The 8×20 Ultra Large Format: A Hidden Gem in Panoramic Photography

The 8×20 ultra large format (ULF) camera is one of the most compelling yet overlooked formats in large format photography. With its dramatic panoramic aspect ratio, this format uniquely captures sweeping landscapes, expansive compositions, and elegant still-life studies. While 8×10 remains the gold standard for large format and even 7×17 enjoys recognition, the 8×20 format offers something truly distinctive—a perfect balance of height and width that renders compositions with an immersive, cinematic quality.

A Brief History of the 8×20 Format

The origins of the 8×20 format date back to the late 19th and early 20th centuries, a period when panoramic and ultra-large format photography flourished. This era saw the rise of mammoth plate cameras, particularly for landscape, architectural, and industrial photography, where extreme detail and expansive compositions were paramount.

During this time, panoramic cameras such as the Cirkut camera gained popularity for sweeping views, but static ultra-large format cameras like 8×20 provided a distinct alternative, offering unmatched contact print sharpness and a painterly sense of space. The platinum, palladium, and albumen prints made from these negatives remain among the most exquisite prints ever created.

8×20 Ultra Large Format “Foggy Morning” Great Smoky Mountains

Famous Photographers Who Used 8×20

While 8×20 never reached the mainstream popularity of 8×10 or even 7×17, several master photographers recognized its unparalleled potential.

• Michael A. Smith — celebrated for 8×20 contact prints (Azo/Lodima) and projects like Chicago: Loop, all contact-printed from an 8×20 view camera. (Michael and Paula)
• Paula Chamlee — worked primarily in 8×10 but also used 8×20 on select projects alongside Smith.
• William Corey — devoted decades to Kyoto gardens using a panoramic 8×20 banquet camera; numerous exhibitions and interviews confirm the format. (McNichols Civic Center Building)
• A. J. Meek — known for selenium-toned silver-gelatin 8×20 contact prints of Louisiana and the American West. (Wikipedia)
• Jim Fitzgerald — builds and photographs with 8×20 cameras; produces 8×20 carbon-transfer contact prints (e.g., A Banquet of Light). (Pasadena Society of Artists)

Crafting a Vision for 8×20 Panoramas

When working with 8×20, remember that it’s not just a wider 8×10—composing for panoramic format requires a different mindset.

Key Takeaways:

1. Find a strong anchor point in the foreground, midground, and background.
2. Use leading lines and natural curves to pull the viewer through the frame.
3. Take advantage of panoramic skies—dramatic clouds and storm light are your friends.
4. Use negative space for visual impact (especially lone subjects).
5. Balance is critical—watch for weight distribution across the wide frame.
6. Texture and contrast add depth—look for fine details and light play.
7. Layered landscapes create dynamic compositions, especially in misty conditions.
8. Light is everything—early and late-day exposures enhance depth and mood.

By seeking out these elements in your compositions, you’ll master the unique strengths of the 8×20 format, creating breathtaking images that showcase its panoramic beauty.

8×20 Chamonix Ultra Large Format Camera Unboxing Video

The folded dimensions of my Chamonix 8×20 Camera: 635mm x 320mm x 130mm or 25″ x 12.6″ x 5.1″. The bellows = 120mm to 620mm and the weight = 14.3 lb (6.5kg).

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8×20 Ultra Large Format Daylight Processing Tray Prototype by Stearman Press “Frankenstein”

8×20 Ultra Large Format at Great Smoky Mountains Cades Cove

Why 8×20 is So Compelling

The 8×20 format presents a unique visual language unlike any other. Here’s why it stands out:

• Cinematic Composition – The panoramic aspect ratio naturally lends itself to a cinematic storytelling effect, ideal for landscapes, still life, and fine art compositions.
• Immense Detail & Contact Prints – The negatives are huge, producing astonishing levels of detail when contact printed onto platinum/palladium, kallitype, or silver gelatin papers.
• Rare and Underappreciated – Unlike 8×10 or 7×17, the 8×20 format remains a hidden treasure—a true connoisseur’s choice, both challenging and rewarding.
• Unparalleled Presence – The sheer scale of an 8×20 print commands attention, offering a viewing experience that draws the eye across a vast visual plane.

8×20 Ultra Large Format Lith Printing Experiments

The Challenges & Rewards of Shooting 8×20

Using an 8×20 camera requires a deep commitment. The cameras are large and heavy, requiring sturdy tripods and precise handling. Film and paper availability are limited, often requiring custom cutting. Composing an 8×20 scene demands an intentionality that modern digital photography rarely necessitates. But for those who embrace it, the format offers a sublime experience—the ability to create images with a sense of grandeur and artistry that few other formats can match.

In the world of ultra-large format photography, 8×20 remains an undiscovered masterpiece, waiting for those bold enough to explore its full potential.

8×20 Ultra Large Format Paper Negative (Vintage Cameras) With Special Guest Michael Wellman

8×20 Ultra Large Format Cow Portrait – Ilford Warmtone

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Ultra Large Format Crop Factors

7×17 – 18 inch (450mm) / crop factor = 0.0925

8×20 – 21 inch (500mm) / crop factor = 0.075

12×20 – 23 in (590mm) / crop factor = 0.0732

11×14 – 18 inch (450mm) / crop factor = 0.0957

14×17 – 22 inch (550mm) / crop factor = 0.0786

16×20 – 24 inch (600mm) / crop factor = 0.0665

20×24 – 31 inch (793mm) / crop factor = 0.0545

Now that you know the crop factor for each ultra large format camera, you can use it to figure out the effective focal length and apertures compared to 35mm. For example, if you want to know the 35mm effective focal length of a 600mm lens on 16×20, just multiply 600 x 0.0665 to get the equivalent focal length of approximately 40mm. You can do the same for apertures too. For example f/128 on 16×20 would be the equivalent of about f/8.5 on a 35mm camera (128 x 0.0665). 

Crop factor = diagonal of 35mm film / ULF size film. 

The diagonal of 35mm film can be calculated using the Pythagorean theorem, which states that the square of the hypotenuse (diagonal) of a right triangle is equal to the sum of the squares of the other two sides.

In the case of 35mm film, the width is 24mm and the height is 36mm. So, using the Pythagorean theorem:

Diagonal^2 = 24^2 + 36^2

Diagonal^2 = 576 + 1296

Diagonal^2 = 1872

Diagonal = √1872

Diagonal = 43.27mm (approx.)

Therefore, the diagonal of 35mm film is approximately 43.27mm.

You can use the Pythagorean theorem to calculate the diagonal of any size ULF film manually, as I did in the above table. 

8×20 Ultra Large Format Adox Lupex Silver Chloride Contact Print – Vintage Cameras

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My Lenses for 8×20

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For 8×20, I like to categorize my lenses by their optical characteristics. Sometimes, I want a very sharp lens, but other times, I may want a more soft and painterly feeling for my image. 

Sharp Lenses

• Schneider 210XL  F5.6 (expensive and very wide on 8×20) and requires the center filter. Don’t bother with this lens if it doesn’t come with the center filter. I sold my copy of this lens to a fellow ultra large format photographer that uses it on 12×20.
• Graphic Kowa 270mm F9 (I have the Computar version of this lens too) – Feels very wide on 8×20, and this lens allows for unlimited movements, and it is very small and lightweight. I had the 305mm version of this lens, and it did not cover my 8×20, so I got rid of it. I have heard rumors of some select Computar 305 lenses that cover, but I have not seen any myself. I find the 270mm lens to be the perfect sweet spot between 210mm (which is way too wide) and the 305mm.
• Rodenstock Sironar W 300mm (12 in) F5.6 (very expensive and rare) – Too big and heavy for field use. I prefer the Graphic Kowa/Computar 270mm. It clips in the extreme corners even thought the specs say it should cover.
• Goerz 14 in (355mm) Blue Dot F11 – Excellent lens, reasonable size and weight.
• Nikkor M 450mm F9 (18 in) (readily available and reasonably priced) – Fantastic lens and good focal length for 8×20.
• Kodak Ektanon 21 1/4″ (540mm) F11 (sometimes hard to find, but inexpensive) – Reasonable size and weight. Very sharp, but F11 makes it challenging to focus in low light.
• Calhoun Rapid Perspective 560mm F8 – This is a rare brass lens in barrel. Very little is known about it, and I am in the process of testing it on 8×20. I have verified coverage on my 14×17, so I will try it on my 8×20 in the near future.
• Goerz 24 in F12.5 (600mm) Red Dot Artar (common and reasonable price) – Common lens for 8×20, but F12.5 is a bummer. I use this lens, and it is very sharp, but I am not that excited about it. I use the Nikkor 450 lens if possible.

Soft Focus Lenses

• TT Signature Pictorialist Lens 24 inch (609mm) F10 – Soft and ethereal, but has a unique diffusion and contrast from other meniscus lenses. The 18-inch version of this lens does not fully cover 8×20 at infinity.
• Wollaston Meniscus 335mm (14 in) F4.6 – Very soft and low contrast. (verified coverage on 8×20)
• Wollason Meniscus 500mm (20 in) F6.8 – Very soft and low contrast. (verified coverage on 8×20)

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My Chamonix 8×20 Camera

The folded dimensions of my Chamonix 8×20 Camera: 635mm x 320mm x 130mm or 25″ x 12.6″ x 5.1″.

The bellows draw of my Chamonix 8×20 camera is 120mm to 620mm. 

EFFECTIVE FOCAL LENGTHS IN COMPARISON TO 35MM

I use the following focal lengths on my 8×20 ULF camera:

• 210mm = 15.75mm (I sold my 210XL lens)
• 270mm = 20mm (Computar Graphic-Kowa 270mm)
• 305mm = 22.5mm
• 355mm = 25mm
• 450mm = 33.75mm (Nikkor-M 450mm)
• 500mm = 38mm
• 600mm = 45mm (Fujinon-C 600mm)

The diagonal size of an 8×20 inch film sheet is approximately 22.63 inches or 574.98mm. However, depending on the camera’s design, the actual diagonal size of the film negative may be slightly smaller.

The diagonal of 35mm film can be calculated using the Pythagorean theorem, which states that the square of the hypotenuse (diagonal) of a right triangle is equal to the sum of the squares of the other two sides.

In the case of 35mm film, the width is 24mm and the height is 36mm. So, using the Pythagorean theorem:

Diagonal^2 = 24^2 + 36^2

Diagonal^2 = 576 + 1296

Diagonal^2 = 1872

Diagonal = √1872

Diagonal = 43.27mm (approx.)

Therefore, the diagonal of 35mm film is approximately 43.27mm.

Now that we know the diagonal measurements of both film sizes, we can calculate the effective focal length when comparing them. 

Assuming a diagonal size of 574.98mm for 8×20, we can use the following formula to calculate the crop factor or focal length multiplier for an 8×20 ultra large format camera:

Crop factor = diagonal of 35mm film frame / diagonal of ultra large format film negative

Crop factor = 43.27mm / 574.98mm

Crop factor = 0.075

Therefore, the 35mm effective focal length of the Nikkor 450mm lens on an 8×20 ultra large format camera is:

Effective focal length = actual focal length x crop factor

Effective focal length = 450mm x 0.075

Effective focal length = 33.75mm (rounded to two decimal places)

So on an 8×20 ultra large format camera, the Nikkor 450mm lens would have an effective focal length equivalent to a wide-angle lens of approximately 33.75mm on a 35mm film camera.

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8×20 Ultra Large Format Lens Testing Videos

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One of the first lessons you’ll learn when working with ultra large format (ULF) lenses is that theory doesn’t always align with reality. Lenses that should technically provide enough coverage sometimes fall short, while others you wouldn’t expect to cover the format surprise you. The only definitive way to know is to expose a negative and visually confirm the actual image circle and illumination. Even evaluating coverage on the ground glass can be deceptive—I’ve been fooled more than once by an image that appeared fine on the glass but revealed vignetting or falloff in the final negative. Testing is essential.

8×20/16×20 Ultra Large Format – Nikkor 450-M F9 Lens Coverage Testing

8×20/16×20 Ultra Large Format – 500mm F6.3 Wollaston Meniscus Lens Coverage Test

8×20 Ultra Large Format – Rodenstock Sironar W APO 300mm F5.6 Lens Coverage Test

8×20 Ultra Large Format – Computar 270mm F6.3 Lens Coverage Test

8×20 Ultra Large Format – Schneider Super-Symmar 210XL F5.6 Lens Coverage Test

8×20/16×20 Ultra Large Format – Schnieder 210 XL Lens Filter Solution

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Lens Information Appendix

Schneider 210XL Super-Symmar F5.6

• This lens is super wide on any ULF camera, and on the 8×20, it feels crazy wide. (I am selling this lens)
• The lens is approximately 16mm in 35mm terms.
• The filter size of the front element is 135mm and if you want to use filters, you will either need to use mount your filter to the rear 67mm element or get a custom solution for the massive 135mm front element.
• I have verified full coverage on 8×20 at infinity with endless room for front and rear standard movements; however, there is a big but to consider. You can expect vignetting if you don’t have a center filter to correct for light fall-off. Depending on your requirements, this may or may not be an issue. Below this section, I share a photo of one of my negatives illustrating what to expect.
• The cost of this lens is outrageous today, and while it is amazing, I can’t suggest it unless you are willing to pay the price for an extreme wide angle on ULF cameras. 
• If you are willing to buy this lens, be patient and ensure you get the center filter with it because most don’t have it, and they are incredibly rare. 

Photo of an 8×20 paper negative showing the fall-off that you can expect without a center filter. Look in the lower left and right corners.

8×20 Ultra Large Format – Schneider Super-Symmar 210XL F5.6 Lens Coverage Test

8×20/16×20 Ultra Large Format – Schnieder 210 XL Lens Filter Solution

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Computar 270mm F9 

• This focal length and field of view are ideal for my style of photography on the 8×20. 
• There is another brand of this same lens, which I also own (Graphic-Kowa), as shown in the next section. Everything that I list here applies to that lens as well. 
• This lens is increasingly rare and difficult to find. In ULF terms, this lens is very compact and lightweight. I use this lens, the Nikkor 450M, and Fujinon C 600, as my holy trinity when I backpack with the 8×20. 
• In 35mm terms, the 270mm lens on the 8×20 has an equivalent focal length of approximately 20mm. 
• I have a Graphic-Kowa copy of this lens (as shown below) in a Copal 3S shutter in addition to this Computar version. The Kowa version has the convertible 270/475 aperture markings from F6.8 to F90 for 270mm and F13.6 to F90 for the 475mm focal length. See the photo in the middle below. This makes this lens even more valuable to me, with the ability to have two focal lengths in one very small package. I need to compare the quality of the Graphic-Kowa in convertible mode to the Nikkor-M 450 lens. 
• The front element filter size is 58mm. I tried to use a third-party metal hood with a filter size of 82mm, and I got vignetting/clipping. The factory hood with the Graphic-Kowa works perfectly for shading the front element, but it causes a slight vignette. I use a dark slide to shade the lens in the field if needed. 
• I use traditional black-and-white filters (yellow, orange, and red) with this lens, and at this time, I am screwing them on the rear 52mm element. I confirmed with the Graphic-Kowa lens that I could put a filter on the front 58mm element. 
• I have verified full coverage on the 8×20 with both lenses wide open through F45, and I am working on verifying it on the 16×20. I expect it to have slight vignetting on the 16×20.

Graphic-Kowa 270mm (Convertible)

My notes and comments about the Computar 270 lens above also apply to this lens. This specific copy I own has the dual aperture scale for the 270mm and 450mm focal lengths, which is rare and extremely useful. 

8×20 Ultra Large Format – Computar 270mm F6.3 Lens Coverage Test

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Rodenstock 300mm Sironar W APO F5.6

• This lens is an optical marvel, approximately 22mm in 35mm terms.
• The lens  does not fully cover 8×20, but will on 7×17 and 14×17. [video]
• It has an image circle of 490mm, so it should cover the 8×20 but it has clipping issues. I am investigating the root cause of the lack of coverage issue. It may be an obstruction issue, not a lack of coverage problem. More to follow when I have time to investigate. 
• As an alternative to this lens, I use a Graphic-Kowa (Computar) 305mm F9 lens that works perfectly. 

8×20 Ultra Large Format – Rodenstock Sironar W APO 300mm F5.6 Lens Coverage Test

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Graphic-Kowa (Computar) 305mm F9

• This lens has an approximate focal length of about 22mm in 35mm terms. 
• Apertures from F9 to F128.
• This lens is difficult to find, and not many people realize this lens can cover ULF formats. 
• I have heard rumors that some copies do not fully cover 16×20 or 8×20, and I can confirm that the copy I purchased and ultimately returned did not cover 8×20.
• I know another ULF photographer who has a Computar copy that covers, so make sure you can return the lens when buying it, as it may not cover 8×20.

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Goerz 14 in (355mm) Blue Dot F11 

• This is a new lens for me, and I need to verify coverage with some negatives. (This lens is for sale) 
• Approx. 35mm equivalent = 27mm
• Apertures F11 to F128
• This lens is a good alternative to the Schneider 355mm F9 G-Claron if you can find one. 
• Since this lens is mounted in a barrel, I use my Sinar Copal Shutter on my 8×20 camera.

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Nikkor M 450mm F9

• The Nikkor 450-M is a slightly wide lens on the 8×20
• Approx. 35mm equivalent = 33mm
• Apertures from F9 to F128
• Front filter size is 67mm
• Massive coverage for 8×20 with unlimited movements. Watch this video where I verify coverage with a paper negative (shown below).
• I also use this lens on my 16×20 and 20×24 users report that it has just enough coverage on 20×24 when stopped down to at least F45. 

8×20/16×20 Ultra Large Format – Nikkor 450-M F9 Lens Coverage Testing

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Kodak Ektanon 21 1/4″ (540mm) F11

Normal+, approx. 35mm equivalent = 40mm (This lens is for sale) 

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Goerz 24 in F12.5 (600mm) Red Dot Artar

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Fujinon-C 600mm F11.5

• The Fujinon-C 600mm F11.5 is the longest lens I can use on my 8×20. 
• I sold my Goerz 24″ Red Dot Artar for this lens because of its smaller size and massive image circle. 
• Approx. 35mm equivalent = 45mm
• Apertures from F11.5 to F64, but I can technically stop my lens down past f/64 (f/64, f/90, f/128, f/180, f/256)
• The front filter size is 67mm
• Massive coverage for 8×20 with unlimited movements. This lens covers my 16×20 as well, and I know others that use it on 20×24.

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Soft Focus Lenses

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TT Signature Pictorialist Soft Focus Lens 18 in & 24 in

Slightly Wide – Near Normal – approximate 35mm equivalent = 45mm for 24-inch. 

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Wollaston Meniscus 335mm (14 in) F4.6 

Wide Angle – approximately 35mm equivalent = 25mm

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Wollaston Meniscus 500mm (20 in) F6.8

• Normal lens for 8×20. Approximately 37mm FOV in 35mm terms.
• Lens made by Reinhold Schable
• Full coverage verified on 8×20 from wide open at F6.8 to F16
• F22 has a slight vignette, but it could be good to use at times when I want that look.
• F32 has a very noticeable vignette, but it could be useful in some scenarios when I want that look.
• This lens is very low contrast compared to modern or TT Signature Pictorial lenses.
• It is sharp in the center and falls off significantly.
• Based on my paper negative tests, I thought F16 was too sharp for soft focus in my mind, so I think the sweet spot is from wide open at F6.8 for a sharp center and fast fall off to F8 or possibly F11, but F11 is probably starting to get too sharp for my taste.
• I used this with the Sinar shutter on the 8×20 and it worked great.

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