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For photographers drawn to the allure of large format, the jump to 4×5 seems like a natural step. The idea of massive negatives, stunning detail, and a slower, more intentional process is undeniably appealing. But before making that leap, it’s worth considering that a 6×7 or even 6×9 medium format system might be the better choice, both in terms of practicality and overall value.
What do I love about ULF? The answer is simple: I love the process and am drawn to the beauty of ULF contact prints. There will come a time when it may no longer be practical—especially as I get older—but for now and for as long as I can, I intend to keep going.
I don’t believe ultra-large format is “better” than any other format simply because of its size. What captured me decades ago—and still holds me today—is the incredible detail, the unique quality, and the almost sacred experience of creating a contact print at this scale. Four decades later, the passion remains. I am starting to downsize and sell some of my ULF gear, and I plan to scale back to just one camera and run with that for a while.
Why do I love using my Pentax 67II camera for wild horse photography? I love the extreme challenge of photographing wild horses with a manual-focus medium-format camera, and the negatives and resulting prints are amazing when I get them right. I use the 165mm F2.8 lens (85mm F1.4, 35mm equivalent) most of the time because I have various compositional choices, and the bokeh on this lens is unlike anything else I use to photograph the wild horses.
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Let’s start with print size. Many photographers assume they need 4×5 for big enlargements, but that’s false. I’ve regularly made 24×36 and even 30×40-inch silver gelatin enlargements in the darkroom from 6×7 and 6×9 negatives over the years, and the results are stunning. Most photographers today will never print this large optically, and if you’re scanning your negatives, it’s even less of a concern. With a high-quality scan, you can easily make large prints at these sizes without the added complexity and cost of large format film. I am in the process of writing a series of new articles about scanning film and the practical limits of resolution, print size, and all the technical details about scanning film. Stay tuned for those new articles.
Then there’s the financial reality of 4×5. It’s not just about the camera itself; it’s about film holders, a sturdy tripod, a high-quality loupe, a dark cloth, and many other accessories. Then there’s the film, which is expensive per shot, along with the added costs of developing and scanning. Medium format, particularly 6×7 and 6×9, delivers a large negative to capture rich detail while keeping things manageable. Roll film is more affordable, easier to store, and simpler to process, making it a much more practical choice for most photographers.
Workflow is another major factor. Large format photography is slow, sometimes painfully so. Every shot requires setup, composition under a dark cloth, careful metering, and then loading and unloading film. That slowness can be a virtue, but it also limits how much you actually shoot. With 6×7 or 6×9, you get a near-large format experience while keeping things practical. You still get incredible detail and tonality, but with the convenience of roll film. You’re not stopping to reload after every shot, and you can work more fluidly in the field without sacrificing too much in image quality.
Another overlooked factor is the depth of field. Large format’s biggest draw is often the ability to use camera movements—tilt, shift, swing—to control focus. But realistically, most photographers don’t use these features frequently, especially if their work isn’t heavily focused on architecture or still life. And with the longer focal lengths required for 4×5, depth of field becomes razor-thin at wide apertures, making it challenging to get enough in focus even without movements. With 6×7 and 6×9, you get a more natural balance of shallow depth while still having enough control for most creative needs, especially for portraits, landscapes, and documentary work.
Then there’s portability. A 4×5 setup is a commitment. Even a lightweight field camera with a few film holders and a tripod starts adding up in weight and bulk. If you’re hiking, traveling, or working on location, carrying a 6×7 or 6×9 camera makes a world of difference. A Mamiya RB67, Pentax 67, Fuji GW690, or even a classic Bronica GS-1 still requires effort, but they’re far more manageable than a large format kit. And the best part? You’re far more likely to actually take the camera with you rather than leave it at home because it’s too much of a hassle.
None of this is to say that large format has no place. There’s something special about composing on a ground glass, working with individual sheets of film, and having the absolute highest possible image quality. However, for most photographers considering the jump, 6×7 or 6×9 offers a far better balance between quality, usability, and cost. It still gives you that medium format look, the increased detail, and the beautiful tonality, but without the pain points that make large format a struggle for many. If the goal is to shoot more, experiment more, and use the camera rather than just admire it on a shelf, 6×7 and 6×9 are often the more intelligent choices.
Bigger doesn’t mean better. In photography, it’s not the size of the format that defines the strength of an image—it’s the clarity of vision and the depth of emotion behind it. True expression transcends tools.
I’ve seen stunning 4×5 contact prints that completely captivated me—and I’ve also seen poor-quality silver gelatin enlargements, even at massive sizes like 40×50 inches and beyond. About 25 years ago, I created a series of three platinum contact prints from 6×7 negatives, mounting them on 8×10 and 11×14 boards for a special exhibition.
The feedback I received was powerful. Many people told me they were initially drawn in because the work was smaller than everything else on display, but the images themselves held their attention. They shared how the intimacy and emotional pull of the photographs stood out amid the sea of larger pieces.
I share this because I believe many photographers today are bombarded with the idea that “bigger is better.” It simply isn’t true. Vision and technical mastery of your craft will always outweigh the size of your format.
What do you think? Share your thoughts and comments below.
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