2020 Update
Since I last wrote this article nearly three years ago, the interest in large format film seems to have skyrocketed. With this comes a wealth of new users, many who have never set their eyes on a view camera. Initially this was a post I had put off for a long time for a variety of reasons, the foremost being that I’ve never talked too much about gear because I find large format cameras to be such simple devices that hardly have any level of modern technology. Another reason is because there's much more to it than just recommending a few camera brands and models, I want to educate people on what to look for and how to come up with a decision based on their needs and understanding of what different view cameras offer. That said, once upon a time I had to make the choice for myself and anyone getting into the format will eventually need to decide what sort of light-tight bellows box they want to purchase to begin their journey into the realm of big film.
While there are surprising new additions to market in terms of 4x5 cameras, not much has really changed as far as the technology goes. The goal of this update is to expand on the original post and go a little more in depth when it comes to making the right choice for your camera system and lenses.
Overview of a large format 4x5 camera
I will start by briefly explaining how large format cameras work and also discuss what sort of reasons you might have for wanting one. A large format camera is nothing more than a place to put film, a place to put a lens, and bellows between the two. The area where the film goes is called the rear standard and the lens gets mounted into the front standard. You can install just about any large format lens on nearly any large format camera provided you have a fitting lens board and that the lens has enough coverage to illuminate the size of film you are shooting. I will talk more about lenses later in this post.
"Pawnee Buttes Wildflowers" - An image that makes good use of front tilt to get everything in focus from then nearest flowers to the distant buttes. Toyo Field 45A II, Ektar 100 4x5, 90mm Caltar Lens - 1/2 second at f22, 1 stop soft GND filter
View Camera Types
To make things confusing there are easily hundreds of different large format camera models available in the new and used market. I will break this down into two basic categories: monorail cameras and folding field cameras. Monorail cameras have a rail that connects the front and rear standards and typically have a surplus of any movement you could imagine. These cameras feature incredible amounts of rise/fall, shift, swing and tilt. Generally speaking, these cameras tend to be large and heavy which makes them best suited to studio work or roadside applications including architecture where the extreme movements may be handy. There are some exceptions to the large and heavy rule such as the compact Arca-Swiss models and new mostly 3d-printed Standard Camera 4x5. Otherwise you can expect monorails to weigh up to 15 pounds for a 4x5, making them best carried in a large case or left in the studio. If you’re looking at monorail cameras on the used market make sure to do a thorough search on the model so you know what you’re getting into. Expect to find some bargains with used Toyo and Calumet models if you don’t mind the weight and bulk.
A Toyo 4x5 Field Camera
Field cameras typically fold down into a compact size and can be rather lightweight depending on the construction material, which can range from metal to wood to carbon fiber or any mix of the above. In general, field cameras typically have less movements than monorail cameras but usually plenty for landscape as well as modest architecture work. Weights for these cameras can range from 900 grams (just under 2 pounds) for the ultra-light Intrepid 4x5, up to 3 to 4 kilograms (6-8 pounds) for some of the heavier metal 4x5’s such as a Toyo Field and Linhof Technika.
There are also press cameras which sort-of fall into this category. These are the old 4x5 cameras that news photographers used for speed more than a half century ago. Cameras such as the Crown and Speed Graphic fold down into a small size and don’t weigh very much, but offer practically no movements of any use which can diminish the purpose of large format film aside from just having a bigger negative. They are quick to operate and can be found for a low price, though not as low as they used to be. With some modifications you can extend the movements but they still fall short of a proper field camera.
What movements do I need… and how much?
That depends on the type of work you’re doing. Most people that ask me are intending to use a 4x5 for landscape photography and perhaps some architecture. If this is your main goal then you need some rise and fall to correct perspective, and certainly some front tilt to get everything in focus from near to far. Rear tilt is nice if you want to exaggerate foregrounds but if the camera doesn’t support it you can get the exact same effect by tilting the camera back with your tripod and readjusting the front movements, it just won’t be as quick as a camera with rear tilt mechanisms. Occasionally it can be nice to also have some swing movements for certain scenes such as focusing down a diagonally running fence line.
How much do you need as far as movements go? Usually not all that much, and nearly every field camera on the market will have plenty of movements for all your landscape needs. Those photographs you often see online of a view camera twisted up like a pretzel just aren’t realistic; the majority of scenes only require a few degrees of tilt or a modest amount of rise. If your primary focus is architecture, you might want to look for a camera that allows for bag-bellows which will let you use extreme rise with the big lenses that actually have a large enough coverage.
“Wildflower Peak” - Front tilt was used to bring the foreground flowers in sharp focus with the peaks in the distance. Since this lens wasn’t all that wide (135mm), it took a decent amount of tilt, but nowhere near as much as nearly all field cameras offer. Kodak Ektar 100, Chamonix 45F-2, 135mm Fuji Lens, 4 seconds at f32, 2 stop soft GND filter.
But Alex, what brand camera is the right one for me?
This is the main point that most people want advice on. I cannot tell you how many times I have been provided with a list of several 4x5 cameras via email or message, with the sender asking which one is best. The fact of the matter is that I do not own a camera store and have not had the chance to use dozens of different 4x5 models. On top of that everyone often has varying budget and use considerations. What I can do is share my experience on what to look for as thoughts on the limited models I have used. Here’s one thing to keep in mind when talking about view cameras: all of them can make outstanding images, the differences lie in weight, ease/speed of use, and rigidity.
There is a fine balance between these factors, with heavy cameras often being the quickest to set up and most rigid in the wind while lighter models tend to be more flimsy and finicky when it comes to setting up and movements. With this new blog post update I’m going to summarize my experience with the four models that I have used and also supply some similar alternatives. Note that none of these are endorsements of products, just my experience and similar options that I’ve heard of through the grapevine. Let’s start in chronological order:
Crown Graphic: This was my first 4x5 camera, picked up for a steal on eBay with everything I needed to get shooting. I quickly found this camera to be limiting and desired more reasonable movements for landscape work. Similar Models: Speed Graphic (has focal plane shutter), Burke and James Press Camera
Toyo Field 45A II: This was my workhorse for about a decade. Extremely tough and by far the quickest field camera I’ve worked with, it just pops open in seconds and you’re ready to mount a lens and get to work. The rotating back was also nifty and great for quickly changing from landscape to portrait orientation. It weighs as much as a brick, which at some point I realized was holding back the distance I could cover while backpacking. The reason I ended up replacing this one was because it was time for new bellows, which started the search down the rabbit hole of lighter field cameras. These Toyos are still a great option on the used market. Similar models: Horseman 45FA, Linhof Master Technika.
Intrepid 4x5: I had both the mk2 and mk3 versions. Incredibly light with a price tag that was highly attractive. This camera opened my eyes to how lightweight a 4x5 can really be. I had done a lot of backpacking with the Toyo but this made the journey so much more enjoyable - it also sent me down the path of reducing weight throughout my kit. I owe a lot to this wonderful little camera for opening up a whole new world of backcountry to my large format photography. At this price point you can expect the camera not to be exactly “refined.” It’s not the most rigid and movements aren’t incredibly smooth, but it’s possible to do just about anything with the camera with some patience. This camera reminds us that the photographer is in total control of the end results, not the gear. They are now onto the mk4 version which is a bit of a different design, with an improved metal focusing rail and base plate as well as a few more ounces of weight. You can see a trip report with the mk3 version here. Similar models: Chroma Camera, Standard Camera, as well as many others popping up on the market
Chamonix 45F-2: After a few years with the Intrepid, I decided it was time for more refinement and a camera that was rigid enough for shooting in the worst conditions yet light enough to enjoy taking anywhere. The Chamonix was the perfect option; part wood, part carbon fiber, and yes - a work of art. This thing weighs only 1.6 Kg (3-ish pounds) and is the most enjoyable field camera I’ve worked with. The design is not all that different from the Intrepid, but everything is just significantly smoother and easier to use. It was a natural transition up from the Intrepid that I was happily familiar with. While I don’t use rear tilt all that often, the asymmetrical rear tilt is really quite neat! This is now my 4x5 for all shooting, from roadside prairie to deep backcountry. Similar models: Shen Hao, K. B. Canham, and many others. These lightweight mid to high-end cameras share a lot of similar design ideas but all have their own flavor.
Are there other good models of 4x5 cameras out there? Absolutely! Dozens upon dozens of them. Unfortunately it’s just not all that possible for one guy to get his mitts on all of them. If you’ve found a deal on something that looks interesting you’ll just have to dive into Google and do some searching. For this reason I find it best for people to think about their own specific needs for a large format body. Depending on your situation one of the first priorities might be your budget. If you want to spend under $1000 on a 4x5 then don't even look at ones over that price. You don't need a 4x5 camera over that price range. If you have money to burn and like the smoothest geared movements and artisan designs then by all means set your aim high, but in the end you will be able to create the same images either way. The other things to consider are size and weight. If you want to hike with it you will likely want something not too terribly large or heavy. Lighter weight cameras may have less movements or be less rigid in wind so keep that in mind.
“Redwood Fog” - Shooting with a long 300mm lens with subjects that aren’t at infinity requires running out the bellows rather far. If you plan on doing long lens work, keep the maximum bellows extension in mind when shopping for a camera. Kodak E100, Chamonix 45F-2, 300mm Nikkor Lens, 4 seconds at f32, warming polarizer.
There is also the bellows extension of a camera. To use a 300mm lens on 4x5 you need to run the bellows out that far just to focus at infinity and not all 4x5 cameras can go out beyond 300mm, though many have extension rails and longer bellows available if you plan on doing a lot of telephoto work. There are also a few telephoto lenses available that have longer focal lengths without the need for running the bellows out that far, but these can be rather rare. Remember that as you focus closer, the bellows must be drawn out beyond the lenses focal length, so if you plan on doing a lot of portraiture or close-up work with a 300mm lens you’ll need bellows that go out beyond 400mm.
Usually the way I recommend people to shop for a 4x5 camera is to go to Google, ebay, or keh.com and look for 4x5 cameras. Immediately ignore ones that are way outside of your price range, then look for ones that at least look like a reasonable camera for your needs such as a field camera, folding, etc. Once you find some options start Googling those models. You'll likely find endless forum posts, blog reviews, and more about the cameras. You'll also probably be able to find specs about how big and heavy it is and maybe even the amount of movements it offers. Chances are you'll run across forums where someone asks about the same camera model and three other people chime in and say "yeah, it's good." Again, this is because not many people have used several 4x5s and the fact is most of them are pretty darn good.
"Water and Towers" - An image made with the very lightweight and affordable Intrepid 4x5 camera. In the end the camera body has no effect on image quality. Velvia 50, 75mm Super Angulon lens - 10 seconds at f32, 2 stop soft GND filter.
Take your time during the process. Since we're talking about used stuff things will pop on and off the market, if you aren't in a rush you'll likely run across a better selection and better prices. If you want something new then you can order straight from the manufacturer, though you can still expect a few weeks lead time for most cameras. Of course the sky's the limit with higher end models that are still produced today and you can easily spend thousands if you'd like.
Ground Glass Options
I want to finish the camera section with a few notes about ground glasses. This is the surface where you see the image, upside down and flipped around. There can be a few differences between cameras in the type of ground glass they come with. Some will offer a fresnel lens or screen, which can significantly brighten the view when looked at directly at the cost of a darker image when viewed from the sides and little tiny rings appearing in the fresnel surface that can make it a little tricky to find the perfect focus with a loupe on certain subjects. Typically, the benefits of a fresnel outweigh the bad. I have always enjoyed using them on my cameras and find the extra brightness to really help with composing.
A view through the ground glass of my Chamonix view camera. The fresnel screen and longer 210mm focal length are very bright and easy to work with even in the dimmer light around sunrise.
You can generally search eBay for “4x5 fresnel screen” and find some “Super Bright” or “Ultra Bright” fresnels in the price range of $40 to $50. Fitment is mostly universal, but some cameras may take a different size screen. Since they are made of plastic it’s not too hard to trim them if needed. The most optically perfect place to install a fresnel is on the photographer’s side of the ground glass, which unfortunately means that you’ll be scratching the screen with your loupe. You can also place them on the lens side of the ground glass (some cameras were designed this way), but it is absolutely critical that you do not move the position of the ground glass or you will significantly throw off the focus of your images. For more information about brightening up your image, see my article on “Using a Large Format Camera in the Dark.”
On the left you can see the image on the ground glass, notice the corners are clipped on the glass. The image on the right shows you what the lens opening looks like through the corners. If the circle isn't round when the lens is stopped down then you'll have some notable vignette issues.
Another option is clipped corners or full corners. I'm a huge fan of clipped corners because they allow you to look at the actual lens opening to see if there will be any vignette when you're using a lot of movements. You can also see if you have a filter holder or lens shade blocking a part of the lens in ways that would be too hard to see on the ground glass. If you don't like the ground glass that your camera comes with you can typically change them out for a different one - usually for not all that much money.
Large format Lenses
Let's talk lenses for a bit! If you thought there were a lot of options for the cameras there are many more different lenses that are readily available on the used market for large format cameras. That's why once again it's not ideal to just tell someone what brand and model of lenses to purchase, but rather educate people on what to look for when shopping for them.
Focal Length
Since the aspect ratio of 4x5 film is different than 35mm and full frame DSLRs, it makes comparison a little less than exact. In general, you sort-of multiply the 35mm focal length by three to get close to a similar angle of view with a 4x5 lens. Here's some common large format focal lengths and their approximate 35mm equivalent.
75mm on 4x5 ~ 23mm equivalent
90mm on 4x5 ~ 28mm equivalent
135mm on 4x5 ~ 45mm equivalent
150mm on 4x5 ~ 50mm equivalent
210mm on 4x5 ~ 65mm equivalent
300mm on 4x5 ~ 90mm equivalent
These numbers will get you a close enough idea to figure out what sort of lenses you might want. If you're shopping for 8x10 lenses you need to double the 4x5 focal length to reach a similar angle of view. For more info about focal length, check out my article on Choosing the Best Focal Length on 4x5.
Image Circle
This is a very important factor when choosing a lens. Large format lenses can be mounted on all sorts of different sized film formats, but that doesn't mean every lens will be able to cover the entire area of that film size. Before clicking the "buy now" button on a lens it's worth Googling for the exact model and finding out the image circle of the lens. To cover a sheet of 4x5 film the lens must have an image circle of 153mm. To use any movements at all you must have more than that. This can be a particular problem when you find rather small lenses or ones that were designed for a smaller format. Most wide angle lenses (like 75mm and 90mm) that cover 4x5 and allow for movements will have a rather enlarged front element so if you see one of those lenses that looks really tiny in the seller’s image pay close attention to the image circle - there are only a handful of compact wide angle 4x5 lenses that actually cover the format.
Diagram showing a 3D representation of image circle and the sheet of film. On the left is a lens that barely covers a sheet of 4x5, while on the right is a lens with a much larger image circle.
Illustration showing what happens to the image circle when lens tilt is applied. The lens with insufficient coverage on the left will result in a heavy vignette in the corners where the film won’t receive any light.
Thankfully there's a guy Michael Davis who has put together a chart of many common large format lenses you might find out there and included their image circles so you can know if you'll be able to use some movements with a lens you're shopping for. 200mm of image circle or more is typically plenty for most landscape purposes, though with the longer lenses you'll find most of them cover a lot more than that. Some of the extreme wides under 75mm will not have as much coverage but are still quite usable, it’s just part of the design when working with wide lenses. You can find that chart here.
“Hogeland Dawn” - On all of my prairie images I keep the film plane perfectly perpendicular to the ground and use front rise to look up at the grain elevators and structures. This keeps the vertical lines straight rather than converging. Most lenses with about 200mm of image circle or more will allow for plenty of front rise. Chamonix 45F-2, 210mm Caltar lens, 1 second at f32, no filters.
Lens Brands
Nearly all of the brands of lenses you'll find out there are of good quality. On the used market you will be able to find a plethora of Schneider, Rodenstock, Fuji, and Nikkor Lenses. You will also see plenty of Caltar lenses which were Calumet's in-house brand and are almost always a re-branded exact copy of a Rodenstock lens. I say almost always because if it's a very old Caltar lens it may be a re-branded Schneider. Either way, they will be quality glass and sometimes found at a lower price. In fact, if you go with any of the brands I mentioned here you will not be disappointed. Kodak also made a lot of large format lenses back in the day, most of these will be older and people shopping for them will know the certain look they are going for such as the aero-ektar lenses.
Shutter Type
Large format lenses are different from smaller formats in that the shutter will be installed in the lens between the front and rear elements. The shutters have a slide that lets you change the aperture from wide open down to usually f45 or f64 and also a ring that lets you adjust the shutter speed. The shutter speeds usually range from 1/500 down to 1 second, and there will also be either a Bulb mode, T mode, or both. The shutters come in a few standard sizes that lens boards will also have pre-drilled holes for, such as size 0, 1, and 2. There are three main types of shutters you'll see out there, Compur, Copal, and Seiko. I have personally not had very good experience with Compur shutters and will avoid buying lenses that have them in the future. I have had two fail, both in different ways. One had a T setting that you really had to whack the cable release to get it to work and the lens didn't offer a B mode. The other had a sticky bulb setting then one day would no longer open at all with the preview lever. Compur shutters are a little more likely to be found on older lenses, with the Copal shutters being the most common shutter that you'll find. They come in a variety of different ages with some minor variances but I have found them all to be reliable. The Seiko ones will sometimes come on Japanese lenses, while I have no personal experience with them I've heard they are generally reliable.
A few different shutters with lenses removed to show size and design differences.
These shutters can be sent in for maintenance, and the cost for that maintenance will often run about the same as the street price for a replacement lens in good condition unless it's a rare and valuable lens. I have had some temporary success by taking the faceplate off of the Compur shutters and applying lube in just the right places, but be prepared for the possibility of tiny springs and screws flying around the room and a wasted shutter. I have yet to take apart a Copal because I've yet to have one give me any sort of trouble.
Lens Multicoating
This is a feature I typically look for on a lens because the multicoating can reduce lens flare and boost microcontrast making for an arguably sharper image. This feature also tells us that the lens is a lot newer than one without multicoating as it became rather common sometime in the 80s, which means the shutter is less likely to give you trouble down the road. Multicoating is usually noted with an MC on the lens barrel, or hopefully by the person listing the lens for sale. KEH will always note if a lens has it with MC in the listing. It can also be seen in the glass of the lens as a purplish iridescent coating on the surface.
Example of lens flare from my 75mm Super Angulon lens, mostly just a mild reduction of contrast in the center of the image. Most single-coated lenses tend to flare up much worse than this.
You don't necessarily need multicoating. I've been very happy with my 75mm Super Angulon that does not have it, for whatever the reason this lens is rather flare-resistant and if it does flare it's rather pleasing and just a general reduction in contrast to the image. I had a single-coated 210mm Schneider and found the flare to be unbearable, if the sun even so much as thought about grazing the lens surface the image would be unusable.
Lens Boards
You’ll need to attach the lenses to your camera using lens boards that are specific to your camera. Take the cost and availability of these boards into consideration when shopping for a camera. Several camera manufacturers use Linhof style boards which are inexpensive and easy to find on ebay and through Intrepid’s website, but others like Toyo, Sinar, and Arca Swiss use their own proprietary boards. Some of these can get quite expensive particularly for the recessed boards. Lens boards will come with holes drilled in standard sizes designed to fit lenses, such as 0, 1, 2, and 3 which denote the various shutter sizes.
If you are uncertain of the board you need for your exact lens and camera, do a Google search for the model of your camera and the words “lens board.” You will find forum results that will steer you to the right style of board. As far as the size for the hole in the board, the shutter on a lens should have writing that says something along the lines of “Copal No. 0” which would mean that it needs a size 0 (zero) board. It may say size 1, 2, or 3 for longer or larger lenses, so purchase a board accordingly.
A recessed board might be needed on some cameras for lenses wider than 90mm. These boards have a recessed opening which holds the lens closer to the film plane than the front standard of the camera, allowing for the lens to focus to infinity and still have movements as otherwise the bellows would be too bunched up to work. I find the Linhof style of recessed board to be absolutely impossible to operate unless you have a rare shutter that was designed for it. I don’t even have large fingers, but I can’t get them into the shutter mechanisms at all on the recessed board and instead opted to use a flat board which barely allowed a 75mm to work on the Intrepid. My Chamonix also uses the common linhof boards and it’s easy to make the 75mm work with a flat board. I had no such troubles using the Toyo recessed boards as their size is a bit larger than the linhof style.
That's really all the points I have to make about shopping for 4x5 cameras and lenses. I hope this helps to unwind some of the mysteries and help you make an educated decision! To learn more about lens movements and much, much more about large format film in general, check out my ebook: “Large Format Film Photography” and really hone in your film technique.