Large Format Lenses

Large format lenses differ fundamentally from smaller format lenses. They're mounted in shutters, offer different coverage characteristics, and come from specialised manufacturers. Understanding these differences helps you build a functional kit.

This guide covers large format lens selection, characteristics, and practical considerations.

Focal Length for Format

"Normal" focal length is approximately equal to the diagonal of the negative.

Standard Focal Lengths by Format

Comparison to 35mm:

These are angle-of-view equivalents using the ratio of film diagonals (4x5 sheet 163mm against 43mm for 35mm, a factor of about 3.8). Published tables differ slightly depending on whether they use the full sheet or the smaller exposed area (a 150mm lens is listed as 38mm to 43mm equivalent).

First Lens Recommendation

For 4x5, a 150mm lens is the ideal starting point:

• Normal perspective, versatile
• Good depth of field at moderate apertures
• Reasonably compact
• Abundant on used market at good prices
• Adequate coverage for moderate movements

For your first 4x5 lens, a 150mm f/5.6 is the standard choice. It's the 4x5 equivalent of a standard lens on 35mm (about 40mm), offers generous coverage for movements, and used examples (Rodenstock Sironar-N, Schneider Symmar-S) are plentiful.

Second lens options:

• Wider (90mm) for landscapes and interiors
• Longer (210mm or 240mm) for portraits and compression

Image Circle and Coverage

The most important lens specification for large format.

What Is Image Circle?

Every lens projects a circular image. The film captures a rectangle within that circle.

The coverage circle (or image circle) is the circular area of light projected by the lens. It must be larger than your film format. A 4x5 inch sheet has a nominal diagonal of about 163mm (the exposed image area is slightly smaller), so lenses need at least that much coverage—more if you want room for movements.

Image circle diameter is usually quoted at infinity focus and f/22. It must be at least as large as the diagonal of the film format:

• 4x5": needs at least 163mm image circle
• 5x7": needs at least 218mm image circle
• 8x10": needs at least 325mm image circle

Coverage and Movements

Tight coverage: Image circle barely covers the film. Little or no room for movements. The edge of the frame is near the edge of the circle.

Generous coverage: Large image circle extends well beyond the film area. Significant movements possible before vignetting.

Example—150mm lenses for 4x5 (image circles from the Large Format Page lens table; movement room here is the circle minus the 163mm sheet diagonal, so it is slightly conservative):

Coverage Requirements by Use

Landscape (moderate movements): Standard coverage usually sufficient. Occasional rise for horizon placement.

Architecture (heavy movements): Maximum coverage needed. Rise for tall buildings, shift for perspective control.

Portrait (minimal movements): Tight coverage acceptable. Movements rarely used.

Product (variable movements): Good coverage needed for tilt/swing focus control.

Stopping Down Increases Coverage

The image circle enlarges slightly at smaller apertures. A lens that vignettes at f/5.6 may be usable at f/22.

Practical implication: If you need more movements, stop down. But don't rely on this—verify on the ground glass before shooting.

Lens Types

Large format lenses come in several optical designs, each with characteristics.

Plasmat Design (Standard)

The most common type for normal to long focal lengths.

Characteristics:

• Symmetric or near-symmetric design
• Good performance from f/5.6 onwards
• Moderate coverage (varies by specific lens)
• Compact relative to coverage

Examples:

• Schneider Symmar-S
• Rodenstock Sironar-S, Sironar-N
• Fujinon W, CM-W
• Nikon Nikkor W

Wide-Angle Designs

Specialised for short focal lengths with large coverage.

Characteristics:

• Near-symmetrical design (not retrofocus; view cameras need no mirror clearance)
• Large front element
• Excellent edge sharpness
• Large image circle for format
• Often slower maximum aperture (f/5.6, f/8)

Examples:

• Schneider Super Angulon
• Rodenstock Grandagon, Grandagon-N
• Fujinon SW, SWD
• Nikon Nikkor SW

Note: Very short focal lengths often need a bag bellows or recessed lens board, especially on monorail cameras, to focus at infinity and allow movements.

Telephoto Designs

Physically shorter than their focal length.

Characteristics:

• Asymmetric design
• Shorter bellows extension than focal length
• Useful when bellows won't extend far enough
• Generally smaller image circle
• Some image quality compromise at edges

Examples:

• Schneider Tele-Arton
• Fujinon T
• Nikkor T

When to use: Long focal lengths on cameras with limited bellows, or when portability matters more than maximum coverage.

Process Lenses

Originally designed for copy work and lithography.

Characteristics:

• Optimised for close focusing (1:1 and similar)
• Often no shutter (requires external shutter or lens cap technique)
• Flat field performance
• Usually f/9 or slower
• Excellent sharpness at copying distances

Examples:

• Rodenstock Apo-Ronar
• Schneider G-Claron
• Goerz Apo-Artar (older)
• Nikon Apo-Nikkor

Modern use: Still life, product photography, macro work.

Popular Lens Manufacturers

Last Makers in Production

New large format lenses are now scarce. Copal stopped making the leaf shutters most of them used (sources give dates from 2013 to 2016), and the makers below have largely wound down film-camera lens production, so check stock before assuming a lens is still made.

Schneider-Kreuznach (Germany):

• Made a full line of large format lenses
• Symmar series (standard)
• Super Angulon (wide)
• APO designation for apochromatic correction

Rodenstock (Germany):

• Sironar series (standard)
• Grandagon series (wide)
• APO-Sironar (premium line)
• Similar quality to Schneider

Discontinued (Used Market)

Fujinon (Japan):

• Discontinued; no longer made
• Excellent quality, often good value used
• W series (standard)
• SW series (wide)
• CM-W series (compact)

Nikon Nikkor (Japan):

• Discontinued in 2006
• Very good quality
• W series (standard)
• SW series (wide)
• T series (telephoto)
• Often excellent value on used market

Older/Vintage

Kodak Commercial Ektar:

• Classic American lenses
• Good performers, vintage look
• Some coated, some uncoated

Goerz Dagor:

• Historic design, still functional
• Very wide coverage
• Some examples still in use

Voigtländer APO-Lanthar:

• German quality, discontinued decades ago
• Excellent if you find a good one

Choosing a Starter Kit

One-Lens Kit

For 4x5:

• 150mm f/5.6 (Fujinon W, Nikon W, Rodenstock Sironar-N, Schneider Symmar-S)
• Standard coverage is fine for learning
• Versatile normal perspective
• Good for landscapes, portraits, still life

Two-Lens Kit

For 4x5:

1. 150mm (normal)
2. 90mm (wide) for landscapes, interiors, environmental portraits

Alternative:

1. 150mm (normal)
2. 210mm (short portrait) for tighter framing, more compression

Three-Lens Kit

Classic setup for 4x5:

1. 90mm (wide)
2. 150mm (normal)
3. 210mm or 240mm (portrait/long)

This covers most situations. Some photographers add a very wide (75mm) or very long (300mm) later.

Budget Considerations

Best value:

• Used Fujinon and Nikon lenses
• Older single-coated lenses (performance difference is often minimal)
• Less popular focal lengths (135mm, 180mm sometimes cheaper than 150mm, 210mm)

Splurge on:

• Wide angles if you need maximum coverage
• APO-corrected lenses for critical colour work

Shutter Types

Large format lenses include an integral shutter (or require a separate one).

Copal Shutters

The standard for modern large format lenses, though Copal stopped making them in the 2010s, so new and used stock is all that remains. Sizes:

Characteristics:

• Very reliable
• Standard X-sync for flash
• Cocked by hand with a lever before each exposure

Older Shutters

Compur:

• German, predecessor to Copal
• Similar sizes and operation
• Still serviceable, parts available

Prontor:

• German
• Less common, similar reliability

Ilex/Alphax:

• American
• Some reliability concerns
• Parts harder to find

Barrel Lenses

Some lenses (especially process lenses) have no shutter—just a focusing mount.

Using barrel lenses:

• Lens cap technique (open and close cap for exposure)
• Behind-the-lens shutter (Packard shutter, etc.)
• Front-mounted shutter

Shutter Maintenance

Shutters require periodic servicing:

• CLA (clean, lubricate, adjust) is commonly recommended every few years of regular use, with no maker-published interval
• Sooner if sticky or inaccurate
• Slow speeds (1s, 1/2s) often go off first

DIY: Exercising the shutter regularly (firing at all speeds) helps keep it functional. For actual repair, use a qualified technician.

Using a Loupe

Critical focus requires magnification on the ground glass.

Loupe Types

Standard loupe: 4x-8x magnification, for general use Critical loupe: 8x-15x, for precise focus on grain Fresnel screen: Not a loupe, but a Fresnel lens fitted with the ground glass brightens the corners

Focus Technique

Reading the Ground Glass

What you see:

• Grain of the ground glass (visible when focused)
• Image detail (sharp when properly focused)
• Fresnel rings (if fresnel installed—ignore these)

Critical focus: When the image snaps into maximum sharpness through the loupe, you're focused.

Depth of field preview: Stop down the lens (if it has a preview lever) or close the aperture manually. The image dims but shows actual depth of field.

Practical Considerations

Bellows Extension and Exposure

When focusing close, the lens moves forward. Light falls off at the film plane.

Rule of thumb: When bellows extension reaches about 1.4x the focal length, add 1 stop of exposure (factor 1.96). At 2x, add 2 stops (factor 4).

Exact calculation: Bellows factor = (extension/focal length)² Add exposure in stops = log2(bellows factor)

Example: 300mm lens, bellows extended to 450mm: Factor = (450/300)² = 2.25 Add approximately 1.2 stops

Filter Threads and Adapters

Large format lenses have front filter threads. Sizes vary widely.

Approach 1: Buy filters for your largest lens, use step-up rings for smaller lenses.

Approach 2: Use gelatin filters behind the lens (filter holder in the back of the lens).

Approach 3: Cokin or Lee-style square filter holders that adapt to various sizes.

Lens Boards

Each camera system has its own lens board design.

Universal boards:

• Linhof/Technika pattern (very common; used by Wista, Chamonix, Shen-Hao and many field cameras)
• Sinar boards
• Arca-Swiss boards

Camera-specific boards:

• Toyo, Horseman and others

Many adapters available between board types.

Mounting: Most lenses come in Copal shutters. You remove the retaining ring, insert through the board hole, and secure from behind.

Summary

• Focal length relates to format: 150mm is normal for 4x5, 300mm for 8x10
• Image circle determines movements: larger circle = more movement room
• Plasmat designs (Symmar, Sironar, Nikkor W, Fujinon W) cover standard focal lengths
• Wide-angle designs (Super Angulon, Grandagon) provide coverage at short focal lengths
• Used market offers excellent value—Fujinon and Nikon especially
• Copal shutters are the modern standard, reliable and serviceable, though no longer made
• Start with 150mm for 4x5—add wider or longer as needs dictate
• Use a loupe for critical focus; magnification reveals what the naked eye misses
• Account for bellows extension in exposure calculations

Large format lenses are precision instruments designed for the unique demands of sheet film photography. Understanding their characteristics helps you choose wisely and use them effectively. Quality optics from any major manufacturer will serve you well—the choice often comes down to coverage requirements and budget.

Sources

• Large format lens specifications (4x5), largeformatphotography.info
• Copal shutters and lensboard hole sizes, S.K. Grimes
• The end of the Copal shutter era, Digital Transitions
• Nikon ends large format and enlarger lens production (Jan 2006), Adorama