Photographer Ted Kawalerski made the transition from still to motion and has never looked back. Ted takes you through the steps to get started in a medium that will open your photography business to...
"From Light to Ink" featured the work of Canon Inspirers and contest winners, all printed using Canon's imagePROGRAF printers. The gallery show revolved around the discussion of printing photographs...
Getting photographs right in the camera is a combination of using your imagination, creativity, art, and technique. In Part 3 of this three part series, we focus on shooting strategy and the role of...
The Fuji 617 is a big box with a 5x7" view camera lens in front and a pressure
plate for 120/220 film in back. The angle of view from the 105mm f/8 lens is
about the same as a 24mm lens on a Nikon but it is spread across a glorious 6x17
cm (2.25 x 6.5") of film. Load up some Ektar 25 and you can do a wall-size
enlargement that will bear close-up scrutiny of any portion.
My number one complaint with this camera is that the focusing helical will
only rack the lens far out enough for sharp focus at 3 meters. Thus, one can't do
the kind of near-far shots that wide-angle lenses are best suited for. Even
stopping the lens down to f/45 only brings objects at 1.9 meters into adequately
Sometimes a helical just isn't a substitute for a bellows.
Framing the picture exactly in the camera-top finder is tricky, especially if
you are an eyeglass-wearing geek like myself. Fuji provides some clever
mechanical alignment aids and a fluid level, but you still don't quite know what
you have until you get back from the lab. I understand why some people get a
ground glass for the back so that they can frame their images more precisely. You
only get four shots on a roll of 120 so having to open the back to frame every
shot isn't a big deal.
Results are incredibly sharp and detailed, however. Velvia looks glorious on a
light table and even Fuji 400 negative film looks beautiful in 10x30" proofs. It
is very difficult to get this kind of quality out of a view camera because the
film is so much thicker and doesn't lie flat in the film holder.
I paid $2200 for mine "virgin used". It showed 5 on the shutter counter on the
bottom of the camera, which means that 50 exposures had been made. (The big Fuji
cameras have exposure counters because big leaf shutters like these need periodic
service.) The price included a center filter, hard case, lens hood, cable
release, and manual. I considered it excellent value because the new Fuji
(GX-617) with interchangeable lenses costs more than $5000 for the body and a
Probably the toughest thing to figure out with the camera is what to do with
the output. Magazines can reproduce from the big chromes with no problem. If they
scan, they'll use a drum scanner which can handle the big negs or chromes.
However, you can't even make prints yourself unless you have a rare 5x7" or 8x10"
enlarger. One theoretically nice option is ABC Photo's develop and proof from C41
negative film. They've set up an automated line which keeps the cost per roll
including processing to about $36. The 10"x30" proofs are impressive and they'll
make machine reprints for $6-10 each depending on quantity. Call them at (703)
369-2566 and let me know how they work for you. I've had mixed results. A
promising lab that I haven't tried is run by the folks who import Roundshot
camera. Their Web site (
says that they will proof 617 to 4x12" prints for $6 each (so the cost of
developing and printing a roll of 120 is about $30). They will make 20x60
reprints for $95 (prices as of November 1998).
Don't plan on putting these images on the Web. Kodak's biggest scanner for
making ProPhotoCDs can only handle up to 4x5" chromes. A drum scan will cost you
$75. If you are going to go the desktop scan route, you'd probably be better off
using a Nikon, 24mm lens, PhotoCD, and cropping.
I'm still trying to figure out the best way to present the 600 MB scans I have
from this camera. But to whet your appetite, here are a couple done in-line...