stripped down and stained/lacquered. my prized lens is a gundlach rapid rectigraphic (with a patent date of 1890) that i tape to the back of a shutter. that lens, that format.. it sings. some portraits: * [eva]( * [chito]( * [chris]( * [ranier](. Hi! I'm a research assistant in Finnish technical university, and I work with digital cameras daily, but I consider myself more of a hobbyist than a professional. Last year I returned to film photography after doing a lot of digital photography, and received my first large format film camera a few weeks ago. It's a Graflex Crown Graphic 4x5" in fairly good shape. LF shooter as well. Tachihara 4x5, nikkor 75, 135 & 180 lenses. Ilford FP4 & TMAX100 black and white films. I only photograph the Florida landscape in LF. It's too expensive and risky to travel with!!! This is great, an LF playground. I'm from Brooklyn and use an 1935 Eastman 8x10 View Camera. Before I had this camera I shot with a Toyo 45A, which served me very well. I did just pick up a 4x5 back for my Eastman camera, so I can shoot either 8x10 or 4x5 with it. Still have a lot of 4x5 film and color film s so much cheaper in 4x5. Hey there, I'm a large formatter from Chicago, currently residing in up state new york. Been shooting 4x5 for a while now, loving every minute of it. Started shooting film around 7 years ago, which quickly evolved into medium format a year later, and then the inevitable 4x5. However I did dig out a path off the large format road to convert my Yashica A TLR to wet plate, which has been a blast, hoping to convert one of my old 4x5 backs into wet plate soon! Hello, Sorry to be late to the party but i'm an English photography student shooting on a 4x5 walker titan sf (on lend from the university until I buy my own) Also shooting a horseman and cambo in the studio. Also started shooting around 10 years ago with an eos 300 (35mm slr) which led to various digital cameras before coming full circle back to analog. Now I mainly shoot with a 5DMKII and Nikon FM and the eos300 still and the titan. Never really liked 120...

A few LF questions! Alright so I shoot a Sinar F and have a few LF-related questions that have turned up since I've started. * Lightmeters: I have an old [Gossen Lunasix F]( lightmeter which does quite nice, it just lacks a spotmeter. It even has the [zonesystem zones on the dial]( which is really convenient. So now I'm looking for an easy to use spotmeter that has similarly simple zonesystem support. Do you know of any? I couldn't find anything useful. What lightmeters do you use? * Regarding the zone system and tray development: how do you do it? Do you even use the zonesystem? Do you actually develop each negative on its own or do you use a tank that can take several negatives at the same time? Just looking for your personal experiences here. * I love slide film and want to shoot some E6 with my LF camera too. Now how do you develop that, if any of you shoot E6? I don't think trays are practical for E6 development? But do I need or want something like a Jobo CPE2? What would be most practical and cost-effective? It would be great to spark a little discussion with you guys. Cheers!

I use a Pentax Digital Spotmeter. The readout is in EVs but there is no "zonesystem support" per se. Then again, I am not sure what that would entail: You meter something and, say, add two EV to it and now you have the exposure for zone III. You take a second reading of the highlights then subtract x-5 EV if you want that area to be in zone x and there you are. If the indicated EV is identical to your first reading, you do regular development. If it's n stops over or under, you do N-/+n development accordingly. What I like about the Pentax meter is its straightforwardness: a 1 deg spot, a single button to take the reading and the EV readout in the viewfinder. Other than the rotating disk to translate EV to aperture and shutter-speed there is nothing else. As for development, I do tank development with constant agitation on a rollerbase. Lacking a dark room, tray development is not an option for me. I develop each sheet by itself. I can't say anything about slide film since I only shoot B&W film. Just in case, I have the Luna Pro F and there is a spot attachment (called tele attachment) for that meter, maybe it also fits the Lunasix since they are almost identical. I use that one whenever I meter my scenes and it works extremely well, specially at low light. Honestly, I hardly ever use the zone system. I know a lot of people swear by it, but I think it makes things overly complicated. I just use incident metering and it works very well for almost everything. I like tray developing best and usually develop one sheet at a time. I find it very relaxing.

Building a wooden Lensboard for the Schneider-Kreuznach G-Claron 240/11 WA (Imgur Album -- Blogpost in Comments). .

Here's the [Blogpost with a little more info](. 8x10 or 4x5 lens? The elements look pretty big in the image.

LF Newbie: Switching lens boards? I'm in the process of putting together my first LF kit, and I scored a cheap SK Symmar 180mm Convertible with a Copal 1 shutter. The lens and shutter are affixed to a Cambo lensboard, but my Horseman takes Linhof Technika lens boards. What would be the best tool to use for removing the lens? Would a spanner wrench be a good investment? Thanks in advance for any advice!

It should just unscrew, sort of like a nut going through a board with a bolt on the other end. There's a ring on the back side of the lens board that screws onto the lens. Use a wrench. You can pick one up at Badger Graphic.com.

Large format shouldn't be expensive. Roll your own camera. So long story short, I can't really afford a view camera. As I have some experience designing pinhole cameras I decided to try my hand at just making my own monorail view camera. Didn't technically turn into a monorail (more like tri rail) but i'm pretty happy with the results. The only things that were bought as-is are the lens and the film holders (made some myself for a prototype, but they are more hassle than they are worth. Especially when I need to be careful with my sheet film). Here's the result:.

Very nice! Hope you'll have a lot of fun with it! Be sure to submit your cam here [. Nice. Great thing about large format is just how versatile it can be.

Here is a large format photograph from a project I did a few months ago. .

Gorgeous quality.

My large format story. When I got into 35mm about a year before I took my first analog class at university, did I ever think that I would end up shooting large format? Did I even know what large format was? No. But here I am. I didn't make my camera like most of you. I didn't have to dole out $300. A friend's father was so kind as to give me his that had sat in his office as FBI/ABI surplus for years. And how lucky I do count myself. Here she is in almost perfect condition: I've taken a few shots, but I've hardly had the time to get to know it fully as I've been busy with school and other things, but as this semester and summer begin I have vowed to continue shooting. Wish me luck, Reddit as I begin this journey with a piece of equipment that has seen countless things that I can't imagine, yet not having a limit on what its future holds.

That's awesome. I have the same lens on my Cambo. That's a classic combo! Enjoy. Nice. Looks like you have a shutter in the body too, so can use barrel lenses as well. :).

Travelwide 4×5 camera by Wanderlust Cameras ($99, Kickstarter). .

cool idea but strips everything I like about shooting on a 4x5 camera. But if it helps the industry out (keeping film companies in business) and giving them a reason to keep manufacturing the film then i'm all for letting the hipsters at it! It could be a nice gateway into using cameras that allow more control. I'd love to see more cameras like the walker titan sf made from plastic and metal that allow for corrective movements and flexibility when shooting. Maybe a lighter version if thats even possible.

My first ever large format shot! .

Great contrast and lighting.

A large format slide film shot i took of my friend sat in a beam of sunlight. .

Much prefer this image to your DOF assignment. Have alook at Julia Fullerton-Batten's work. Your image has similarities to some of her images. I call that look the vacant fine art stare. Wow, this looks like a painting. Fantastic!

Grant's Tomb [Graflex 4x5, Schneider Super Angulon 90mm, Ilford HP5+] [OC] (x-Post from /r/Analog). .

Good stuff!

Another 5x4 slide sheet i shot, i wanted to show of the bokeh of large format, what do you think? .

I would have had her more central (horizontally) other than that I think you showed the bokeh quite nicely. Try shooting with the subject closer and you'll get larger circles in the background. :). What aperture were you using for this? I think the composition an color are great, but the background is too busy to appreciate the bokeh. Thank you for sharing. It's magnificent.

Purchasing First LF Camera. Hello everyone! I just recently received a grant and will finally have the opportunity to purchase my first large format camera. Does anyone have suggestions? Preferably 4x5. I have shot with a Cambo and a Toyo before. My price range is around $800-$1400.

Well you have a budget that will get you a very complete rig. What is your style and target? Portraits? Landscapes? Products? Street? There are several suggestions to be made based on that alone. Next: Tripods. Make sure you have a solid tripod that is built for your work. A studio tripod will be quite different than a field tripod or astrophotography tripod. Anyway - I'm glad you're getting into it. I'm actually prepping my 4x5 Shen Hao for an adventure across the state of Wisconsin! if i may piggy back on this... i will be purchasing an LF this year. I will do mostly architecture and city scenes - i have my 35mm and 120 cameras for anything that's happening fast. 4x5 would be best. because i live in shanghai at the moment, i'll be looking at getting a Shen Hao, but i don't really know which is the best one for me - I am looking at any of [these]( right now. folding would be preferred. i have a good field tripod that can support these. lenswise, i'll be buying used, there seems to be a good market out here. i am a sucker for wide angle, is there a good standard go-to lens for this? budget will be around $1000 total.

Don't hate me. I'm here for help / advice. Looking to move up to LF ( from 6 months of MF). I'm on a really really tight budget £200-300-($450-$550 ish). I'm not honestly fussed about the mono rails but I feel they will be more useful than say, a graflex. Any advice would be great? Thanks.

If you can pick up a Cambo. I did for 250 cad used off kijiji/ Craigslist and it's great. Make sure to take a small keychain flashlight with you to stick inside the bellows and check for pinhole leaks. Mine didnt come with bellows so I bought some off eBay. While I love my monorail, I happily shot a graflex for four years before I ever thought about upgrading. The camera you get doesn't matter as much as the lens. I like the graflex, its super easy and cheap to find and you can do a hell of a lot with them. It's my recommendation on your budget. Large format is interesting as it requires all these bits and pieces. Here's a list of what you'll need as a beginner. 1.) Camera, obviously 2.) Lens/shutter + Lens board, I recommend a 150 or 210 to start with 3.) Tripod, you'll need one that can take the weight of your camera. I find a three way head perfect for large format. 4.) Film holders, get some Fidelity Elite ones used, they're the best ones I've used 5.) Light meter, you can use a DSLR to get exposure, a reflective lightmeter, or try your hand at the zone system with a spot meter. 6.) Loupe, you'll need this for focussing, you can get a cheap one for $10 7.) Cable release 8.) Hood, your ground glass really isn't going to be all that bright so this is really a necessity for getting your image right.

A beginner in need for camera advice! I want to get into LF photography, but I'm completely lost with all the new brands and camera types I know nothing about. Need a basic advice on where to start. I'm shooting landscapes with occasional interior work. Color only. No tall architecture, so probably not going to go into heavy tilts. Fine art stuff, nothing commercial, my end goal would be to have good gallery prints. Only looking for 4x5 so far, and my budget is around $1500 including probably 2 lenses. Probably worth mentioning that I'm ok with a tripod, carrying heavy weights around, and taking time to set the camera up. Any help would be greatly appreciated!

To start with, what experience with film equipment do you have? I would first recommend going to read a bunch of the stuff there and then go to the [forum]( Sign up now if you haven't already, because it takes 30 days to get on the classifieds sections (which you can get a pretty nice camera for $1500). Read the heck out of the forums because there is a ton to know, and some great knowledge there. One thing you shouldn't forget when getting into LF are all the small things: -loup -darkcloth (I usually just use my jacket anyways) -scanner/enlarger capable of 4x5 -film holders -cable releases -bubble levels (good cameras and tripods usually have them built in though) -steady tripod and geared head/ball head -capable camera bag/pelican case -changing bag or tent (if you don't have a dark room/plan on traveling) These things add up fast if you have to buy new and decent quality. So I would look at something around $1000 and keep $500 in-case you realize that the tripod that worked pretty good with the MF suddenly isn't so stable, or your camera bag fits the LF but there is no room for a water bottle any more. My 4x5 quickly became my favorite camera, although it is my girlfriends least favorite.

Someone told me I sold post this here. 4x5 Ilford Delta, Rodenstock Apo-Sironar-N 150mm, Red filter. .

Nice try, Ansel, we know it's you. ;) Awesome work. Gorgeous! Hey, you should definitely post this in /r/blackandwhite.

What is going on with my instant film? Every time I try to take a photograph with my Fuji Instant Holder PA-45 using Fuji FP-100c instant film on my Graphic View, I get this black bar. I have taken several photos using different packs of instant film and I always get the same results (a black bar on my photo). Here is a link to a sample of one of my instant film photo prints: [ I also shoot standard negative 4x5 film and they come out great, here's an example: [ So I don't think it's a problem with my shutter or anything. My best guess at the moment as in what's wrong with my instant film holder/instant film is it's not properly placed. Also when I take a photo and pull the white tab out, the next tab never comes out. I always have to go in a dark room and open the instant film holder to grab the white tab and pull it a bit so I can pull it out on my next photo. Thank you so much for reading, any advice or speculation would be appreciated!

It seems like there's something wrong with your holder. Are you sure it's loaded correctly? Looks like the film isn't lining up with the opening. I know with my instant back I have to lift up the spring hinge to push it down further. I posted this question on a large format forum, and someone pointed out I'm using the wrong size film. I'm supposed to be using FP-100c45 film, not FP-100c. Thank you for trying to help everyone.

My first large format shot! 4x5 Calumet CC400, 160mm f/11, Ilford 400. .

Looks like its straight out of the 70s. Where do you live? if you dont mind me asking. Is just that building reminds me of a lot of buildings around here in Canberra and that harsh light is just like the light we get.

I think i got the best from my budget.... .

[deleted]. Can you describe what you got? Dang that beautiful! Arca Swiss if I'm not mistaken. Great studio cameras those are. Hard out in the field though but totally doable. Have fun with it.

My Grandfather made is camera. It's mine now. Now what? (Xpost r/photography). .

The lovely folks over at r/photography suggested I ask advice here. Grandpa made this camera and used it for many years. No one else in the family knows how to use it. Any advice on where to start? I've got a good grasp on basic SLR photography, have all the gadgets and gizmos. I've just never been exposed to large format. Thanks!

Efke IR820 lines on negative. Ideas on the cause? .

Any ideas what these lines are on my Efke IR820 exposures? It's IR film that was loaded in Fidelity Elite 4x5 holders. At first I thought they were light leaks, but having replaced the developed negative in the holder, the lines (at one of the narrow ends of the negative, all the way across the negative, but excluding the part that was under the metal film guide) do not line up with the dark slide. Could they be IR from somewhere else? Any ideas where? The camera is a Jung Woo 45 field camera, which is a copy of a Wista 45, which is a clone (IIRC) of a Linhoff Technika. Exposed at EI 0.375 using an R72 filter and developed in Rodinal at 20C for 11 minutes. How old is the stock? I've had similar issues with expired film. I've got a box of 4x5 in the fridge I'm itching to shoot!

Need calculation help for pare negatives. Hi, si I'm trying sort of an experiment. I removed the back off of a Kodak Jr Autographic camer and modded it to take 3x3 film holders. I'm going to put some cut Promaster b&w photo paper(Iso p 640 from what I read). The Kodak jr is supposed to be f7-45. Is there a char or calculator I can use to figure out exposure times for the paper(as a negative) and at what speeds and pastures? I could do a ton of trial and error but id really rather not. Thanks.

Heya! The only way of determining the papers exact "real" speed (in your choice of developer and method of developing) is to do your own testing. Take a subject with a good tonal range and that is somewhat well-lit, then shoot a bunch of papers and meter for different ISOs (make sure to take notes so you know which paper is which ISO later on). Then you develop these papers the exact same way. The one which looks correctly exposed is the right ISO. Most people I know that use paper negs usually start out at ISO 6 and do their tests from there, but the speed can vary wildly from paper to paper. It's worth bearing in mind however that papers are not very sensitive to light, you're not likely to find paper that is above ISO 12, even that is a bit high.

high desert road. Kodak ektar 100, graflex crown graphic, 4x5. .

How do you like Ektar? I've been using it in 8x10.

Pointers when deciding on an industrial asphalt company. .

Why is this in /r/largeformat, a film photography subreddit?

ambro or tintype? i have a 4x5 camera and i'm debating on which one to go with. i'm a complete noob when it comes to alternative processes and i was wondering if i can get your opinion as to the pros and cons of both. thanks in advance.

I believe tintypes are the more popular option. As once they are done, they are good to go. Unlike a ambrotype that requires mounting with either a varnish or black backing to be seen as its positive. Ultimately they are pretty close to the same process, just a slightly different formula mix (as far as I know). Ambrotypes on glass, tintypes on a metal plate. I do wet plate, ambro types and tin types are the same process on different mediums. Tin types aren't actually on tin, most people including myself do them on black trophy aluminum. Ambro types are done on glass, then you back it with something black. It's really easy, the hard part is finding a good place to do it. The chemicals are pretty harsh and the silver nitrate will stain your hands and floor and whatever else you get it on. I'd recommend buying the chems from Bostic and Sullivan, if you call them they have a guy that can give you advise. It's a very rewarding feeling to make them. There's nothing stoping you from trying them both, Good luck!

the Columbian cafe, Astoria, OR. Fuji NPS 160, graflex Crown Graphic, 135mm lens. .

[deleted].

Stupid question about shutters. Hey everyone, I want to move in to large format in addition to 35mm. I am a quite proficient woodworker, so I have decided to build my own camera. Now, in all the plans I have seen, nothing is said about the shutter. Is it in the lens when you buy a lens? Thanks guys.

Yes. . Not necessarily, but it can be. If you buy a barrel lens, there is no shutter. These are designed to be used with a camera with a built in focal plane shutter, or when the exposure is long enough for you to use the lens cap as the shutter. The most common shutter sizes are listed on Wikipedia. Have a look here. Let me ask you, what are you doing for bellows? Shutters are usually bundled with lenses, though you can buy them on their own as well. I think there are three sizes for copal shutters(really common):0,1,3. 3 being the largest and for the heaviest lenses.

Portable dark box for wet plate photography. .

Hi everyone. I'm not a photographer, I'm a woodworker. A photographer friend of mine is getting into wet plate photos, and he commissioned me to build a portable dark box for developing his images. I thought this community might appreciate it. The box is framed in red oak with 1/2" birch ply panels, finished with gel stain and a wiping varnish. Back in the day, there would be a red tinted glass window to let in sunlight, my friend is opting for red LEDs instead. This was an interesting and challenging project, with more than its fair share of mistakes and hurdles along the way. If I do any more these, the design will definitely be more simple and elegant. I might even end up doing a large format camera or two. I'll be glad to answer any questions. Thanks! why is it white on the inside? All darkrooms are always black on the inside because of stray light. I actually need one of those myself! How many months of reddit gold is one of those things worth to you? AWESOME!

trying out tintype, what iso to use? Hello, I finally got my chemistry to test out my camera. Unfortunately, my light meter can only go down to iso 3. My first ones i did 2min, 4min, and 6min exposures and i can hardly see the subject. I decided I messed up my collodion (i use bostick & sullivan, and there was an optional line there to add iodide, with the risk of stopping it down 5 stops if overdone). UPDATE: I finally had some success. I shot outside and metered +3 stops iso 3. i still need to learn how to focus this thing, not to mention my work on my pouring/developing. Thank you everyone for the input!

there is something going wrong. I get 10 second exposures at f16 in sunlight. There could be a lot of things going wrong. 1) Are you shooting outside? 2) Are you sensitising enough? When you take the plate out of the silver bath, it should not look oily. 3) How are you developing? I haven't done wet plate myself, but I've read that the sensitivity of the emulsion can depend on a lot of things, such as temperature, how long the plate is sensitized and temperature. I just started a Collodion subreddit if you are interested. When I say just started, I mean, an hour ago. Might be worth checking out and seeing if it goes anywhere though.

My first "successful" large format picture (Speed Graphic 4X5, Rodenstock f/4.7 127mm Lens, Ilford HP5). .

Whats with the quotes? It worked didn't it?! Do much large format shooting these days? you sir, are having light leaks either on your holder or in your tank. Looks good - are you shooting more?

Need help identifying a lens. As the title said I need help identifying a lens. It is a 210mm f/8 with no makers markings aside from a four digit serial number and a focal length. I have only seen one other example in my internet searching and it is on ebay. Just curious if anybody else has seen one of [these]( or knows what it is?

no shutter and only an f-stop scale? almost looks like an 5x7 or 8x10 enlarger lens to me.

Checked the shutter speeds of my pre-1960 2x3 Baby Speed Graphic - pretty good for a +50 year old camera (OC). .

How to get this done?

[Selling] Roland-FJ 500 Wide 54" Format Solvent Printer (Toronto, Canada). .

Im not sure if this is the correct subreddit to post this but I figure it was the most relevant?

Is this sub still alive? I have a booking tomorrow for my Sinar F1, and I thought I would look into the LF community here. All seems a bit quiet. Is anybody still here?

I still watch for posts from here. But seeing as three of the last six have been from me, it would seem not. Not really, large format isn't a particularly in with mainstream photography. I watch for posts, but rarely does something come along. Large format is so involved and there are so many different aspects of it, I think most people prefer a dedicated forum such as www.largeformatphotography.info/forum. If reddit had sub-sub-reddits, maybe more people would post here. JZA is posting some amazing work in /r/analog, but that includes all formats, not just large. It is surprising that this and subs like /r/4x5 and the like, are as quiet as they are. Well done still using the Sinar for jobs. Do post the results. It's not quite dead! No,lol.

Someone asked if this sub was dead, so I thought I would post something I took... (Cambo 4x5, Rodenstock f/5.6? 120mm lense, Fujifilm Fujichrome Provia RDP III ISO100). .

This summer, one of the largest labs in the province of Ontario, (Canada) decided to stop processing any and all chrome film. This is likely one of my last shots on large format chrome film for a while.

Lundar Grey (Calumet 4x5 150mm)(Kodak Clinic Select Green xray)(Grad Orange)(D76). .

That's an interesting image. I have been in photography a long time, and I have to ask you to explain it a bit for me please. Was this shot on x-ray film?

Why do you enjoy large format? Maybe this is a silly question and the answer is "because it's bigger". But I was just wondering what exactly appeals to people about it. I'm interested to hear people express their opinion :).

It makes me slow down and consider all elements of the image, rather than just snapping away. There's the speed of it. It's impossible to rush without making expensive errors and that slows you down and makes me think about each and every step. There's the huge creative flexibility that having a rising, cross, swing and tilt on both planes allows for, and there's unmistakable art of using a large format camera properly. You cant hurry it. You need to take your time, once because the camera itself slowes you down, second the cost of each shot and the lack of film you have with you forces you to carefully compose each shot. The movements are also a big plus, you can get Tilt-Shift-Lenses, but they don't have the flexibility of a large format camera. The incredible amount of detail you get. 4x5" has over 14 times the area of 35mm film. And last but not least, the images have their unique look to itself - Its hard to describe, but they look special to me.

The cathedral of Amiens during WW II, France, 1940s [1200x877]. .

[Previous thread in /r/historyporn]( Apparently it might be from WW1. I have no indication that it is large format other than the look of it. Do you guys agree this has to be large format ?

Helsinki Technology Center (Tachihara 4x5, Schneider APO Symmar 120/5.6 @ f/16, ~45sec, Kodak T-Max 100). .

You need at least another stop and a half in the shadows. I would probably be up around 2 minutes for this exposure (you're on the tripod, you have the time). Your development level is pretty good. Mostly in the evenings the highlights and the glare on surfaces gets overdeveloped really fast, you almost always want to pull the film at night. Remember, expose for the shadows, develop for the highlights.

Easiest Solution for purchasing a Large Format printer & Large Format Scanner. So you currently have a plotter? Now you realize that you need to have scan and copy functions. Investing in an all in one large format multi-function plotter and scanner is too expensive. What do you do? The Easiest way to upgrade your plotter to a fully functional MFP copy/print/scan/email! Some of my customers in singapore often face this problem, as job requirements change there has been little anyone could do aside from investing in another all in one system. large format scanner singapore A0 Printer Scanner | A1 Printer Scanner The Easiest way to upgrade your plotter to a fully functional MFP copy/print/scan/email! A superb solution has been the contex large format scanners particularly under the MFP2GO range. This range of machines allows a customer to use existing hardware to connect the scanner directly to the plotter automatically converting it into an all in one system. What’s really cool is that, no additional pc is require the entire set up functions from an embedded controller which is built with the scanner. There are a number of advantages when you have a configuration such as this: Lower acquisition cost of a multi-function plotter/scanner No additional PC required. Easy to use interface and no complicated software to learn Redundancy of equipment Copy/Email/Scan from a single hybrid unit A key fundamental here is that of redundancy and the ability to not have an attached PC. I will elaborate on these two specific features here as i find it needs careful understanding. Redundancy: Your current plotter is supposing at least 2 years in use, now most plotters have a warranty of at least 3 years, what if you were to change the plotter. When you purchase an integrated solution any upgrade to your machine means that you will not only spend more when you acquire an integrated system you will also discard the whole system if you choose to upgrade your plotter. It may not be feasible for some organizations to do this. Hence, when you have a situation such as i have described you can purchase the contex MFP2GO, and when you want, you can always upgrade the plotter leaving the scanner still in your use. The large format scanners from Contex require little maintenance and they are a high quality product from Denmark allowing long use of the hardware with little maintenance. One key factor you must take note of is that if an integrated system has a failure, suppose for example the plotter stops printing since the systems are as one you will not be able to scan either and vice versa. So having a hybrid system in this instance is a good solution. Whereby if one device fails the other still continues. No Additional PC: Traditionally manufacturers such as canon have a solution and this is called the M40 scanner or it is sold usually as a bundle. The issue with this is that not only will you purchase a scanner you will also need to purchase a separate pc. This some of my customers find it cumbersome. Contex too has such solutions but they are usually for high performance scanners. Nevertheless a solution such as the context large format scanner MFP2GO solution offers something unique. large format scanner and large format plotter Integrated Tablet for Easy Access and no additional PC needed Convenient USB Slot for direct USB Scanning The tablet that is attached to the machine means that there is nothing else to purchase, it can be totally stand alone and offer a variety of useful functions. There are not so many wires running about and startup is easy. PC’s also are prone to virus attacks, or even face redundancy issues of their own when a new OS is released. This solution makes it very easy to use and maintain a large format A0 Scanner and A0/A1 copier system with the least conceivable effort. A0 scanner singapore A Sensible workflow by Contex Large Format Scanner Experts So the next question is that of the decision you will need to make between an integrated and a hybrid solution. If you wish to read more please click here on how to choose the right solution here. Simply put if your volume for printing and scanning is not extremely high, then a hybrid solution is definitely much better for you. As it will cover all the requirements of a copy/print/scan/email function. However if you have a very high volume of printing then i must recommend the integrated solutions such as the Seiko or the HP T3500 system as their running costs are lower than a conventional inkjet set up. Hope this has helped with your decision and as always you can contact me or visit my website for full products at or you can email me at marco@uscgp.com or give me a call Tel: 62783110 Bukit Merah, Singapore.

You do realize this sub is for large format photography, right, not large format printing?

HP Plotter Singapore |HP Designjet T520 Review. .

Reported as spam.

Regent's Canal, London. 8x10. TMax 400 in Ultrafin. .

Would love to see more photographs from you guys! How about we try and revive this sub? Everyone post up a photograph, - new or from the archives!

Share your process! What film, developer and method combination do you use? Currently I'm shooting mainly TMax 400 on 8x10 and have a box of TMax 100 at 4x5 to go through. Once I'm done with those, my plan is to move over to Ilford - I'm going to standardise on FP4+ and HP5+ as I've been shooting with those films on medium format and I like them. I develop with Tetenal Ultrafin at 1/20 using a Paterson Orbital. I manually agitate but am finding my negatives are a little too contrasty so going to experiment with a more dilute solution (1/30) and less agitation. Aside from them having more contrast than I'd like, I'm getting better negatives these days than I have for a long time so happy with that. I have limited space and so don't print as often as I can. I have a small setup for making contact prints that I can put together in the bathroom fairly quickly. I use a 35mm enlarger as a light source and a plain sheet of glass on top of the negative and paper. It's working pretty well! I'm printing on Ilford RC multigrade at the moment as up until this year, I was scanning and digitally printing. Now I'm in the darkroom and have got my skills as a printer to a reasonable standard I'll look at using better paper and start thinking about alternative processes. Very keen on trying carbon printing. That's me. Over to you!

Ooh, carbon transfer is a process I lust after! I only wish it didn't have to be a contact print. I'm shooting 4x5 mostly with old barrel lenses onto Ilford FP-4+. Developing involves three tanks, stainless film hangers, and a ghetto light tight box I rigged as a daylight developing box. I run it through Rodinal 1+50 and print a variety of ways. My absolute favorite paper for straight up wet printing is Adox Variotone warmtone fiber.. warmtone with a white base! I also lith print, use liquid emulsion, and am working on bromoil with liquid emulsion (ie. my stuff is drifting further away from reality! ). I'm new to 4x5, trying out all the films! Have ektar and hp5 400 for now, Acros on the way, will probably use Rodinal for that. Using jobo reel and tank, I suck at loading but I'll get there. That orbital is nice I've heard, hard to come by. Learning darkroom stuff is fun, picked up a bunch of stuff here and there, need a 4x5 enlarger now (mine only goes up to 6x6). Size | Tank | Film | Developer ---|---|----|---- 4x5 | Mod54 & Paterson | GP3, IR820, & Foma 200 | R09 8x10 | Kodak Printank | GP3 | R09 The darkroom I use in London has 4x5 and 8x10 enlargers, but I haven't used them yet. I've been making contact prints at the community darkroom that's a 10 min drive away from where I live. It's an hour train ride into London, so am waiting for a few special ones to print there. All my 8x10 are pinhole images, so I like them as contact prints anyway. Would like to get some bigger prints of my 4x5s at some point though.

Looking to get started. I've been looking to get into large format photography and came across this. It seems like a complete package, plus the military kit adds to the cool factor for me. Would this be good for me to get started? Here's the info I've been able to find on this particular model. "Pacemaker Speed Graphic. US Army Signal Corps KE-12(1). The second OD green Speed Graphic model, this Pacemaker version has a modified military-only Graflok back (no sliders), no body release for front or rear shutter operation and black bed hardware. Equipped with a Graphex shutter/Optar f4.7 127mm yellow dot lens. Official military metal plate attached to outside of the front door. Reasonably common but quite rare in the complete OD green metal Haliburton cased KS-4A(1) outfit. ".

That is AWESOME. Looks like a real interesting starter kit, your going to need a light meter, but other than that it looks good! Also a dark cloth and some sort of magnifier. If you don't buy this, I may, let me know how it goes for you! That is a very cool camera and what looks to be a complete kit, but for that price you can get a decent [monorail camera]( that will give you more movements and a longer bellows draw for up close work, as well as a newer [lens]( both from a well known source that has a warranty. I am not trying to say that there is anything wrong with a Speed Graphic, that is what I use, I just wish I sprang the extra few bucks for something with more movements. However, this is all just my two cents, and I feel like I owe you change. Service Photo in Baltimore usually has Speed Graphics for about half the price. They didn't have any when I was there about a week ago, but they seem to have one about once a month.

Intrepid camera, anyone? Does anybody here have the Intrepid 4x5? I'm thinking of getting one because I like the price and the look of them, but can't really find any reviews or feedback on them. Any thoughts?

You can't find info because there are very few of them out there. As far as I know only the 70 early Kickstarter backers have received them and everyone else is still waiting. If you buy one now it's a pre-order for shipping after the KS backers get theirs. Don't have one but just watched the Kickstarter video. Its really cool they are trying to bring a low cost 4x5 to the market but that does not look like a very solid and quality construction. I shoot with a Speed Graphic and have no issues carrying it around in my LowPro backpack. I've taken it with me on state to state motorcycle rides including a tripod, all strapped to me. You can still find great deals on Speed Graphics in pretty good conditions. Mine was around $400 with a lens and fill holders. They're built like a tank.

Reciprocity failure for extremely short exposure times, viz. flash, and x-ray film. So, I got my first flash ever this week. It’s a studio flash that can put out f32 at 1 meter with a softbox attached. I wanted to try it out and was pretty puzzled that my Sekonic readings for the relative power of the flash and my big continuous fluorescent lightbox did not seem to match at all. Of course I did the tests with cheap Fuji x-ray film to start with and where I had equal power from two sides the flash side just didn’t register. It seemed to be something like 1.5 stops under. So today, I did a 2x2 test matrix with Foma 100 and Fuji HR-E 30 with equal power and then 3:1 power according to my light meter. I rated the Fuji at EI 25 from my earlier stuff. [The test sheets]( What was completely new to me that apparently there is reciprocity failure also at extremely short exposures? The flash barely shows on the x-ray film. Any ideas, why there’s a large difference? FWIW, I never found significant long reciprocity failure for this film.

[deleted].

Big Ben and Westminster Bridge at night (MPP VII 4x5, 105mm Polaroid Tominon, 2:30 at f8, Delta 100). .

How is the coverage of this lens at infinity??

Random shots with a Graflex on various lenses. .

The two first ones are fantastic. Which lens and film? They are both on Fujichrome Provia 100F. The first lens was a Calumet Caltar-W II 90mm F/8. The second was taken with a 8.5" Commercial Ektar. what do you use to scan them? looks fantastic.

Finally made the jump with a killer craigslist find. $500 for two cameras, 4 lenses, light meter, dev kit, and enlarger! .

Yep, you scored with that. What all did you get for lenses? Damn. nice job. Damn, nice haul. I rarely see any good film gear in my local CL - my best buy was a [new in box 1952 Pacemaker Speed Graphic]( a few years back. this is bonkers, the toyo alone is worth 500.

Getting Started. I just joined this subreddit, and have been browsing through some really interesting stuff! I'm super new to film (basically no experience), but I am thinking of investing in a vintage field camera that takes 4x5 film and wanna get some facts and opinions about everything first. My friend has a Graflex Speed Graphic (from the 1940s I think) and then a f/4.5 lens from the 1910s. It takes really cool portraits, which is something I would like to do. I want to get a different camera than what he has though. Preferably something older (like 1920s or -30s), but still metal as opposed to wooden. I'm not sure yet if those exist though. I was doing some research on film and different types of cameras, too, and it's kinda hard to find the difference between field cameras, studio cameras, and press cameras. I definitely do not want a monorail camera... And as for film, I'd like the option to do black and white, color, and instant (like Polaroid stuff). Thanks for reading!

There are a lot of factors to consider! I think if you're looking for a camera you should consider whether or not you're interested in camera movements (as in rise/tilt/swing etc.) You say you're not interested in a monorail, so I assume you're not, and you also said you want to do portraits. If you want a metal field camera, I wouldn't look for something older than a press camera like a graflex. I don't know what you would find if you did go looking, but more importantly, if you want to use a portrait lens (around 210mm - 300mm) you may find it difficult to bring the subject into focus due to the length of the bellows on a press camera. A wooden field camera may be a better choice, but again, you need to take into account which lenses you want to use. In terms of metal 4x5 cameras, the Speed Graphic is going to probably be your least expensive and readily available option. Other brands would be Toyo, Linhof, Wista, Calumet, to name a few. The older the camera you go, the less likely you'll find all metal cameras, most will be wooden. Studio camera - Studio cameras are designed, as their name implies, for use within the studio. Generally, if metal, they are monorail cameras and will have the longest bellow range of the 3 and the greatest movement. Their downside is they generally don't pack up very well and are very heavy because they're meant to stay on a tri-pod. Field Camera - Lightweight and space saving cameras meant for the field. They usually have tilt, swing, and rise movement but not as much as a studio camera Press Camera - Usually its the Speed Graphic that most ppl refer to when mentioning these. Similar to a field camera but doesn't pack up quite as small and is a little heavier. Doesn't have as much movement but still has a small rise/tilt. If we're talking about the Speed Graphic, the trade off from the lack of movement would be the focal plane shutter and the various ways to quickly compose/range a photo without using the ground glass (I shot an entire sports series in college on a Speed using just the range focusing). All of the them will accept the same standard film holders. In terms of instant film, you'd have to test to see if a film pack would fit behind the ground glass of whatever brand you go with. Some modding may be required. The only instant film you can shoot now is Fuji FP100-C (or 3000B if you can find it but its discontinued). You would need a Polaroid 405 or Fuji PA-145 film pack to shoot it. If it gains traction, a startup company is trying to bring back a true 4x5 instant film called New55 (similar to the long gone Type55). If you happen to go with a Speed Graphic, make sure it has a Graflock back.

Ideal travel 4x5? I'm planning on building a collapsible 4x5 that I can take travelling. What are some key elements that I shouldn't forget?

Have a look at the intrepid camera, it seems to be light, cheap and have the most important features. A polaroid 110b converted for 4x5. Best possible large format travel camera and its even collapsible. I love my Crown Graphic, very compact!

laser cut 4 x 5. has anyone tried laser cutting a 4 x 5? or have any resources about it?

Are you trying to make a camera, or wanting to do something to your negatives?

Ghetto Scans of my first 4 months shooting LF. .

Toyo 4x5 field camera, Schneider and Fujinon Lenses (90/8, 150/9, 210/5.6, 300/9), Kodak Tri-X 320 and Ilford HP5+ 400. Developed with Kodak D-76 (N+0 for the most part, just now playing with development processes). Each time I go out I learn from my previous mistakes, and usually make a few new ones. Definitely fun though! It looks good, the background paper actually adds to some pictures as well! What has been the biggest lessons you've learned? Incidentally, you load film the opposite of how I load film. (If the top of the film holder is where you put the film in, then I keep the film notches at the top.).

Landscape Photographer Trevern Dawes reviews Rihac photo pro inks for 3880. .

I almost thought this wasn't spam. You should have picked a username that wasn't the same as your company :).

Los Angeles. Anyone shooting LF in LA? I'm new to LF and would love to pick someones brain!

I do, though not as often as I would like. Hey! I love shooting 4x5, (black and white, and color neg). Feel free to ask me anything. I do, but I'm down in OC. I do I am in Ventura county. Jay L. Clendenin at the Times is. @jlcvisuals on instagram.

Millennium Bridge (MPP VII 4x5, Fomapan 100, 75mm Super-Angulon, 1:00 @ f32). .

Was this negative super thick? I've been having a lot of trouble with my fomapan 100. Fantastic! How many shots did you take in addition to this one?

Buying a speed graphic! edit: I totally meant a crown graphic! I will be picking up a crown graphic shortly so looking for any info and guides I may can find. It's my first large format so I'm extremely excited. Anyone willing to help out a new guy, it would be much appreciated!

[Graflex.org]( is an excellent source. Having been through a couple of these, it's worth spending a couple bucks on good condition up front. Also, be wary that if you do any work with longer lenses, the bellows draw is sorta limited. If you're in the 65mm to ~210mm range then it's all good. I've seen some pretty good deals on eBay lately You might want to consider building your Own. Often I see the bellows, Case, and lens w/ lens board as separate item, but you could potentially save some money going this route. A Crown Graphic can be a very useful camera if you don't need the large movements of a monorail - and it's sure less bulky. They're well-built and fairly easy to use. You can use pretty much any wide-to-normal focal length lens in 00, 0, or 1-size shutters, with the matching lensboard. Lenses wider then 65mm are a no-go even with the drop bed, and while you can likely get infinity focus up to 300mm if you rack it right out, you won't be able to focus any closer. A 210mm is about as long as you'd want to go and still be able to focus relatively closely. If you absolutely need the reach, you can get telephoto designs that reduce bellows draw. Lenses in Copal 3 shutters can be made to work with a spacer, but probably not worth the effort unless you've got something special in mind. As long as you shoot with its limitations in mind (it's designed for fast press work, not for big movements) it's a great piece of gear. The non-rotating back can be a bit of a pain, but you'll learn to work with it.

Well, the Crown Graphic is in hand! .

Looking forward to seeing results of you first shots. Awesome, now put that thing to work! If it's your first large format, just accept that there's going to be a learning curve and you'll mess up some shots for a while. I've been using mine a long time now and just the other week I was rushing because I was losing light and pulled my dark slide before closing the lens focus, killing my last loaded sheet of film. When it all works, though.. beautiful!

Does anybody know anywhere other than B&H to find a monorail-tripod mounting piece? .

I can't find this anywhere else online, and I don't have any experience special ordering things through B&H, but filmmaking friends have advised against it. There are a couple on ebay: [one]( [two](.

Mack Truck [Crown Graphic | HP5 | Optar 135 4.7 | Rodinal]. .

Not sure if the sky was a bit uneven, the dev was, or if the scan was. I plan on cure that shortly if the scan was. I have brand new trays and glass coming.

Skate spots from the perspective of a visual artist. Shot on a Toyo with Kodak Portra. .

A few are mediocre in my opinion but I like the first three and perhaps the last one. The others are 85% there but don't have the final touch I like to see. I like photos that are straight (neurotic personality) or if they are a little dutch it needs to be justified and it should add another dimension to the photo but that's just me! I really love the idea but 5, 6, and 8 just don't fit aesthetically with the other 5 imo. I'll agree with the others and say you really have two different concepts going here. You should either concentrate on one or the other, or find some photos that are a bridge between them so they can be one cohesive series (I vote for the latter). Edit: I forgot to complement you.. these are skillfully done and I think you have a solid start here! Technical expertise on 4x5 doesn't come overnight. Great stuff!

Film backs actually more expensive than lenses? Hey guys, I've been planning to build my own 8x10 polaroid camera. So far, so good but I've run into a small snag. Looking around Ebay, the film holders for 8x10 polaroid film are actually *more* expensive than say actual lenses for an 8x10 camera. I find that baffling. Does anyone have any information about common film holders? I originally chose 8x10 polaroid because the Impossible factory is in my town and makes for an easy source. I'm not opposed to exposing on film or directly on photographic paper. I need to have a film holder so I can design the camera back. Unless I can source an affordable 8x10 polaroid back that seems out though. If I'm going to spend hundreds of dollars I'd rather buy an extra lens than a simple film holder.

[deleted]. I do not think 8X10 Polaroid was ever meant to be cheap, and being as such, it was a niche when it was new. So finding one for cheap after they have been out of production for so long is going to come down to the best of two options. Your options being either cheap, or good, you can only pick one. Common film holders come in a standard set of sizes up to 14x17. With [these]( dimensions you could get at least a start on designing your camera. Going 8x10 is really not worth it if you only intend to shoot Polaroid. Im addition to the film back, you need to buy a Polaroid film processor, which will probably set you back around $900 on its own. Any Polaroid style film, above 4x5 requires a film processor to develop the image. If price is at all a concern for you, I would not recommend this route. That said, I think 8x10 is a great format with plain old cut sheet film, or wet plate if you're feeling extra daring. It lets you make some beautiful platinum palladium prints, or carbon transfer -- at an excellent size. A quick perusal of ebay indicates that you can get an electric processor with back for slightly more than in the early 2000s, but a set can be had for less than $500. The calumet hand crank unit is going for crazy money, but people avoided it back in the day because it gave uneven results. Lens prices are not a good indicator of "value," especially in 8x10, and doubly so for polaroid. All you're going to need is enough image circle and an accurate shutter: modern coatings and high resolution aren't necessarily going to change the result.

Best film changing tent? I recently purchased an MPP 4x5 camera, and since I just graduated I don't have common access to a darkroom anymore. So my question for y'all is, who makes the best film changing tents? At this point price is my main factor, as I still need to get a light meter and extra film holders.

Do you plan on reloading film in the field or being in extremely remote areas? If not, I would skip the tent. Go into the bathroom to load/unload. If your bathroom leaks a bit of light, either wait until night or buy a black sheet and just pin it to the door molding. In my old place, I would just roll the black sheet up when I was done and leave it pinned to the top of the door when not in use. I've never had an issue loading/unloading even in hotel bathrooms during trips. Having more film holders is going to be a hell of a lot easier than fiddling with a tent. 8 film holders gives you 16 shots, for LF thats a ton of shooting at once time without a break. I have and use a Patterson changing bag that I really like. However, these days I only use it when traveling and especially when security agents wish to to inspect the film. They are small, compact and very easy to travel with. I don't use the Patterson as much since I got the photoflex tent that is shaped like a cube. The Patterson is great when loading film; but can be troublesome with large developing tanks like the mod54 Patterson combination. For loading film at home, I prefer the photoflex cube tent (I'm unfamiliar with its exact name). It has a flexible wire frame that gives me the clearance to load the development tank without struggling with the fabric. The sleeves are on the side which can be awkard feeling like youre hugging an extremely large tree. I choose it over the Harrison tent only because of cost. If you watch Ben Horne's YouTube videos, he prefers to use the Harrison. The weird sleeves is not enough for me to justify the added cost. For the very budget minded, I bought a black Rubbermaid type tote and cut a hole in the side. I cut an old cheap film changing bag (small one) in half and duct taped the bejeezus out of it to attach the open end into the hole to make it light tight. I taped some pieces of black trash bag around the lip of the lid as a light baffle. Bam, film changing box with removable lid for ~$20. It's also roomy enough to tray develop in. I use a Harrison tent but its so old that its going through chemical change on the outside coating that makes the tent smell like cat piss. I got it for dirt cheap so that's the real price I pay. real nice to work in though. lots of room inside and my hands don't get sweaty like in a Patterson bag. [removed].

Help identifying lens. [deleted].

[deleted].

Having trouble printing on Dibond/Maxmetal. Our shop has a HP fb700 printer, and lately we're having a lot of trouble printing on certain materials, especially DiBond/maxmetal. The inks aren't sticking very well and will come off with masking tape, and very light scratches etc. Has anyone had this problem and have any possible solutions or insight on it? Thanks!

Just a thought, but could you laminate the substrate after printing?

How often are you approached by curious onlookers when using your LF gear? I was out hiking in a relatively high traffic (for the area) spot in the Rockies a bit ago, and taking some causal comparison shots between a pressman style 4x5, a rollei 6x6, a 35mm rangefinder, and of course a DSLR. With the latter, you are simply "that annoying tourist with a camera". When I had the 4x5 set up, however, I had person after person walk up and ask: What are you recording? How old is that camera? Can you still buy film? How does it work? I suppose it looked more like some sort of geological survey when I was writing my exposure settings down in a little moleskine-style book, maybe I should wear a hard hat next time and a reflective vest!

I sometimes take the 4x5 Graflex out for street photography - and usually at least one person strikes a conversation about that huge beast :). I usually get one person asking about my Chamonix when I get it set up. Most amazing thing they find about the camera is that it's only three years old. I borrowed a Sinar F from my university some time ago, took three shots and every time someone started talking to me. First as I was taking a shot in the city and someone asked me if its an analog camera, then on the second shot the women who owns the house I was taking a photo of came out and asked me if I was some sort of property shark and the last time a guy on a bike stopped next to me and told me he's selling his Sinar P. I went over to his place a few days later and took a look at his camera, we chatted about careers in photography and he gave me a few rolls of film, that was really cool and I'm still hella thankful for the conversation and the film of course! Pretty much every time I take it out. EVERYONE wants their portrait taken haha. But I'm like I can't afford all that film gtfo of here. Also could you post those comparison shots? I'm curious to see how they all turned out. You should post them without saying what they were taken on cause I'm almost certain I'll be able to tell but I wanna check for sure.

3d printing lens boards for pressman cameras. I've got a Busch Model D Pressman that has the most "unique" of lens boards. Not only is it Copal #0, but it also has a very restrictive "throat" leading into the bellows. I'm working on a custom, two-piece lens board to be 3d printed, has anyone else gone for something this extreme, yet non-permanent? I have heard of filing down with a dremel parts of the internals, but that's non-reversible! This Copal #1, 210mm Nikkor needs to find it's way onto this camera!

I ended up designing a Copal #1 board to be 3d printed, let me know if anyone wants the STL file. Like foxshark, I've also found that 3d printed lens boards work fine. I did have to paint them with black acrylic paint, since the plastic has a honeycomb pattern and lets a significant amount of light through.

Paper negative test: setting the bar nice and low for this new setup; Nikkor-W 210/5.6 & Busch Pressman D. .

Note that it was grab-bag paper that had been exposed to who-knows-what, hence the light leaks. Being the first exposures I was developing with this camera, I wanted it to be a cheap and fast test to see if there was anything egregiously wrong, and to get a general feel for the composition via the depth of field plus angle of view. Looks like you managed to get that lens on a board, congrats!

How much film do you use in a typical portrait session? .

A whole box, about ten.

Graphic View Film Loading. Hey there! I just purchased my first large format camera, a lovely Graphic View. It has the no.3 Kodak supermatic shutter with the kodak no.32 161mm lens. The thing I am having trouble with is figuring out how to load the film holder into the back. Supplied with the camera was a "Graphic film holder type 5" according the the inscription. The glass back is not the stock back from what I can tell from pictures online, so that might be my problem? Or I might just be missing something. Picture 1: Front View Picture 2: Back View Picture 3: Focusing Glass open Picture 4: Space between glass and body when propped open Picture 5: My sad attempt and pushing the holder in the space Any and all help is so appreciated! Thanks so much!

The first thing I noticed is that the right side of the back isn't latched in. The back appears to be from a Graphic View II, while your camera appears to be an original Graphic View. I have no idea if this is a problem, but it's just an observation. Does the film holder load into the back if you take the back off of the camera? Also, does it work in landscape mode?

Just got a Crown Graphic! After debating about film, medium vs large format I took the plunge and just bought a Crown Graphic with 90mm and 135mm lenses, a couple of backs and some film cases. Very excited about large format and moving up from 35mm (Canon AE-1). What are some things I need to watch out for or pick up? I'll need to get a loupe for focusing I believe. Current digging through blogs and YouTube for other Graflex owners' advice.

Practice the process of shooting a frame over and over. It's much more cumbersome and quirky than any roll film cameras. You WILL leave the focusing open when you pull the dark slide at some point. You WILL forget to close down the aperture. Etc etc. After a while it'll be second nature, but expect mess ups at the beginning. Getting a frame of film that is perfect feels that much better after the learning curve. Enjoy the giant negs! How are you planning on developing the film? I would suggest starting off something cheap~ish in time + effort to start with if you are starting with portraits. It sounds like, however, that with a 90mm you may be going for landscapes? Are you scanning or printing in a darkroom? I found that scanning was cool and all to see the detail, but enlarging in a darkroom was mind boggling and most rewarding. Also, develop a way to handle and load your film holders. I wasted a few precious negatives by opening up an "empty" film holder in the daylight, and one or two by accidently loading two negatives into one holder. The results, however, made that all just a small bump in hindsight. Congratulations! LF is a lot of fun, just slow down and enjoy. Regarding the loupe: I use an el cheapo linen tester. It's inexpensive, works well, is light, and folds up nicely. A few other things you don't mention: * A tripod. You definitely want one, but you don't need anything out of the ordinary: your Graphic probably doesn't weigh more, and is likely better balanced, than a typical SLR with a telephoto lens. * A meter. You may eventually want something fancier, but to start, just use the SLR you probably already have. * A dark cloth. To see the screen, you'll want hang something over the camera. I've had great success with a black t-shirt with the neck fit over the rear of the camera. You probably don't even need black. :). Welcome! I've been a 4x5" shooter for less than a year. I was lucky to buy a very good kit with lots of extras (like a changing tent) and hope that you will have fun too! Some things I think might be worth considering: - How will you load/unload film, and store it? I used an old box for 5x7" paper, with multiple bags in it. Each bag represents different things, like less development, more development...and I've written on the box what film is in the box, what each bag represents and so forth. - I take my holders into my tent and unload & load them at the same time. As I use only use one film at a time I don't keep notes what is in each holder (only use the white tab for unexposed and the black tab for exposed) but keep notes on subject, exposure etc for each sheet taken. - I develop with a 1 liter Paterson tank & a MOD54. Some people seems to have a hard time loading the MOD54, but I watched a few videos from the creator on how to load it and haven't had any issues yet (30+ sheets developed). Get a bunch of bull clips to hang your film with. - A loupe is good, but i should be a loupe which you can alter focus with - you need to focus on the *other* side of the class, not on the surface you see. Does it make sense? - Surf to and it's forums, it's a good knowledge base and goes from non-technical to very technical if you want it.

Affordable large format prints. Any feedback? Hey everyone, I created a website (focalcuts.com) to help people print their own photos on 2 ft x 2 ft squares or 2 ft x 3 ft rectangles. I made this website because I had trouble finding places that were within by price range <$100. So after talking to a lot of wholesale vendors, I found a good deal! The prints I provide are directly printed on a rigid 1/8" PVC board and they can be mounted without nails. I'd be happy to make some for you guys. I can also add y'all to my featured photographers page if you decide to purchase, just ask during checkout. :) Check it out. www.focalcuts.com (And, any feedback would be amazing!) Thanks y'all!

This looks great, I think you're in the wrong subreddit though. This is focused on large format *film* photography. Those are pretty good deals. I'll be hitting you up soon! If you want some feedback, as somebody who would never crop one of his images for a print, your dimensions are very limiting. Also I don't see what your site does that isn't accomplished by Nation's Photo Lab or uprinting.com. Nation's Photo Lab is great because they have a range of sizes and dimensions and have good paper options and framing/backing options. Uprinting's paper options are weaker, but they're cheaper and have even larger max sizes and you can enter custom dimensions. Sorry if I'm being a debbie downer, just making sure you've examined the competition.

Looking to build a camera and I need a lens capable of providing an image circle of at least 800mm so that I can produce 20x24" negatives to contact print. I have used a 110mm (as far as I remember) lens in the past to cover a 20x16" paper, but I borrowed it from college. Now that I'm having to buy a lens myself I'm having a bit of a crisis of confidence as some can be fairly pricey! I was wondering if a simple projector lens might work? But a lens with a shutter and aperture would be preferable.

Are you shooting paper or film? If you are shooting on paper you would be able to get away with using a lens off of a process camera. Those are usually barrel mount so it would have an aperture but no shutter. Those are usually made to reproduce at a one to one ratio, so it would be good for life sized portraits, and if you are shooting on paper the long exposure times will be fine on a barrel lens. Is this an 800mm image circle at infinity? A 90mm will just cover 4x5, so I'd assume you'd need something bigger than 450mm or ~18 inches in a non-telephoto. This lens, a simple meniscus and photography's first lens, will easily cover 20x24 at 500 or 1000mm focal lengths: I've been thinking of buying one of these for my 4x5. You might think about a lens from an enlarger and finding a shutter to mount behind it.

Taking the large format plunge... Years ago I purchased a CAMBO 4x5 and am sitting on a pack of black and white infrared 4x5 film (in my fridge). I've been itching to take this one out to shoot some landscapes over the years but involvement in other hobbies and general anxiety regarding shooting 4x5 for the first time keeps me from doing so. Wondering if some of you veterans have any tips for my venture into the world of large format. I'm familiar with shooting analog (120/220 and 35mm) and developing black and white film, I even have a 4x5 tank to develop the negatives. I'm pretty much wondering what your workflow looks like. also how can I ensure that my negative holders won't leak? My bellows had leaks when I first got the camera but I patched each corner with some liquid electrical tape, I'm thinking between that and using a dark cloth, I should have no leak issues. But the film holders have me worried. I remember wasting a whole roll of 120 when I first started shooting that almost a decade ago, but I would like to minimize waste in the 4x5.

I'd save the IR film if it was expensive. You can test out your film holders by sacrificing some of the cheapest film you can find. Just leave them out in the sun 10 or 20 minutes per side and then develop the sheets to check for any exposure. The $4 per holder for your peace of mind seems to be worth it to me. As far as workflow, I tend to do the following: 1. Set up my tripod and mount the camera 2. Pick a lens and mount it 3. Fully open the aperture and open the shutter 4. Check the ground glass orientation (portrait vs landscape), and check if I need to grab my darkcloth 5. Grab the darkcloth if needed along with my focusing loupe 6. Rack the focus, fiddle with any movements if they're going to get used for the shot, stare at the GG for a while and figure out if I actually want to take the picture. Maybe check the DoF at the shooting aperture, rack the focus some more, keep repeating until I get tired of fiddling with the camera. 7. Meter the shot 8. Check for my bellows extension factor if I'm shooting something close. Also, check for reciprocity failure adjustments 9. Double check that all the movements are locked down 10. Double check the focus again 11. Close the shutter, set the exposure time, set the aperture, cock the shutter 12. Screw in the cable release, since I always forget to do it earlier 13. Insert the film holder 14. Double check that the shutter is actually closed 15. Take out the darkslide 16. Stare at the scene again to see if things have changed or if I really want to take the picture 17. Pause for some self indulgent existential contemplation about this somewhat ridiculous archaic hobby 18. Take the shot 19. Put the darkslide back in with the light side of the tab facing in (I do light side facing out for unexposed and light side in for exposed) 20. Take any additional shots if I'm trying to bracket or something. Just go shoot. Load up just a couple of sheets if you are worried about film holder light leaks and go shoot just anything (don't even worry about travel). Develop and be done! It's so weird, I also sometimes get anxious about shooting sheet film, but it's worth it. I shot about 125 sheets in the last year and I've only got 80 negatives in my binder (and only about 60 of those turned out as well as I hoped). I develop at home with a daylight tank and it only costs a couple a bucks per sheet including development. Yes it's more expensive, but in my opinion the results are worth it. Take your time, don't rush. Go through the steps with an unloaded film holder a dozen times (from completely torn down to taking the photo and tearing down). Familiarity breeds confidence - just don't let it breed complacency (there goes half of my mistake sheets). Have fun with it. If it's not fun you're doing it wrong. If you've got darkroom printing supplies, you can cut up some photo paper into 4x5 sheets and use it to test for light leaks cheaply. Don't be scared, large format might be a few more steps than medium format but it's not *hard!* Practice some at home with the tricky parts, like focusing (which I found hard the first two-three times), using movements and so forth. Test your holders with some darkroom paper and see if any of them have any issues. You will get the hang of it in no time. I've had mine for just a year and it feels like the most natural thing now. Thanks for all the advice! I will pick up a pack of cheapo 4x5 sheets for testing the film holders as well as shooting before using up my B&W IR sheets.

SP-457: 5x7 sheet film developing tank. .

Shamelessly crossposting this. I missed the 4x5 tank kickstarter, but I just ordered one of their 4x5 processors. I am sick of using nearly 1/2 gallon to process film in my Yankee Agitank. I use a mod54 for my processing, but if I'd chosen today which to use I think I would have been happy with the sp-445.

Does anyone have an Intrepid 4x5? Does anyone in this sub have an Intrepid 4x5? If so, what are your thoughts on it? I've just ordered one and have to apparently wait 12 weeks to receive it (bummer). From the images it seems like it will be a lot like some other field cameras on the market used today, but without any rear standard movements which I can live with. How bright is the ground glass? Are the movements reasonably precise or is there a lot of sloppy movement after locking down things? Any other thoughts?

From the single actual review I've seen of it 12weeks is a pipe-dream wait time and the camera itself isn't much in terms of build quality. I looked into them as well, but decided the wait time:quality wasn't worth it. [removed]. I ordered one a week or so ago after I saw the v2 announcement. I only started 4x5 this year but have been lugging around a Sinar Norma in my bike panniers in London and in my backpack when camping and it's just too heavy. My main goal is a very light field camera to take camping, which will let me use a lighter tripod as well. The price is pretty cheap and I think they look great. I don't expect the quality of longevity to be anything like that of the Sinar. Mine said 8 weeks lead time but I'm in the UK. Heya! I ordered on September 20th, 8 week lead time, and will be one of the first v2's to be shipped out. Theyve told me it'll ship on the 21st, just hitting the 8-week deadline. Its my first 4x5 and first large format camera. I'm super excited and have every other piece of gear Ill need, Rodenstock Sironar-N MC 150mm 5.6, Sinar Sinaron-W 90mm f/4.5, and a Nikkor 300mm f/9. Ill be sure to let you know what I think of it, but bear in mind, I will have nothing else to compare it to. I have an intrepid. Got it a couple months ago. To be honest I'm very disappointed with it. After a couple uses the bellows detached from the back standard in a few places, fogging all my shots. I only found out it was the bellows when I shone a torch everywhere inside and saw the light spill out. I emailed them and they hooked me up with a replacement, the second version. I haven't shot with it yet, but I did take a torch and shine it around and lo and behold, light leaks EVERYWHERE around where the bellows connects to the back standard. Go figure. It's stuck on with sticky tape. I'll have to seal it off with black silicone before I'll be confident to use it. Other things worth noting is that it's fairly flimsy feeling and the finish is rough. The film holders are difficult to insert and remove smoothly without throwing your focus or composition off, and on the second version the front standard swing feels loose even when tightened with the knob. It feels as if you need to really over tighten it to lock it in place. Don't bother. Save your money and buy a second hand camera from reputable company. I just received my confirmation email, my V2 will be in the mail next week. Order Oct 29, so that's about 10 weeks to shipping [was 8 weeks on the site when ordered] Hopefully mine will be free of some of the issues mentioned here. Already got a Fujinon 150/5.6 and a stack of film holders ready and waiting. Received my V2 Intrepid 4x5 yesterday after a 12 week wait from order to delivery. Was meant to be 8 according to the ordering page when I placed the order. Meh - whats one extra month. I'm presently surprised but the camera i'm holding in my hands. It appears to be free of any of the issues mentioned in the various posts here. The wood is much better quality than I thought it would be. I expected it to be rough particularly at the cuts, but they've obviously tidied their production somewhat. Smooth on all the surfaces, edges are firm but not razor sharp. Bellows are great. Perfectly light tight from what I can gather. I've been all over them with the brightest torch I own, trying to find any pinholes with nothing to be found. Nicely supple with movement, I imagine I'll lose lens coverage before I max out movements. Focus racking is smooth and precise. Only sticking point I've found at this point is inserting film holders stick about 1cm from full depth, I imagine because everything is brand new. A gentle push and they drop into place. Give it a few weeks and I don't envision this being a long term issue. Its light beyond belief. Weighs in at 924g or just over 32oz, body only [no lens or film holder]. As a comparison, my Mamiya 645 Pro TL body and viewfinder is 850g or just under 30 oz [no lens or film back]. I'm very happy with my acquisition. And at this stage I could only recommend it. I'll add more things here as I gain experience.

DSLR "scan" of my first shot through my new Speed Graphic using blank laptop screen as a back light. Shot on New55 pn. .

Looks like it got a little solarized near the bottom right. New55 is doing great things, but simple things like the poor reagent spread have to be fixed before I buy any more of it. BTW, I just noticed this was on /r/largeformat but /r/analog has more users and might be more interested. I kind of just assumed that this was /r/analog ;).

Digital Printing services in Dubai. .

This is not the large format you are looking for.

Helical focus mount options? I'm trying to build a LF point and shoot around my 90 Super Angulon in a Copal 0. The [Fotoman helical starts at $220 for just 8mm of travel]( Absurd, but so far its the only readily available option I've discovered. I'm not keen on salvaging a 35mm helical either. Suggestions?

[Simple soft bellows]( not my camera build but it shows the idea. I know that's also a view camera/studio camera and you want a point and shoot still if your only going to do the 90mm you don't need a great deal of travel soft bellows would work. You would just have to find the right support for the lens. Thinking point and shoot your lens is so wide shooting 4x5 or larger you could almost do a simple fixed focus camera. There is a [handmade large format flicker group]( look through the picture pool and in there are some good camera builds. From things that are ruff but functional to elegant ideas. I would totally be about salvage mechanisms from 35mm or rangefinder lenses. Find a simple lens with a great take apart guide, buy a copy with fungus/missing elements, salvage a helical. Good luck. Show us what you make and have fun. Edit: are you married to having a lensboard? You could do Copal 0 to M42 adapter then [M42 + helicoid to a mirrorless style camera]( Mount to the body using a cut up rear lens cap as a receptacle. I might worry the longer helical would block the edges of the light cone inside especially for such a wide lens. I might worry is too many connectors. Edit 2: Copal 0 to [just M42 helicoid](.

Is it possible to buy a shutter mechanism on its own? I currently have a cap on - cap off set up but it has resulted in some slight camera shake. A shutter would be much better! Would like to keep current lens set up if possible that's why I'm wondering about a shutter on its own.

A packard shutter would be an option: Packard shutters will of course work with any lens and typically mount to the front of the lens with a filter ring adapter, similar to Lee/Cokin filters. The downside with these shutters is they typically only offer Bulb and one set speed (1/25 typically). All of my lenses use cools shutters and the elements can be completely removed. What about buying a cheap/chipped lens w/ shutter to cannibalize? Yes, large format shutters are separate from the lenses, you just need to find one that fits your lens. What lens setup are you currently using in a barrel mount? It may be as simple as buying the correct size of shutter, or it may be vastly more complicated, depending on the lens. There's also Sinar Copal shutters if you want a little more control than a packard. If it's really important and you wouldnt mind replacing your whole camera, the Graflex Speed Graphic has a focal plane shutter, which is why you see it paired with a lot of non-shuttered lenses like the Kodak Aero Ektar.

DIY scanner camera. Ready for the rain to stop. .

Interessting - my last experiment in that direction went ugly. Do you have any sample photos yet? Nice. I'm glad to know the Doxie exists—I've thought about scanner cams in the past and could never figure out something truly wireless without it becoming totally insane. I have other scanner ideas that this may work with, though the technical side of my ideas are WAY out of my abilities. Thanks for posting! Rain stopped! Samples from this camera & lens. Some IR photos: [Architectural]( [visible light]( [same scene but IR]( [magnolia trees IR](.

Anyone know what happened when my film was getting processed? .

It seems to be two photos in one frame, not sure how it happened. Anyone have any ideas? It looks pretty cool, I'm just interested in what happened to make the photo come out like this. Most likely the lab's scanner didn't recognize the frame spacing properly. This is a large format sub, by the way - for people who use 4x5 and larger cameras. You'd get a better response for a question like this on /r/analog probably.

Cable Release For Nikon 150mm f/5.6 Copal #0. Hello all. I'm new to large format and I'm looking for some advice on a cable release. The lenses I've seen online have a small bracket that allows for a cable release to be threaded in that lines up with the firing lever. The lens I have however does not have this. I have attached images of the lens below. Am I able to use a cable release on this lens? Any help is appreciated. [Album](.

The hole in picture #2 next to the cocking lever looks like you can thread a cable release into it. On many shutters, the mechanism for the cable release is internal to the shutter. I'm far too new to large format to give you an authoritative answer but I googled up [some discussion for ya]( You can use a thread-in cable release in one of those holes. The one without threads is a flash connector. The third threaded one is an extra convienence connector from the wista camera that either closed the shutter to protect the film or opened the iris wide to preview and focus. Edit: Opened wide to preview and focus... Here is a [new shutter]( that I think is close with a description about the shutters special features and cable release requirements. Mechanical cable releases are universal. They have conical threads to achieve this. Use a minimum amount of force when attaching them to a lens, and be aware that some threads may remain visible once attached. This is normal. I prefer the cloth braided variety (they usually flex more easily and are less susceptible to temperature and time hardening than plastic) with this type of ring lock mechanism [( ] The Nikon brand is coincidental, but they do make good quality gear.

I post my 4x5 images here. Check it. .

Thanks you for sharing. It's not a busy sub and there are few upvotes to get. I like the girl on the bed. there seems to be miles of bed before her. Breckenridge is where spent the my earliest childhood. It's always strange to see. Do you find you can be experimental enough on 4x5? In some ways are you trying to make sure the few exposures you get are good that you can't take a chance you might need to take? Thank you for sharing them!

How to measure bellows extension. I am ready to buy my first large format camera (found a nice Graphic View) and I am reading up on how to calculate the proper exposure when compensating for bellows extension. I already know the correct formula for the calculation, the problem is I can't find out how you measure this exactly. Is there a gauge on the camera itself?

Congratulations. I don't think there is going to be markings on the rail because the back can move as well as the front. When you buy it it will be yours and you could mark up the rail if you wanted. You could start with the back at the same place and then measure how far the front is extended. Your going to have one or two lenses at first? Your lens focused at infinity is gonna be extended it's focal length away. Unless it's telephoto a 210mm lens is gonna be 210mm out and not require compensation at that length. It's gonna require compensation as you rack it out farther to get closer to something for studio/macro use. Imagine it from the inside the camera: the little window letting the light in gets farther away. You learn about what start to look for with your lens/ setup. 1.4x the normal extension is gonna be one stop. Way racked out at 2x is two stops, 4 time the exposure (and 1:1 magnification). You already got your answer from /u/KaJashey. But on the off chance that you are getting right close to your subject, let me plug the [Quick Disk]( which is a totally free & totally slick tool for computing the bellows compensation. The Quick Disk has two pieces that you print and cut out; I've laminated mine, but that's optional. The first piece is a circular disk that you place on your subject in your scene. The second piece is a small ruler that you use to measure the disk's image *on your ground glass*. The magic is that the ruler reads in #of stops to add, making it super quick & easy to get the compensation. It's worth thinking about why it works. I wish I'd thought of it. :). Semi off topic, but Check the bellows for light leaks and don't over extend them. Not the answer you're looking for, but when I shoot and the bellows looks extremely extended, I just double the exposure time. I made up an app that does this. It's free in the Apple App Store. It gives a simple EV adjustment for any given extension. Search the iOS app store for "large format calculator" or go here: It is based on this formula that has worked for ages: Bellows Factor = Distance between the two standards (in mm)^2 / Focal length of lens (in mm)^2 Exposure Compensation = log(Bellows Factor)/log(2).

aperture adjust lever extension. (x-post to r/mediumformat/) I have a lens missing a piece: The aperture adjust ring has an accessible nub with a screw hole, and the extension piece that points to the aperture number on the face is missing. Where can I get a replacement? This particular lens is a Mamiya TLR Sekor 80mm 2.8 but I have seen this configuration (nub plus removable extension) on other large format lenses. Thanks!

Keh sells used lenses. Get a junk one. Or make a piece.

Canal Walk Area - Richmond, VA. .

I really liked that old building that seems to be just a few inches away from I-95 in downtown Richmond, VA. No idea what it is, but a few years ago I drove through Richmond a few times and saw it.

Hi LFers, looking for old/unwanted/test shot colour LF negs. Hi and thanks for looking, I'm currently experimenting with physical manipulation of colour negatives and I've been searching for large format negatives to add more scope to these experiments. The processes I use are catastrophic and much if not all of the original image will be lost. I wonder if anyone here would be able to help me, or point me in the right direction? The subject matter isn't important, even blank test shots would be great. I don't shoot this format myself and don't know anyone personally who does. I'm happy to pay something for them and obviously will completely Cover all postage costs. Anyone think they can help?thanks again dudes and dudettes!

I've got 4 4x5" sheets of Kodak Ektar 100 you can have. No images on them. They work nicely as bookmarks btw...

How do you catalog and store your negatives and proof sheets? Just picked up my first 4x5 (woot!) and I'm having a blast. I am currently using a regular 3-ring binder with printfile 4x5 sleeves. I put masking tape over each quadrant of the sleeve housing a negative, with info on date, location, camera/lens, film/developer/n, as well as shutter speed/aperture and applicable filter info for the shot. Maybe overkill, but I'd rather have that info and not need it in the future than the other way around. I'm trying to figure out how to store proof sheets. Should I just spring for a bunch of 8x10 sleeves and store each sheet behind the negatives in the same binder? I'd love to hear how everyone keeps their negs and proofs organized so I can perfect my system.

A sheet of 4 4x5 negatives is the same image for me. I do one film holder - 2 sheets - of the same image, in case one gets scratched or accidentally fogged during processing. The other two are bracketed exposures - one stop over, one stop under the normal exposure. They used to make 4x5 negative sleeves with a pocket in the back for the contact print, but they must be out of production since I can't find them. I have done it by using an 8x10 sleeve behind my 4x5 sleeve, but I've also just three-hole punched my contact print and put it directly in the binder as well. Contact sheets are just for my information, so I don't really mind if they're hole punched. 8x10 sleeves aren't that expensive though, so that may be a good option as well. I store my negs and proofs in archival binder boxes; Vue-All, I believe. A bit more spendy than an Office Depot binder, but in my mind the negs are safer from spills, dust, scratching. When I had access to a darkroom I would hole-punch the contacts. Now that I have to get my negs scanned, I staple the little digi-proof to the sleeve and use it as a quick reference. Not ideal, but it's what I do.

Whose Doing Noteworthy Work? I have a 4x5 large format camera in my closet that I inherited from my grandfather. It's a rail mounted camera, if that matters, but the brand is not notable. I'm fortunate to have about 2 dozen 2 sided film cartridges as well. I've been wanting to use it for years and feel that this is the year to break it out. My question is, who out there is doing really good work with 4x5 currently? I don't meant "I took a pic" people, I mean intentional artists, people running businesses, or others producing work that is recognized. Secondly, who from the past should I look to for inspiration in using 4x5? Thanks all!

> Secondly, who from the past should I look to for inspiration in using 4x5? Definitely Ansel Adams. I would look more at photography in general than just those using large format. The camera used to capture the photo is less important than the photo itself. Sally Mann uses a large format camera and is one of the best pictorialists ever in my opinion. Gregory Crewdson - He might be using 8x10 but the concept is similar. You say it's rail mounted - like one rail? It might be more of a studio camera meant to be used indoors. Doesn't mean you can't take it outdoors and do some nice work but it's perhaps not as portable for that as a view camera. I follow [Dan Carrillo]( He's also on flicker as just [Dan Carrillo]( He tends to work bigger than 4x5 but it's studio work. He's been a good craftsman and and really gotten great at wet plate and daguerreotype. They are one-off glass and metal prints that are so great as shiny unique objects. I know you wouldn't be doing that off the bat you would be doing film. Look for some large format studio stuff that's interesting. Also check the accuracy of your shutter after it's bee set aside for so much time. [James Attree's]( LF architectural work is inspirational to me. Check out his [flickr]( Monorails are a PITA in the field but if you want to make the most out of movements there is no other way. August Sander is one of the most significant portrait photographers in history, and he shot primarily on 4x5. Keep in mind that shooting large format severely slows down the process, meaning the type of fast paced shooting you're probably accustomed to (i.e. iphone / digital photography) isn't going to cut it. So in your case of searching for inspiration I wouldn't focus on only those shooting large format, but also those who are shooting planned out, methodical series. By that I mean abstracts and environment portraits, etc., not something fast paced like sports photography. In fine art landscape genre, all currently working today in 2017 with 4x5 and some also with 8x10 film, most of them exclusively, in no particular order: * [Ben Horne]( * [Ryan Gillespie]( * [Michael Strickland]( * [Alan Brock]( * [Alex Burke]( * [Jim Becia]( * [Charles Cramer]( * [William Neil]( * [Clyde Butcher]( * [Martin Quinn]( * [Michael Fatali]( * [Rodney Lough Jr.]( * [Craig Sheaks]( * [Thomas Heaton]( * [David Muench]( * [Joe Freeman]( * [Christopher Burkett]( * [Jack Dykinga]( And lastly, I'll toss my own name in here: * [Justin Lowery]( As for past photographers, a few of the greats: * Eliot Porter * Philip Hyde * Ansel Adams * Edward Weston * Brett Weston.

Film scanner. What kind of film scanners are you all using? I'm about to purchase one myself, and I want to make sure I get the right one. I shoot primarily 4x5, 35mm, and medium format. I've been looking at the Epson Perfection V600, but I'm not sure it's even able to scan 4x5 negatives :/.

The V600 cannot scan 4x5 natively. One option is to do two passes and stitch them in Photoshop, although I've never tried it myself. I use my university's V700 or 10000XL. Both are excellent for 4x5. I use a V700 for medium and large format, and an Minolta DiMage IV for 35 mm. The V700 is a polished turd but the Minolta is decent enough. If you have patience, an easy to use setup and a macro for any digital camera, the results will be miles better if you use a digital camera, take multiple exposures and merge them in Photoshop. I have the epson 4990 with 4x5 inserts... and it works great for my needs. I have to do basic adjustments in photoshop but I get good scans. Here's an example. [pic](. I have an Epson Perfection V500 and scan the 4x5 in two strips and merge them in Photoshop. It is a bit more work, but it gets the job done. Epson V850 - which is pretty much the same as the V800. Word of caution on the V850: film doesnt fit in the film holders it came with, so youre gonna have to call corporate and jump through their hoops to get the right ones. I have a V600 that I use to scan 4x5. I bought a 3D printed tray that fits the scanner bed and holds the negative. I do two passes and stitch them in Photoshop. It's the cheapest alternative I've found and works well. The V600 comes with its own trays for 35mm and 120.

Abandoned gas station on Vince Mazza Way in Stoney Creek (Omega 45D, Rodenstock Sironar Copal #1 210mm 5.6, Expired Agfa Adox 100). .

[deleted]. So your shadows look a good bit under exposed. I would rate the film a stop or so slower and see where that takes you, especially in terms of shadow detail. Movements?

Inherited equipment question... Hi all, I inherited some equipment relevant to this subreddit. I'm an amateur photographer but after 7 years of sitting on this stuff I feel like I'm probably not going to get around to using it any time soon... so I wanted to get your guys's opinion on how I might separate (or not separate) the items for sale. * My camera body appears to be EXACTLY this item here: * The only difference is that my camera has a Cambo lens plate as well as the following EXACT lens and (fully functional) shutter mechansim: * The ground glass plate is intact and attached to the camera body (and rotates) but it appears that there is no holster for film. I also have a Calumet case just like this one: * (Also, there is a shutter release remote just like the one in the first link.) I have no idea whether the lens plate should be sold with the lens or with the camera, or whether it makes sense to sell everything together or separately, or even whether it makes sense to buy any missing items first. I've also seen wildly different prices for these types of cameras and have been able to find no indication of manufacturing date or model number. * I also have another large format camera that looks to be this exact one: ... though I'm not sure if I have a lens for it. I have at least a couple lens plates, however. Would love any thoughts on this. I know enough about photography to appreciate what you guys create with these!!! Thanks.

The lens is usually sold with the shutter and lens-board. You might not want to say the shutter is fully functional if you can't check the timings. Say it appears functional. If setting it to one second and actuating it is one second and 5 seconds is about 5 seconds fine. You usually get more money breaking things up but might not get too much action on the body alone. Congratulations on the beautiful wooden camera for the second one. The Cambo SC2 is a good monorail camera, complete and in good condition (ie no holes in the bellows) it should fetch ~$100-200. I bought mine for $100 but that was a number of years ago. The case isn't worth a lot, I'd probably throw it in with the camera, makes shipping it easier anyway. The Schneider 210mm f/5.6 Apo-Symmar is a good midrange lens, assuming it's in very good condition with a fully functional shutter, it should net you $300-400. Lensboards are generally either sold with the camera, or separately. It's somewhat unusual to sell a lensboard with a lens, as with the LF ecosystem it's very unlikely your buyer's camera will use that particular lensboard. The Tachihara 4x5 field camera (assuming that's what it is) will likely net in the range of $500-$800 depending on condition.

Intrepid 8x10" kickstarter. .

I'm pretty sure none here have missed it but just to make sure (and to cash in on some minor karma, of course!). :).

I want to go into large format film photography. I have many questions. I want to go into large format film photography. I want to shoot color negatives, color positives, and black and white film. I plan on capturing landscapes and wildflowers. I have many questions. What lines of color positives have high contrast without high saturation? For some photos, I spike the contrast. I don't touch the saturation slider, just the contrast. What is the best color negative and color positive film for that? For other photos, I leave the contrast as is. What is the best color negative and color positive film for that? Then there are photos I raise the contrast on the luminance channel in the lab color space. This is to obtain high contrast without high saturation. What is the best film for that? What types hue shifting should I expect with different lines of color film? I don't want the hues to shift. For example, I don't want film that adds red to warm colors. What lines of ISO 100 and ISO 400 black and white film should I use? What is good developer to use with the lines of black and white film you recommend? I want high contrast on a macro and micro scale. I want high sharpness, elegant tones in the sky, and high levels of shadow detail. I am interested in shooting black and white film then converting it into a black and white positive when developing. I know color positives allow 2 stops below and above middle grey. Is that the same for black and white positive conversion? Who is a good lab for taking exposed unprocessed film and converts it into a positive. For shooting negatives, how should I go about obtaining the right color lookup tables and color profiles to ensure desirable rendering of tones and colors? What advice do you have for me? Thank you.

I don't know the answers to most of your questions but as far as BW neg goes, I shoot HP5 400 as an economical option and I've been really happy with it. On occasion I've shot the more expensive tri-X BW neg and I've been really impressed. Are you coming from a digital background or a smaller-format film background? The answer to B&W large format film is always Foma 100, in my opinion. I think you have a lot to explore and learn. Getting into Large Format (I shoot 4x5) was one of the most rewarding and engaging photographic practices I learned. From the previous comments, I can see that you come from a digital background; and you are focused on the colours. Simplified recommendations: * Colour Negative: Kodak Porta 160 * E6 Transparency (colour positive): Fuji Provia 100 * B/W: (If you ask 10 different people, you'll get 12 different answers) I use Ilford HP5; but I also recommend Fuji Arcos 100. or Ilford Delta 100. I've been meaning to try Foma 100 though. I use Kodak HC110 because of its convenience and flexibility. I'm still developing a system to get the tones and contrast I want. But I can do anything I want to HC110. I can do stand development, or quick development; and everything inbetween. Again, you'll get a lot of varying opinions on what are the best developers. I think you'll soon quickly learn that controlling the hue, saturation, luminescence, etc of the film is very difficult to do. It is all baked into the film emulsion. To get the colour range you have in your head, you are going to have to get use to colour filters. (Which is out of my area of expertise). You would also need to have precise control of the light sources, including the sun, clouds, shade, reflected sources, artificial. light. It will end up affecting the colours you want to be going for. It is going to take a lot of consideration and troubleshooting to work out what film you think it best. Every single step affects the end product. From the Lens chosen, film stock, colour of the environment, your devleopment, the scanner, the monitor, your printer; it all matters. Even if you get the right film, it may not look what you might find acceptable because of any one of the many factors earlier mentioned. Experiment; and have fun. Some of my limited experience in using different films Transparencies * Fuji Velvia 50: Highly saturated, vibrant colours - might not what you are looking for. Not much latitude, but when you nail exposure, the look is unmistakable. * Fuji Provia 100: Neutral rendering and very natural looking * Fuji Velvia 100: I never tried it, but read it is like Velvia 50 without the pop. Colour Negative: * Kodak Ektar 100: Really pulls out the reds; makes skin tone like a swollen face that has just popped a zit. * Kodak Portra 400: This is what I use; and I like it. * Kodak Portra 160: I suspect this to be a bit higher contrast that what I've used with the Portra 400. I've never used it. B/W: * This is a bit of a hornet's nest for me to get into. I'll just make a short list of the top films that I think most matches the information in the description and comments. * Fuji Arcos 100 * Ilford FP4 125 * Kodak TMax 100.

Lens coverage. Hi, I was just wondering how to tell if a lens is able to cover 4x5 at infinity focus (I presune if it's able to cover it at infinity it's also able to cover at closer distances, right?) And how/where do you read up about lenses you're not familiar with? Like do you have any saved catalogues of lenses by different manufacturers, or is there a library of lenses and their characteristics somewhere? Thanks!

I typically search for 4x5 lenses on eBay to get an idea of what lenses are available and then furiously research them to see how they're favored. I've found that Fujinon lenses are pretty good bang for the buck, and they're all over the place, shipped from Japan. I picked up a 90mm last year for a couple hundred bucks that's pretty comparable to lenses far more expensive. Edit to add stuff: In the furious research that occurs, you find that there is a wealth of information for just about every lens you can find, and that usually includes coverage information. There are entire sites devoted to specific lens brands, cultivated by hobbyists and brand lovers. Schneider-Kreuznach has an [vintage lens info]( on their older stuff. When they recommend it for a film size it covers that size. If you interested in a non-Schneider lens just google it. Someone on a large format form has had a thread about it. Someone has a pdf of the manufacturer's tech specs. [This chart]( has a lot of information for new lenses... as of 2002... which covers a lot.

I want to become a professional photographer and shoot large format. I need advice. I am looking to go into large format film photography. I want to shoot 4x5 and 8x10 sheet film so I can get unmatched image quality when done right. I want to make photographic murals and large prints. I want options for both the mid tier and high tier market when selling prints. I plan on using inkjet printing. I currently shoot on the Nikon D3200. I will photograph landscapes, wild flowers, architecture, national parks, and scout camps for Boy Scouts. I want to do both artistic photography and documentary photography. I will use color positives, color negatives, and real black and white negatives. I am looking at the Intrepid large format camera. Is it any good? I am looking for 4 lenses. I want a 120mm, 180mm, 240mm, and 360mm. The last two lenses need to be indicated for 8x10 film. After trying out the VSCO color profiles in Photoshop, I concluded that I should use Fujifilm Velvia 100F and Provia 100F. Velvia 50 and Velvia 100 cause hue shifts that I don't like. I contacted the Fujifilm branch in Japan. They said they don't make Velvia 100F anymore but I can buy it from two camera retailers in Japan. Provia 100F on the other hand is easy to come by. My fear is making sure the film is still in stock by the time I get into large format. I want to use Fujifilm 106NS and Kodak Portra 400 for color negatives. For scanning and rendering color negatives, how should I go about finding the right color profiles for rendering the negatives? I know with the RAW format in digital, the photos can only be as good the color profile you apply. For real black and white film, I want to do contact prints to serve as a reference for those who want to scan the film later on. What do I need to be aware of? I plan on using Fujifilm Acros 100, Kodak TMAX 100, and Kodak TMAX 400. For the developers, I need high contrast and good levels of shadow detail. What is the best developer for that? The problem with large format is that it is expensive. I have sold prints on the side but that does not bring in much. There is a catch 22 in which it takes money to make money but I don't have money so I can't make money. I will need to seek help from real travel photographers and business consultants preferably near me. I am from Katy, TX but one mall I looked at was the Galleria. I want a store front with a big gallery in an area where the rich and middle class all hang out at. I want to show my work and create a small section for a guest artist to show off his or her work. I am a college student right now at Houston Baptist University. I am doing business management. While I love the learning and discussion part, I slack off on the work. I make mostly C's and I have looked into dropping out of college to become a travel photographer since I joined college in Fall 2014. For college, I have gotten away with slacking off for now. For my photography, I have the go hard or go home attitude. I believe in doing things right at the scene instead of repairing bad photos. What advice do you have for me in general?

I think you're biting off more than you can chew here. Shooting large format is all well and great, but it's extremely difficult to make a living selling art prints, and it's extremely difficult to do good documentary photography in 4x5 format, let alone 8x10. All the same, let me try to answer at least some of your questions: 1. Intrepid camera, is it any good? Yes. I have the 4x5 version and I love it. If I ever want to shoot 8x10, I will get their 8x10 version. "Good" is subjective. For me, the strong suits of the Intrepid are how insanely lightweight and compact it is, making for probably the best portability of any large format camera ever made. The tradeoff is that it's more difficult to get demanding movements dialed in precisely, as none of the movements are geared. That being said, I've never had a problem getting the movements where I want them. The front standard is surprisingly flexible. 2. 120mm, 180mm, 240mm, and 360mm lenses will be roughly equivalent to about 40mm, 60mm, 80mm, and 120mm on 4x5, half that on 8x10. The 360mm lens might focus at infinity on an Intrepid 4x5, but the bellows are really only designed to properly use lenses between about 75mm and 300mm. You will also probably want something wider than 120mm for shooting landscapes; 40mm equivalent isn't exactly wide-angle. I use a 90mm (roughly equivalent to 28mm) on mine and it's great. I want to get a 75mm (roughly equivalent to 24mm). 3. If you're going to be scanning transparencies (which is basically the only viable way to print them anymore), I agree with using Provia over Velvia. In my experience, it behaves better in a scanner than Velvia. It also costs less. 4. I'm not a huge fan of Portra or Fuji's equivalent. Your mileage may vary. I do recommend checking out Ektar 100 as an alternative for non-portrait use. Punchier colors and sharper images. Without getting too far into this humongous subject, there's no single "color profile" that will magically make your scanned color negatives look amazing. I don't use color profiles at all. Slight differences in exposure and processing can make significant differences in the coloration of a negative. Each negative will need its very own settings to really get optimal colors out of a scan. 5. I recommend against Acros 100. It's a great film, but being discontinued. I never much cared for Tmax, but that's subjective and if you like that film, great. High contrast can be achieved by any developer, as can high levels of shadow detail, which is more a function of exposure than development. If you're shooting TMax, I recommend HC-110 or Xtol, although plenty of other options are out there. You'll have to find what you like personally. Do you have work available to view anywhere? It's going to take an insane amount of work to make this dream a reality. Far be it from me to tell you it's impossible, but it won't do you any good not to be realistic about what actually needs to happen to become a successful large format art and documentary photographer full time. A long term plan is great, but you have to start somewhere. What is your darkroom access? Even if you don't have access you can start learning. Get a camera and start learning about movements and exposure compensation. In Austin, someone has a Cambo 4x5 monorail for $200. If you're patient something will pop up in Houston. Get a Graflok Nikon back so you can use your digital camera with it while learning. Digital and LF are completely different mindsets. With a DSLR, you can take hundreds if photos in 15 minutes and pick the 1 or 2 great photos. With LF, expect 15-60 minutes for a single shot. Setting up tripod, getting your framing, using movements to adjust your focal plane, selecting filters, taking manual light readings ( reflected and incidental), calculate your zones. Then, once everything under your control is perfect, you have to wait for everything out of your control to be perfect: wind, sun, clouds, etc. You have to love the process of getting the perfect shot as much or more than you love the shot itself. I agree with what the person above me says, but I would recommend to get Acros 100 and freeze it so it can be used for years after its expiration date. It is slated to be discontinued in 2019. It's a beautiful slow black and white film when developed in slow developers like Xtol and the like. In the end, whatever film you go with, just remember that if you're doing traditional and alternative printing processes you should stick with one film for a long time to learn all it's intricacies so you can hone techniques and repeat results. The best advice I think I can give you right now though is to finish college so you have a degree to your name when/if photography doesn't pan out. It's difficult enough as it is getting a job with just a bachelor degree today, don't make it hard on yourself to succeed in life. Good luck, friend. Oh also the best source of info on large format is Check out the forums as well.

Another "getting into 4x5" post! Hi all. I'm sure these posts are common around here but I would like a few suggestions on getting into 4x5 photography. 1) I'm strongly considering the Intrepid gen 2 based on cost, size, and weight. Is there any reason you would strongly suggest going towards something like a Toyo 45A or Wista in it's place? 2) First lens suggestion. Right now I'm just looking to pickup one lens. I'm between a Schneider 90mm f8 Super Angulon or something in the 135mm range like a Nikkor-W. Any comments or suggestions on lens choice would be great! I'm mostly looking at landscape but would like to be able to shoot a portrait as well. 3) Film choice. I shoot Fuji Neopan Acros 100 in 120 format religiously. I'm bummed to hear it's going out of stock in 4x5. I intend to purchase a few boxes, but does anyone have a recommendation for a similar quality film once the Acros stockpile runs out? 4) Other accessories. I have a massive CF tripod which I believe will do the trick. I also have a cable shutter release. I have a focusing loupe. Is there any reason I may want to purchase a dark cloth rather than just make one DIY? Can someone comment on the portability/usability of a Grafmatic 4x5 holder vs 3 standard holders? Thanks all! Edit: 5) Developing. Any comments on using something like this 3D printed reel in a standard paterson vs buying the SP445?

1: The Toyo 45A series and Wista 45 SP, VX series are great cameras, rock solid, an reasonably priced. If you want to go wider than 90mm, they'll start getting a little tight and be very restrictive with movements. I have owned a Wista 45 VX, and I kind of wish I hadn't sold it, but the Canham DLC 45 that I have is pretty hard to beat in weight and functionality. The Linhof Technikardan would be another worth looking at. 2: I got by quite well for a while with nothing but a 135 Schneider and a Crown Graphic. Then, over time, I got a Nikkor 75 and 90 and a Rodenstock 210mm. I will get a Fujinon 300mm f/8.5 and be completely set. It all depends on personal taste and how you shoot, but 135 is a good start. If you find that you always have a 28mm or so lens on a 35mm camera, then maybe the 90 would be better to start with. 135s are cheap, like a nifty fifty, but a good 90 is going to be quite a bit more expensive. Just about anything made by Rodenstock, Schneider, Nikon, or Fujinon is good. The 90mm Nikkor SW f/4.5 is probably my favorite lens I have ever owned, period. That and the Rodenstock APO Sironar S 210 f/5.6 get 99% of the shots I take in LF. 3: I personally prefer Kodak T-Max and Tri-X, but the cost has gone up quite a bit in the last several years. If you like Ilford films, the Deltas, HP-5, and FP-4 can all be gotten in 100 packs for just a little more than a 50 pack of Kodak. I have used the FP-4 and I like it quite a bit. 4: I have Jobo tanks for 4x5 and they work pretty good if you want to do rotary development, but the MOD54 is my preferred method, and it fits in a Patterson tank. If you are pretty comfortable with developing by inversion and already have Patterson tanks, this might be the most seamless choice. 5: I've heard mixed things about the Grafmatic packs, and while it seems neat, the thought of having it jam up and not be able to take any more shots is enough to make me stick to regular film magazines. I hope you have a good meter, and take notes on each shot. I know all of this is based on my own personal experience and preferences, as will be any recommendations you will receive on any question about photography gear. Large format is it's own world and is like nothing else out there. It is not something you do in a hurry, so when I go out, I'll usually take the 4x5 and a medium format camera. Sometimes I want to go out shooting and don't want to mess with the 4x5, and sometimes it's all I want to shoot with. You have to be in the mood for this sort of thing. About #5: I have the [Mod54 Paterson tank insert]( (similar to the 3D printed reel you've linked to) and the SP445. The Mod54 is a bit harder to load, but can do 6 sheets vs. 4 for the SP445. It took a while to get the agitation sorted out. For me rotation agitation was causing streaks so I've switched to inversions. Takes a liter of chemistry. I recently got the SP445 and have only run a few batches through it. It's easy to load, takes a tiny amount of chemistry, and development with inversion agitation has been even. No complaints at all. ETA: I use a heavyweight T-shirt as a dark cloth. I stretch out the the neck of the shirt so it fits around the back, and it's dark enough for me. 1. The Intrepid is okay, and certainly the least expensive field camera available today. A Wista or Tachihara field camera is a better choice, but at twice the cost for essentially the same features. All you're really getting is a better build. 2. A 135mm would be a good first lens. For a 2 lens kit, a 90 and a 210 would be a good way to start. 3. Foma 100, or the cheaper equivalent Arista EDU 100. It has poor reciprocity, so night shooting is a challenge, but what a gorgeous film. 4. You will need a dark cloth. A thick T-shirt is good enough. Grafmatics are great if you can find one in good shape. Otherwise, 2 or 4 film holders is plenty I think. You'd probably want to get a changing bag as well, just in case you want to reload in the field. I took a heavyweight black t-shirt and put it inside a white t-shirt, then sewed them together. The white on the outside helps it from getting so hot. You'd probably want a 2X so the neck is big enough to fit around the rear standard. Sew the sleeves closed. 5. SP-445 is worth the money. Only limitation is 4 sheets at a time. 1) I can strongly vouch for the Intrepid. I have shot other 4x5 cameras and they certainly feel more luxurious to use, but the Intrepid is my go-to now because it weighs practically nothing and the price is unbeatable, so I'm not scared to hike it into the backcountry and use it in really rugged areas. It also works beautifully on the really tiny lightweight tripod I take with me on backpacking trips, etc. I would never hesitate to recommend the Intrepid to anyone, except maybe architecture photographers who really need a big range of rear standard movements. 2) I think you'll find the 135mm to be more flexible. I shoot a lot of nature and landscapes, but I find myself shooting my 150mm lens more than any other, and I have a 90mm and a 210mm as well. You can always expand the collection later. 3) Delta 100 and TMax 100 will look pretty similar to Acros, although they don't have the incredible resistance to reciprocity failure that Acros is famous for. Personally I prefer Delta 100 (I prefer Ilford films in general to Kodak). I shoot FP4+ and HP5+ but that's because t-grain films are a little too "clinical" looking for my personal preferences. 4) I got crazy lucky and happen to have inherited a Zone VI dark cloth, which is an absolute joy to use. The Intrepid's ground glass is fine and usable, but not awesome, so the darker you can get it, the better off you'll be. Of course you can always replace the ground glass with an aftermarket one later, and adding a cheap Chinese fresnel to mine made it significantly more evenly-lit for wide angle lenses. I tend to roll with 3 film holders, each holding a sheet of FP4+ and a sheet of HP5+, but I'm a very low-volume shooter, you might find carrying more than 3 is better for you. 5) I started off with tray development but found I wasn't getting the consistency I wanted, even after a lot of practice. Switched over to a Beseler Color motorized base and tube system that's intended for RA4 print processing, and haven't looked back. The only downfall of the Mod54 or any other Paterson tank/reel type system to me is that you generally have to use a lot of chemistry. That was a deal breaker for me since I often find myself developing only 1 or 2 sheets at once. If you're consistently developing more than 3 sheets at a time or the chemistry costs aren't a big deal to you, I'm sure something like the reel you mentioned would work great. Hi, and welcome to the wonderful world of LF! As others have said, there truly is nothing else like it, and while it can be difficult at times, you are certainly rewarded appropriately! On to your questions: 1) I have 3 Intrepids, the 1st-gen 4x5, the 2nd-gen 4x5, and the 8x10 prototype. I have put hundreds of frames through them and beaten the heck out of them, lugging them across deserts, up mountains, across sand dunes, up and down creeks, etc. So much so that I've been helping field test and develop their current and future cameras (hence the 8x10 prototype). I have also handled Arca-Swiss, Toyo and Zone VI cameras. The Intrepid will feel like a toy compared to some of the others, but in my book that's a great thing. It is radically lighter weight than the others, more compact, and simpler to use (no rear movements, very simple design with few knobs to mess with). I absolutely love it for landscape photography. If you were doing portrait or studio work, I might say you could think about one of the other options if you wanted rear movements, but for landscape, the Intrepid cameras are simply unbeatable in my experience, and are very reliable. My 8x10 even survived getting blown over onto its face by intense winds without a scratch. When you have to lug your camera several miles up a mountain in a bag with all your backpacking gear, food and water, you'll want to be darned sure you brought the lightest and smallest one you could. All cameras are a set of compromises. You just have to be sure the camera you pick fits what you value in a camera. 2) For landscape, I know on 35mm you probably use wide angles a lot and think that they'll be most useful, as did I. However, after switching to LF, I found that I was always longing for more subject isolation and a longer focal length. Check out Ben Horne's channel on YouTube for some recommendations. I'm going to agree with him and say that a "normal" lens is the ideal focal length for large format. For 4x5, that's a 150-180mm lens. The 135 is a bit on the wide side, but will also work. The 90 is very wide on LF, similar to a 24-28mm depending on who you ask. I think mine feel most like a 24. I have both the Schneider 90mm Super-Angulon f/8 and the Schneider 90mm Angulon f/6.8, and probably shoot at 90mm 10% of the time, 300mm 10% of the time, and 180mm 80% of the time. Both of my longer lenses are Fujinons and I love them. My friends who shoot 4x5 report similar usage ratios. 3) I also shot Acros religiously for a while and even did a whole project and Zine with it (it's on my website, lowerylandscapes.com under Mojave Monochrome). It's a terrific film. However, I think there are some other films that are really great too. I've been shooting a lot of Ilford FP4 lately and also have been really enjoying Arista EDU 100. Both of these have a more organic feel than Acros, which has a more precise feel with its T-Grain structure. If you want the closest thing to Acros on a technical level, try shooting some Kodak T-Max 100 and see how you like it. 4) Dark cloths are a luxury, but nice to have. If backpacking, I'd just use my black rain jacket or fleece jacket instead. On shorter hikes and day trips, I like my dark cloths. I have two. First is a BTZS 8x10 dark cloth, which to be honest I hate. It smells awful, so bad that my wife comments on how bad it smells. Something about the plasticy material they use. It is also awfully muggy underneath. But it does work well. My new one is a Wanderer Photo Gear dark cloth, which just came out and I'm helping test the design for the guy who makes them (Ryan Gillespie, a great photographer by the way!). I really prefer his design and it is head and shoulders above the BTZS design in my opinion. Danel Stone of Stone Photo Gear also makes a similar product which should be great as well. I would recommend either of these guys over the BTZS or other traditional dark cloths. As for the Loupe, get the best one you can afford - it will make a difference! You really cannot just eyeball your ground glass on a 4x5 and expect critically sharp images. It's just too easy to miss focus or miss a corner detail with the naked eye, and cheap loupes are almost as bad as not having one at all. I use a Fujifilm Professional 4x loupe. Any good tripod will work, I just recommend a rigid one that has separate unattached legs (the professional style, not the crappy ones they sell at Walmart or Best Buy), and ideally no center column or a removable / shortenable center column, as those tend to get in the way when shooting low angle landscape images. Regarding film holders, I would probably go with standard holders from Fidelity Deluxe or Toyo over the Graflex ones, but here is a write-up done a long time ago that provides a ton of detailed comparisons about all the different types: Best of luck on your photographic journey!

Wobble wobble wobble... I recently purchased a Calumet C401 4x5 camera. I noticed that when I put it on my tripod, I get a lot of wobble (left/right movement when looking at the focusing screen) with very little effort. The camera is on a monorail, which has a single 1/4 20 screw on the rail "base" (not sure what it's called). This seems to be the point of inflection. It also doesn't seem to want to tighten all the way down - I have attached the tripod mount to the camera as tight as my fingers will turn it, but when I put it on the tripod I can easily swivel the camera without the mount turning - and it never tightens. Has anyone seen this kind of problem? Where could I find another base without buying another camera just "for parts"? Any help would be greatly appreciated.

Does your tripod have an extendable center column? If so, are you extending it out? Is the 1/4-20 mount screw bottomed out before the camera is tight to the plate? If there's a gap , put some rubber or cork between the camera and plate as a shim, or get a shorter bolt if you can.

what's the big deal with using spot metering on a DSLR instead of buying an expensive light meter? I finally took the plunge and bought an Intrepid 4x5 camera, with Fuji 125mm f5.6 lens. I don't have a light meter but I imagine that I could get good enough measurements using spot metering on my Ricoh GR or D750? Why do people insist on using a light meter? I know the Sekonic L558 has 1° spot, and most spot metering options on camera are around 5°, but I'm not Ansel Adams, if my measurement is wrong by 1/10th of a stop I don't really care. Thoughts?

I'm fairly certain people buy lightmeters for the novelty. Your DSLR is more than capable of metering. A camera will work, with the lens limitations noted above. But a spot or ambient meter is generally much smaller and easier to carry. I use the spot meter app on my phone. Lugging around a DSLR on top of the LF sounds like a pain. I had my spot meter in my bag in the Amazon, and my DEET bottle broke and melted the spot meter side. And recently spot meters have been going up in price so I can't really justify a new one. The phone was usually relatively close (when they were both working I used to compare) although it's slower. The 1° spot allows the photographer to isolate small areas of highlights or shadows. The 5° will average the readings. For example in panoramic landscapes it can make noticeable differences. With a DSLR it's no problem, one can bracket and take 10 exposure bursts at zero cost. But with 8x10 film sheets, wrong exposures can be very costly and/or impractical. Just my two cents. When I first started using an analog camera I used my dslr to meter but I quickly realize the difficulties and redundancies of this method. It's really does not mesh well with large format photography.