
Jolson239
Alec Soth photographed along the length of the Mississippi River using an 8×10 view camera for Sleeping by the Mississippi (2004), which established him as a significant figure in American documentary photography. He joined Magnum Photos in 2004. His subsequent projects have maintained his interest in solitary American lives while expanding the formal possibilities of the large-format camera.
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Product description
Portra 400 is a fine-grain color negative film rated at ISO 400. Its neutral color balance and wide exposure latitude, useful in situations requiring both shadow and highlight detail, made it a standard film in portrait, documentary, and editorial photography.
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R.H. Phillips
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Product description
A handcrafted large format field camera built by R.H. Phillips & Sons in Midland, Michigan, using wood, anodized aluminum, and modern composite materials. Its innovative horizontal-only format and compact folding design made it notably lighter and more portable than traditional 8x10 cameras.
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Product description
A four-element Nikkor-M large-format lens in a Copal #1 shutter, prized for its featherweight build and exceptional sharpness across formats from 4x5 through 8x10. Serves as a normal lens on 5x7 and a mild wide-angle on 8x10, making it one of the most versatile optics in the large-format world.
Schneider
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Product description
A massive 6-element wide-angle lens for large format cameras, offering 100 degrees of coverage at f/8, enough to cover 8x10 sheet film with room for movements. Built in a Copal or Compur shutter, it was the standard ultra-wide choice for 8x10 architectural and tabletop photography.
Mamiya
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Product description
A compact medium format rangefinder camera introduced in 1989, shooting 6x6 on 120 film with interchangeable lenses (50mm, 75mm, 150mm). Its collapsing lens mount and leaf shutter system make it one of the most portable medium format systems ever produced.
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Product description
In production since 1954, Tri-X 400 is a black-and-white film whose grain structure, broad exposure latitude, and response to push processing made it the dominant film in photojournalism and street photography for decades.

Lee Friedlander