14×17 Ultra Large Format Photography

Exploring the 14×17 Ultra Large Format: A Rare and Captivating Medium

The 14×17 ultra large format (ULF) camera is one of the most unique and striking formats in large format photography. Sitting between the more common 11×14 and the rarer 16×20, 14×17 offers an elegant balance—large enough to create breathtaking contact prints while still being manageable in the field and darkroom. With its imposing negative size, rich tonality, and stunning level of detail, this format remains a coveted choice among photographers who embrace the craftsmanship of ultra large format photography.

14×17 Chamonix Camera Unboxing

A Brief History of the 14×17 Format

The 14×17 format traces its roots back to the late 19th and early 20th centuries, an era when ultra-large plate cameras were widely used for commercial, scientific, and artistic applications. Early photographers sought formats that could produce contact prints of exceptional clarity and richness, as enlargers were not yet common. 14×17 was particularly favored for medical and scientific imaging, including X-ray photography, due to its ability to capture fine anatomical details on large glass plates.

By the early 20th century, 14×17 also found a place in fine art photography, though it was always rarer than 8×10 or 11×14. With the decline of film-based imaging in professional fields, 14×17 became an esoteric choice, used only by dedicated large-format photographers committed to handcrafted processes such as platinum/palladium printing, kallitypes, and carbon transfer prints.

14×17 ULF Contact Prints Review

Famous Photographers Who Have Used 14×17

Though 14×17 has never been a mainstream format, some photographers have used it to great effect:

• Clyde Butcher – A master of ultra large format black-and-white landscapes, Butcher has used a range of large and ultra-large cameras, including 14×17, to create immersive contact prints of nature.
• Michael A. Smith – Known for his dedication to contact printing, Smith worked with various large formats, including 14×17, to produce platinum/palladium prints with remarkable depth and detail.
• Nicholas Nixon – Although best known for his 8×10 work, Nixon experimented with larger panoramic and ULF cameras, exploring the nuanced tonalities of large-format contact prints.

Today, modern ultra large format photographers are rediscovering 14×17, drawn to its unique aspect ratio and impressive print quality.

Why 14×17 is Such a Compelling Format

The 14×17 format offers a distinct visual language that sets it apart from other ULF sizes. Here’s why it remains a hidden treasure in large format photography:

• A Perfect Balance of Size and Practicality – Unlike 16×20 or 20×24, which require massive cameras and even larger darkroom setups, 14×17 is still large enough to command attention while remaining more manageable for fieldwork and traditional darkroom processes.
• Unique Aspect Ratio – Slightly more rectangular than 11×14, the 14×17 frame offers a beautiful balance for both landscapes and portraiture, lending compositions a sense of grandeur while maintaining a classic large-format aesthetic.
• Ideal for Contact Printing – The format is perfect for platinum/palladium, kallitype, and carbon transfer prints, producing exquisite, one-of-a-kind images with rich tonality and detail.
• A Rare and Exclusive Choice – Very few photographers use 14×17, making it a standout format for those looking to create work that is truly unique. The rarity of the format adds to its mystique and desirability.

14×17 Ultra Large Format X-Ray Film & Platinum/Palladium Print From Hodgson Mill

The Challenges and Rewards of 14×17 Photography

Shooting 14×17 requires dedication and precision. Cameras are large and heavy, requiring tripods built to support significant weight. Film and holders are special-order items, and many photographers choose to shoot handmade glass plates or paper negatives to keep the format alive. However, for those who embrace the challenge, the results are unlike anything else in photography—a tactile, immersive process that produces breathtakingly rich and luminous contact prints.

In a world where photography has become increasingly digital, 14×17 ultra large format remains a rare and extraordinary medium, offering a connection to photography’s earliest traditions and the ability to create art that stands apart from the mainstream.

14×17 Ultra Large Format in the Snow at Hodgson Mill (Day 1)

14×17 Film Development From the Day in the Snow at Hodgson Mill (Day 2)

The 14×17 ultra-large format is not for everyone. It’s a demanding and challenging medium, but the rewards are unparalleled for those who embrace it. As someone deeply connected to the art of analog photography, I’ve found that this format aligns perfectly with my creative vision and the narratives I want to explore.

If you enjoy slowing down with film, darkroom printing, and meaningful photography, consider subscribing to my YouTube Channel. I share new videos each week focused on simple tools, timeless techniques, and the quiet joy of analog.

Here are some reasons why I love the 14×17 format for my work.

The Presence of the Print

• Reason: A 14×17 negative translates into a contact print of the same size, creating a photograph with a commanding presence. The large print size draws the viewer in, making the image an immersive experience rather than just a picture.
• Why I Love It: The physical presence of a 14×17 print is unmatched. It allows me to create works that truly stand out, inviting the viewer to engage deeply with the image. The size of the print enhances the storytelling aspect of my work, making each photograph not just a visual representation but a narrative that can be explored and felt on a profound level. When I mount and frame the 14×17 print with 4 inch borders, the final artwork is 22×25, making it an excellent size to enjoy and experience.

A Slower, More Intentional Process

• Reason: Working with 14×17 ultra-large format requires a slow, deliberate approach. From setting up the camera to developing the negatives, each process step demands care and attention to detail. There’s no rushing through it; every decision must be thoughtful and precise.
• Why I Love It: This slow, intentional process aligns perfectly with my artistic philosophy. It forces me to be fully present in the moment, connect deeply with my subject, and consider every aspect of the composition before making the exposure. This mindfulness results in carefully crafted images, with each element contributing to the overall narrative.

The Uniqueness of the Format

• Reason: The 14×17 format is less commonly used today, making it a distinctive choice in photography. Its rarity adds a unique character to the images produced, setting them apart from more conventional formats.
• Why I Love It: I appreciate the uniqueness of the 14×17 format, as it allows me to create truly one-of-a-kind work. The format becomes part of the narrative, adding a layer of intrigue and distinctiveness to each image. The unusual dimensions of the format also lend themselves to compositions that might not work as effectively in other sizes, offering new creative possibilities.

Calculating the Normal Lens for 14×17 Format

For those accustomed to full-frame digital (or 35mm film) cameras, you can estimate the equivalent focal lengths for 14×17 by dividing the numbers mentioned here by 13.5. This shows how these ultra large format lenses compare regarding field of view. Similarly, aperture values can be scaled in the same way. For example, using a 450mm lens at f/128 on a 14×17 camera is akin to shooting with a 33mm lens at f/9.5 on a full-frame 35mm camera.

In large format photography, the “normal” lens is determined by the diagonal measurement of the film format. For the 14×17 format, you can calculate the diagonal using the Pythagorean theorem:

1. First, square the width of the film: 14 inches x 14 inches = 196 square inches.
2. Then, square the height of the film: 17 inches x 17 inches = 289 square inches.
3. Add these two results together: 196 + 289 = 485 square inches.
4. Finally, take the square root of this sum to find the diagonal: The square root of 485 is approximately 22 inches.

To convert this to millimeters, multiply by 25.4 (since there are 25.4 millimeters in an inch):

22 inches x 25.4 = 559 millimeters.

Thus, the normal lens for the 14×17 format is typically around 550-600mm (approximately 22-24 inches), providing a natural perspective that approximates what the human eye sees. This is roughly equivalent to a 50mm lens on a 35mm camera.

Lenses Choices for 14×17 Ultra Large Format

If I had to only carry three lenses with me, I would choose the following for creating sharp images:

Computar 270mm f/9 (Copal #3 shutter) (hard to find, but possible if you are patient and diligent) (~20mm 35mm equivalent). I own this lens, and it is a jewel. It is very small and lightweight and covers my 14×17 and 8×20 cameras. I consider this lens to be my ultra wide angle lens providing a unique and expansive view.

Nikon Nikkor M 450mm f/9: Highly regarded for its compact size, sharpness, and large image circle, this lens comfortably covers the 14×17 format with room for movements. It’s a versatile choice for both landscape and portrait work, offering a natural perspective slightly shorter than normal. (~33mm 35mm equivalent). I also use this on my 8×20 camera as well. I always loved a 35mm lens on a 35mm camera and this same love continues on my 14×17 as well.

Goerz Red Dot Artar 30-inch f/12.5: This long-focus lens, with a focal length of approximately 762mm, is well-known for its sharpness and large image circle, easily covering the 14×17 format. Originally a process lens, it’s highly valued for its ability to deliver crisp, detailed images from a distance, making it ideal for landscape and telephoto work. (~56mm 35mm equivalent)

I did not suggest the Fujinon-C 300/450/600 lenses because they are too expensive for most people, even though they are small, light, and wonderful. You can sometimes find all three or separately on eBay for about $7500 to $8500 for the set.

Since you are typically stopping down to f/90 and beyond on 14×17 with any lens, having it in shutter really is not important unless you use it on another format that would benefit from having a shutter for faster exposures. Most of my 14×17 exposures range from several seconds to a minute or so.

Ultra Wide to Wide-Angle Lenses (240mm – 360mm)

These lenses provide a broad field of view, ideal for capturing expansive landscapes, large architectural scenes, and other wide-angle applications. Each lens has a large enough image circle to cover the 14×17 format.

I will highlight the lenses I suggest starting with because they are more affordable than other choices and will serve you well.

• Zeiss Goerz Dagor 24cm f/9 (Copal #3 shutter) (hard to find, but possible if you are patient and very lucky) (~18mm 35mm equivalent). This lens feels surreal wide on 14×17.
• Computar 270mm f/9 (Copal #3 shutter) (hard to find, but possible if you are patient and diligent) (~20mm 35mm equivalent). I own this lens and it is a jewel. It is very small and light and covers both my 14×17 and 8×20 cameras.
• Rodenstock Sironar-W 300mm f/5.6 (Copal #3 shutter) (172mm filter and weight 3.5 lbs). (~22mm 35mm equivalent) (Very rare and expensive ($8k+). I own this lens, and it is probably the sharpest and highest-resolving lens I have ever used in my lifetime. I have good coverage on my 14×17 with this lens, but it vignettes on my 8×20.
• Fujinon-SW 300mm f/9: With its wide coverage and sharp, distortion-free images, this lens is well-suited for 14×17 format. It’s a great option for photographers looking to capture the vastness of a scene, whether in nature or architecture. This lens is very rare and outrageously expensive if you can even find one. Unless you are willing to sell a kidney, look elsewhere. You will also need a pack mule to carry it.
• Computar 305mm f/9 (hard to find, but possible) (Copal #3 shutter) (~23mm 35mm equivalent). Generous opportunities for extreme movements if desired.
• Schneider G-Claron 355mm f/9: Originally designed as a process lens, the G-Claron 355mm is highly valued for its sharpness and large image circle, which covers 14×17 effectively, especially when stopped down. It’s a versatile lens that excels in both landscape and detailed work. (~26mm 35mm equivalent). This lens is generally available at reasonable prices on eBay as compared to other similar focal lengths that cover 14×17.
• Schneider Super-Angulon 360mm f/8: Renowned for its massive image circle, this lens comfortably covers the 14×17 format with plenty of room for movements. It’s ideal for expansive landscapes and architectural photography, offering sharpness and clarity across the frame. (~26mm 35mm equivalent)
• Rodenstock Apo-Sironar-W 360mm f/6.8: This wide-angle lens is known for its large image circle and excellent sharpness, making it a versatile choice for ultra-large format photography. It provides a dynamic perspective with controlled distortion, suitable for both landscape and environmental portraiture. (~26mm 35mm equivalent)

Summary

The Schneider G-Claron 355mm f/9 lens is the clear choice in this category for most people. I personally use the Computar 270mm f/9 lens most of the time because I like a wider lens and it is also very small and lightweight. I have seveal other lenses in this category, but the Computar is the lens that I use most often. They are hard to find, but if you are patient, they do come available every so often.

Mid-Range Lenses (450mm – 480mm)

These lenses balance wide-angle perspectives and more standard, natural views. They are ideal for photographers seeking a slightly longer perspective with ample coverage for 14×17 format.

• Nikon Nikkor M 450mm f/9: Highly regarded for its compact size, sharpness, and large image circle, this lens comfortably covers the 14×17 format with room for movements. It’s a versatile choice for both landscape and portrait work, offering a natural perspective slightly longer than normal. (The cost is typically in the $1100 to $1500 range on eBay).
• Fujinon-C 450mm f/12.5: Known for its lightweight and excellent sharpness, this lens provides ample coverage for 14×17. It’s a great choice for photographers who need a portable option without sacrificing image quality. (The cost is typically in the $2500 to $3000 range on eBay.).
• Schneider Apo-Symmar 480mm f/8.4: This lens offers a large image circle with excellent sharpness and contrast, making it suitable for 14×17 format. It’s perfect for a variety of photographic applications, from landscape to portraiture, providing a focal length that’s versatile and reliable.
• Schneider Repro-Claron 480mm f/11: Originally a process lens, the Repro-Claron provides excellent sharpness and a large image circle, easily covering 14×17. It’s a good choice for detailed, high-resolution work, offering clarity and depth in every shot. You won’t find these available very often.
• Rodenstock Apo-Ronar 480mm f/9: Known for its precision and sharpness, this lens provides excellent coverage for 14×17 and is well-suited for both landscape and studio work, where fine detail is essential. This is not a common lens and you won’t see it available very often.

Summary

The Nikkor M 450 f/9 lens is the obvious choice in this category and the Fujinon-C 450mm f/12.5 is the runner up.

Normal Lenses (540mm – 600mm)

These lenses provide a natural perspective, similar to what the human eye sees, and are well-suited for general-purpose photography. 550mm on 14×17 is roughly equivalent to about 40mm in 35mm terms, and 600mm is about 44mm.

•  21 1/4″ Kodak Copying Ektanon (540mm). This sharp lens appears a few times yearly at great prices, usually $300-500. It’s a barrel lens but can be machined to fit in a Copal #3 shutter if needed. Mine is in the barrel, and I use it like this: always stopped down, which results in longer than one-second exposures. The lens only stops down to f/45 when in a barrel, so landscape photographers may want to find a copy in a shutter.
• Schneider G-Claron 550mm f/9: A popular choice for ultra-large format photographers, this lens provides sharpness and contrast with a manageable size and weight. Its large image circle comfortably covers the 14×17 format, making it ideal for a wide range of photographic applications.
• Nikon Nikkor 600mm f/9: Designed for large format photography, this lens has a sufficiently large image circle to cover 14×17, making it a popular choice among ultra-large format photographers. It’s known for its excellent image quality and versatility.
• Fujinon-C 600mm f/11.5: Another reliable option with a large image circle, this lens is compact and lightweight for its focal length, providing excellent sharpness and coverage for 14×17. It’s a great all-around lens for ultra-large format work. (The cost is typically in the $3800 to $4500 range on eBay).
• Goerz Red Dot Artar 24” / 600mm – This lens and the 30″ version are excellent lenses for 14×17 and reasonable in finding and affording them. 24 inches (600mm) is equivalent to about 44mm in 35mm terms, and 30 inches (762mm) is equivalent to about 56mm. Both can be found typically in varying conditions on eBay. You won’t likely need either of these lenses mounted in a shutter, which will save you some money if you can find them in the barrel.
• Calhoun Rapid Perspective 560mm F8 – I stumbled onto this lens recently. Based on its engraving, I “assumed” it would likely cover 14×17, but I need to run a test to verify. I mounted it and looked at the ground glass, and that looks fine, but the only way to know for sure is to create a negative. [more info]

Summary

The Goerz Red Dot Artar 24 inch lens is the clear winner in this category for most people. It is readily available and not too expensive. The Kodak Ektanon is also a great choice if you want a slightly shorter focal length. I own both lenses and I use the Goerz the most. The Fujinon-C 600mm lens is just too expensive for most people to justify. I had the full Fujinon-C trinity when they were brand new and I sold them. On some days, I regreat that decision, but not too much any more.

Long-Focus Lenses (700mm – 1000mm)

These lenses are characterized by their long focal lengths, providing a narrow field of view and high magnification, ideal for isolating distant subjects or compressing perspective in landscapes.

• Goerz Red Dot Artar 30-inch f/12.5: This long-focus lens, with a focal length of approximately 762mm, is well-known for its sharpness and large image circle, easily covering the 14×17 format. Originally a process lens, it’s highly valued for its ability to deliver crisp, detailed images from a distance, making it ideal for landscape and telephoto work. This lens is equivalent to about 56mm in 35mm terms.
• Rodenstock Apo-Ronar 1000mm f/9: A superb long-focus lens, known for its sharpness and large image circle, making it suitable for detailed, long-distance work on 14×17. It’s ideal for specialized applications such as wildlife or distant landscape photography. This lens is out of the price range for 99% of people, if you can even find one.
• Schneider Fine Art XXL 1100mm f/22: Specifically designed for ultra-large formats, this lens provides ample coverage for 14×17 and is ideal for telephoto applications. It offers exceptional detail and clarity at long distances. You won’t be able to afford this lens unless you are a trust fund baby or related to Elon Musk.

Summary

The Goerz Red Dot Artar 30 inch f/12.5 lens is the clear winniner in this category for most people because it is readily available and is typially a reasonable price. The other lenses in this category are crazy expensive and not an option for 99% of photographers.

Telephoto Lenses (800mm – 1000mm)

These lenses use a specialized optical design that allows the physical length of the lens to be shorter than its focal length, making them more compact and easier to handle, especially at longer focal lengths.

• Nikon Nikkor-T ED 800mm f/12: This telephoto lens is designed for ultra-large format photography. It theoretically provides a large image circle that covers 14×17 while offering excellent image quality and subject isolation. Its telephoto design allows for a more compact form factor compared to other long lenses. I own this lens, but I need to mount it on my 14×17 and confirm coverage. My gut tells me it won’t cover, but I want to test and see what happens.
• Schneider Tele-Xenar 800mm f/12: Known for its telephoto design, this lens offers a narrow field of view with a relatively compact design, making it easier to handle compared to longer, traditional lenses. It’s suitable for capturing distant subjects with sharp detail and minimal distortion.

Summary

I own the Nikkor T-ED 800mm f/12 lens and I plan to test it on the 14×17 with hope in my heart that it will cover, but I am not expecting that to happen. I will update this section once I know for sure. Other lenses like the Goerz 35 inch and even 47 1/2 inch are available, but they are expensive and starting to get pretty long in terms of bellows draw requirements and might not be an option for some photographers. I owned both of those lenses and sold them.

Conclusion

For ultra-large format photographers working with the 14×17 format, selecting the right lens involves understanding the unique characteristics of each category—from wide-angle lenses that capture expansive scenes to telephoto and long-focus lenses that bring distant subjects closer. The inclusion of long-focus lenses like the Goerz Red Dot Artar 30-inch and telephoto lenses like the Nikon Nikkor-T 800mm expands the range of creative possibilities available to you. Each lens listed here is known for its large image circle and suitability for ultra-large format photography, ensuring that you can fully realize the potential of the 14×17 format in your work.

Long-Focus vs. Telephoto Lenses

• Long-Focus Lens: A long-focus lens, like the Goerz Red Dot Artar 30-inch, has a focal length that is longer than the diagonal measurement of the film format, resulting in a narrow field of view and magnified image. However, unlike a telephoto lens, the physical length of the lens is generally equal to or close to its focal length. The Goerz Red Dot Artar is known for its long focal length and ability to render sharp, detailed images from a distance.
• Telephoto Lens: A telephoto lens, on the other hand, uses a special optical design that allows the physical length of the lens to be shorter than its focal length. This design makes telephoto lenses more compact and easier to handle, especially at longer focal lengths. True telephoto lenses often have a more complex optical design, with additional lens elements that help achieve the desired focal length in a more compact form.

Beginner Tips

Selecting the right lens for 14×17 ultra-large format photography is crucial to achieving your creative vision. Whether you prefer the expansive view of wide-angle lenses, the balanced perspective of mid-range lenses, the natural look of normal lenses, or the focused reach of telephoto lenses, the options listed above offer excellent coverage and image quality for the 14×17 format. Each lens in this list is known for its large image circle and suitability for ultra-large format photography, helping you fully realize this impressive format’s potential in your work.

For those accustomed to full-frame 35mm cameras, you can estimate the equivalent focal lengths for 14×17 by dividing the numbers mentioned here by 13.5. This shows how these ultra-large format lenses compare regarding field of view. Similarly, aperture values can be scaled in the same way. For example, using a 450mm lens at f/128 on a 14×17 camera is akin to shooting with a 33mm lens at f/9.5 on a full-frame 35mm camera.

For photographers working with 14×17 ultra-large format looking for lenses that balance quality with affordability, the Schneider G-Claron 355mm f/9, Nikon Nikkor M 450mm f/9, and Goerz 30-inch Red Dot Artar lenses offer excellent performance at prices that are generally more accessible compared to the other lenses. Pick one lens based on your style of photography and start there before buying too many lenses.