I picked this up after wasting money on a low-price 8x10, and I am very pleased with the results. Not exactly light or heavy, it is very full featured, extremely well crafted, and will probably suffice a lifetime of use and abuse. I am currently employing three lenses on it: a Nikkor 150 mm SW f8, a Rodenstock 300 mm Sironar N f5.6, and a Fujinon C600 mm F11.5. This is the camera I used to shoot the murals in the Tillamook State Forest Interpretive Center .

I was very intrigued by the Littman 45 Single but could not justify the cost of these superb cameras. I researched this and finally chose Michael Batelman to do the work. Took a couple of months but the work is superb. It is, by far, the fastest 4x5 I can think of, and a perfect one for street work. I used this camera exclusively for the large format work found in my 2006 India portfolio.

After using a Horseman 45FA, I was hooked on the metal folding camera but still wanted a full featured one. I found a good deal on EBay and received a well-used one. I replaced the bellows and put it to work. It really is all it's cracked up to be, but I won't travel with it due to its weight. I leave a Rodenstock 150 mm Sironar S in it (not cammed unfortunately), but use all my lenses.

This small, tough, light weight metal field large-format camera is my tool of choice for any long-distance travel.  Limited in movements, bellows draw, and front-standard opening, it is nevertheless rock solid and a quick set-up, ideal for most photography not requiring extreme movements.  The Graflok back allows me to use a 6x12 cm roll film holder so I can leave the panoramic camera at home.  Perhaps the biggest drawback of this camera is the limited selection of lenses that are compatible with the small front-standard opening.  This is a compromise I was willing to live with in a light-weight travel camera.  Horseman provides the list of compatible lenses.  I leave a 135 mm Sironar N attached, and pack a 90 mm Nikkor f8 and 300 mm Nikkor f9.  The latter is only useable from about 70 yards to infinity due to the 12" bellows draw.

Very full-featured wood field camera, used mainly on local assignments or those requiring extensive movements as in architectural photography.  Once my primary LF camera, I now prefer the more compact Horseman for travel.  Lenses used on this camera are of 47-, 75-, 150-, and 210 mm focal length. 

A fixed-lens 6x17 cm format panoramic camera.  Massive 60" long prints can be made easily from one of its nearly 7" long negatives.

My primary handheld camera, this all-manual, 6x9 cm, fixed-lens rangefinder always accompanies me on my travels.  In fact, if ever forced to bring a single camera, this would be the one.  The legendary 90 mm lens is unsurpassed, yielding spectacular prints even when enlarged to 40+ inches.  No longer available new, these can be found on the used market.  Its sister, the wider GSW690 with a 65 mm lens has a similar reputation, but I prefer the slightly longer compositions. 

Probably the best camera system in my possession, its weight and size preclude much use outside the studio except for portraiture or still-life work.  While I did take it to Greece once, I could take both a 4x5" with two lenses and my 6x9 at about the same weight.  The negatives produced by the camera, however, are second to none.  Lenses used are 50-, 110-, and 250 mm.

I learned the hard way not to take a Mamiya RZ67 on travel, but I loved the 6x7 TLR format. I learned about the Bronica GS-1, discontinued, and then found full systems on EBay going for a song. I primarily shoot the versatile 110 mm macro, but always bring along a 65 mm and a 200 mm lens. Great camera, especially for the money.

This compact 6x6 cm has its fans and its detractors.  Quality must have been inconsistent because I have read both great and not-so-great things about its lens, the 80 mm Yashinon, but I must have a good one.  I have a 30x30"  printed from a negative produced by the camera (handheld no less) that shows absolutely no softening of sharpness including at the print edges.  It even looks like it could go another 10".  Once I purchased my GW690II, I find I no longer use the camera much except when I need the utmost in compactness and lightness.

While I no longer shoot 35 mm, this camera was once my mainstay.  Its work can be found in my Jordan and Egypt galleries.  Great, dependable cameras.  Some images enlarge well to 16"x24".

My primary B/W film, I use this ultra-fine grain film except when handheld photography is required.  I rate this at 80 EI and nearly always give it N development. 

Another very fine grain film that I have used extensively.  This was my favorite B/W emulsion until Fuji released Acros.  I still use it on occasion as I find the contrast to be lower than Fuji's.   

When handheld B/W photography is required, BW400CN gets the job.  The tone is so smooth, it's also my choice for portraiture even when a tripod is available.  I usually rate this at 200 EI, always with N development.  If the world only produced one film, this would get my vote.  Why no 4x5"?

While tamer than its predecessor, this slide film still wows with saturation.  While I do love Velvia 50's palette a bit more, I am willing to forego it to gain a little more contrast control.  This film is now my primary slide film, edging out Kodak's E100VS unless I'm looking for red tones.  

Ultra saturated and fairly fine grained, this slide film enhances sunsets and sunrises like no other.  Because of its slightly higher grain index, I have switched to Velvia 100F, but am looking forward to its follow-on, whenever that is. 

While this is still the favorite for most landscape photographers, I have tended towards the newer version because I just could not dial in the contrast.  When it's on, there is no better film; however, more of my shots had blown out skies or conversely, black featureless shadows.  Others have great success with it, but my performance is spotty.   When I see a low-contrast lighting situation, I will reach for it.  Otherwise, I go 100F.

When the contrast is high, this slide film family gets the nod.  Great grain performance, but colors are fairly ordinary.  Great for when the scenery is vibrant.

For color print film, I really like this emulsion.  Fine grain, lightly saturated, it has great contrast control and can produce some excellent images in nighttime photography.  I try to bring a handful of sheets when traveling.

Available up to medium format, this film is my choice for handheld color photography.  Very saturated, it still produces great skin tones even in adverse conditions with harsh lighting.  I rate it at 250 EI.