Intro

In photography school, I learned to use a pastry brush to clean dust from my film holders. It’s simple, inexpensive, and still works beautifully decades later. Before each loading session, I gently sweep the holders to remove any stray particles—dust is the enemy of a clean negative. A soft, natural-bristle brush like this one will do the trick.

Once the film is loaded, protection becomes the priority. For years, I relied on zip-lock bags. Later, I moved to F.64 cases, which offered more structure and padding. These days, I prefer Stone Photo Gear’s Double and Triple Sleeves because they fit snugly in my field packs, guard against humidity, and survive the bumps of travel.

Whatever system you choose, make sure it shields your holders from dust, moisture, and light while keeping everything organized for quick access in the field.

Film & Holder Identification

Film identification is vital when shooting sheet film—it’s unsettling not knowing which holder carries exposed film. I use a simple system that’s foolproof and inexpensive.

Never leave a loaded holder in direct sunlight, even for a moment. Some darkslides aren’t as opaque as assumed, and light leaks can sneak in through the edges.

I number all my working holders with labels made from a P-Touch Label Maker. The labels stay put without gumming up the surface and are easy to remove if I ever need to re-number. It’s far better than inheriting someone else’s permanent-marker graffiti from a used holder.

Before I load film, I make sure the darkslide’s white strip faces outward—this means unexposed. After shooting, I flip the darkslide to show the black strip—this means exposed. It’s a clear, visual reminder even in low light.

To track film type and exposure status, I use a short strip of masking tape on each sleeve. The tape lists film type and ISO; when I finish a shoot, I move it from the bottom of the sleeve to the flap. It becomes my quick, tactile checklist of what’s ready for development.

Checking Off Exposures

There are two types of tape on my film holder sleeves: (1) cloth tape for film holder number identification on the top, and (2) masking tape for film type, which I place under the sleeve flap before exposure and move across the flap once the film has been shot.

I label each sleeve top with holder numbers (for example, 1–4, 5–8, etc.) using a strip of cloth tape marked with a silver metallic marker. When all exposures are finished, I move that tape over the Velcro flap—my visual cue that the holders inside are exposed and ready for development.

Before returning a holder to its sleeve, I reinsert the darkslide correctly. On location, I sometimes use the darkslide as a makeshift flag to shade the lens from direct sunlight—it works surprisingly well, though it’s worth testing where it appears in your wide-angle frame before relying on it.

My labeled sleeves go into my pack in numeric order so I can easily track exposures. The masking tape—used for film type—serves as my running log. I often jot small notes on it: film stock, location, or exposure details. It’s a low-tech system, but efficient and reliable, especially on multi-day shoots when juggling several film types. These small touches save time later and help me stay organized from shot to development.

The Delight of the Triple Sleeve Case

The Stone Photo Gear Triple Sleeve is one of my favorite discoveries. Each sleeve holds three 4×5 film holders—exactly six sheets of film. That happens to match the capacity of the MOD54 4×5 film processor, which fits inside a Paterson tank. The pairing is perfect for a compact, efficient workflow in the field.

My Ebony RSW lives inside a Tenba Fulton V2 16L Backpack with the Triple Sleeve nested securely inside. When fully loaded—with camera, three lenses, film, and accessories—it’s still my lightest 4×5 setup to date. A delight to carry, especially when hiking to a remote location.

Cases with Built-In Film Holder Pockets

For many years, I used an Ebony Camera Bag with built-in 4×5 film-holder pockets. When that bag wore out, I switched to the Domke J-1 Journalist Shoulder Bag and later added the Domke J-3, which is slightly smaller but equally practical.

The side pockets on Domke bags are ideal for film holders—especially when padded with removable foam. They’re lighter than carrying an extra F.64 case and have held up through years of use. When working on location with fifteen or more film holders, my Domke J-3 bag becomes my film bag. It makes carrying and retrieving holders easy, safe, and fast.

In Closing

Whether you’re shooting large-format landscapes or tabletop still life, a consistent system for film holders makes all the difference. My approach evolved over decades of commercial and personal work, and it has never failed me: clean, protect, identify, and store.

Develop your own rhythm. Maybe you prefer a small notebook or a digital note app; maybe you use color-coded tape instead of labels. The method doesn’t matter as much as the consistency.

Our shared goal is to keep film safe, clean, and ready—so you always know what’s exposed, what’s not, and where each holder belongs.

I still find joy in the process of loading, labeling, and carrying my 4×5 gear. My Ebony RSW remains my favorite for on-location work, while my ONDU Rise Pinhole offers a slower, meditative pace. Sometimes I like sharp, sometimes I like soft—but I’m always grateful to have the film and tools ready when inspiration strikes.

Best to you on your own journey with 4×5.