The Ebony Camera Company was started in 1981 when Hiromi Sakanashi, a photographer from Kyushu, Japan, could not find a large-format camera that was lightweight and portable like a field camera but with the rigidity of a monorail. So Hiromi decided to create his own, and other photographers noticed and asked him to build them one, too; thus, the Ebony Camera Company was born.

Ebony cameras were produced in a small workshop in Tokoyo that employed less than ten people. Ebony made approximately 40 different models of ebony wood and titanium cameras. Some mahogany models were produced, especially in larger formats, to save on weight. Ebony cameras were made in formats from 6×9cm through 20×24″, including traditional folding field cameras and non-folding models, some with asymmetrical back movements. Sadly, the Ebony Camera Company closed on June 30, 2016, upon Hiromi’s retirement.

The Sakanashi family has been in the photographic business since 1871, when Hiromi’s great-grandfather founded one of Japan’s first photographic equipment stores in Kumamoto, Kyūshū. Hiromi is a graduate of Tokyo Photographic University and worked as a professional photographer in the 1970s, doing architectural and studio work. He also ran the family business, which had evolved into a store specializing in professional photographic equipment by then, and he led workshops for Japanese photographers in various European countries.

INTRO

LIGHTWEIGHT 90mm – 300mm FOLDING 4×5 VIEW CAMERA
Like all Ebony cameras, the RW45 is renowned for its exceptional build quality. Constructed from premium materials, including quarter sawn Honduran mahogany heartwood aged for more than twenty years, finished with traditional Japanese urushi lacquer, and fitted with solid titanium hardware, it combines elegance with remarkable rigidity. The result is a field camera that feels both refined and confidence inspiring in use. The RW user’s guide is available here.

For many years my primary 4×5 field camera was a Linhof Master Technika 3000. It served me well with lenses from 90mm through 300mm and remains one of the finest technical field cameras ever built. After retiring, however, my photography became almost entirely landscape oriented, and I found myself wanting a lighter camera designed specifically for that purpose.

One of the few limitations I experienced with the Master Technika was working with my Rodenstock Grandagon 65mm. Although the camera can be configured for lenses wider than 90mm, doing so required dropping the bed, opening the focusing hood, and carefully avoiding the camera body from intruding into the image. It certainly worked, but it was more setup than I wanted when photographing changing light outdoors.

That eventually led me back to the Ebony system. I first added the compact RSW45 for my widest lenses, and after spending considerable time with both cameras, I realized the Ebony design simply suited the way I prefer to work in the landscape. The cameras are lighter, quicker to set up, and provide all of the movements I regularly use without unnecessary complexity.

Rather than replacing the Linhof, I ultimately chose to keep it. After having it professionally restored, it now serves as my dedicated studio 4×5 camera, where its precision, extensive accessory system, and compact folding design continue to shine. In the field, my Ebony RSW45 is my primary landscape camera, while the RW45 accompanies me whenever I want to work with my 90mm to 300mm lenses.

I chose the RW45 because it offers exactly the movements I need, including front rise and fall, front and rear base tilt, center tilt, and swing, while keeping weight to a minimum. Built from mahogany rather than ebony wood, it strikes an excellent balance between capability and portability. Finding one in excellent condition took patience, but it was well worth the search.

Below is a comparison chart highlighting the differences between the RW45 and the RSW45, the two Ebony field cameras I use.

A few days after I received the RW45, we were expecting severe weather that eventually escalated into a hurricane. As a Floridian, I love my state, but no one here can truly relax during hurricane season. Consequently, I had to secure my studio as usual and delay testing the RW45 for a few days. After the hurricane passed, significant cleanup was required on our property and throughout several counties in my surrounding area. I was eager to test the RW45, particularly the bellows, so I used a few Polaroids and my digital back. The image above is a sample from the digital back, demonstrating that the RW45 can be used with a digital back if desired.

The Ebony RW45/RSW/SW45 Case, crafted by Daniel Stone of Stone Photographic Gear, is impeccably designed for the RSW45 & RW45 cameras. Constructed with a Cordura nylon exterior and a 400D nylon liner and featuring YKK zippers with double sliders, it ensures durability without adding excessive weight, thanks to its closed-cell foam. The foam is thin yet firm, promising long-lasting protection. Additionally, it includes an extra insert for added safeguarding of the ground glass, which can be easily removed or repositioned within the case. Having experienced several of Stone Photographic’s cases, I highly endorse their custom gear cases. If you want more information, please visit their website or check out my Stone Photo Gear page.

INTRO

LIGHTWEIGHT 65mm – 150mm NON-FOLDING 4×5 VIEW CAMERA
Upon my decision to retire from full-time teaching, I started looking for another Ebony RSW. Finding one that fit my budget and condition requirements was a challenge. It took over a year to locate one that fit my requirements, but I am happy Green Mountain Camera in South Burlington, Vermont, made it happen. Please look at their eBay store and website for good deals on great equipment.

It must have been close to ten years since I held my original RSW, and it is lightweight compared to my Linhof 3000 and much easier to use with wide lenses.

The first time I took it out with the Rodenstock Grandagon 65/4.5, I asked myself: “Why did I ever let it go?” Back then, however, I was too busy shooting for online product catalogs and teaching commercial photography in the classroom to devote time to 4×5 landscape photography. However, the thought of being able to do it after I retired from teaching never left my mind.

The RSW is a uniquely configured camera designed around the SW45.

Initially, it was only available in the UK through Robert White Photographic Retailers. They contacted Ebony Camera with their design for the RSW and requested it be made and sold only through their stores. So, if you wanted a new RSW, you had to order it from Robert White.

Both RSW cameras I owned were purchased on the used market, and since Ebony Camera closed in 2016, a used RSW is the only option today.

The RSW is simply a stripped-down SW45 but a popular camera with some photographers, so much so other camera makers have copied its design. It may have been the most minimalist 4×5 camera Ebony Camera made.

The differences between the SW45 and RSW45 cameras are shown below.

You might wonder why I prefer the RSW when I could have had an SW for about the same price. The RSW’s lighter weight and solid stationary rear standard are the most attractive to me. I do not need front movements other than rise/fall and tilt.

As a landscape shooter, I need a 4×5 that allows wide and extreme wide-angle lenses without a hassle. It needs to operate quickly and precisely and not get in the way, or I will leave it behind regardless of whatever niceties it may offer.

Being an older, petite female who prefers shooting in the landscape solo brings challenges, but I do not let them stop me. I know what works for me and what does not. Of all the 4×5 field or view cameras I have used for landscape shooting, the RSW remains my favorite.

PROS
The RSW is an easy-to-use landscape field designed exclusively for wide-angle shooting. Its lens range is 35mm—180 mm, with only the 35mm requiring a recessed lens board. I doubt I will go beyond 65mm to 150mm. The similar SW camera and RSW share the same lens range, but a few movements have been eliminated for the RSW, making it more stable, lighter to carry, and quicker to set up. Here is Robert White’s introduction video about the RSW.

CONS
I missed the viewing bellows I use with my Linhof MT, but I was able to find a binocular viewing bellows that I had customized for my Ebony camera. It was an expensive project, and finding a viewing bellows that could be cusomized was not an easy task. You can read about it here.

I had a Linhof Rollex Techno 6×12 film magazine that was too thick to fit under the RSW’s graflok sliders. In the end, I sold it because it was too heavy to carry into the field and chose a different direction with 6×12 magazines that do fit the RSW.

The Ebony RW45/RSW/SW45 Case, crafted by Daniel Stone of Stone Photographic Gear, is impeccably designed for the RSW45 & RW45 cameras. Constructed with a Cordura nylon exterior and a 400D nylon liner and featuring YKK zippers with double sliders, it ensures durability without adding excessive weight, thanks to its closed-cell foam. The foam is thin yet firm, promising long-lasting protection. Additionally, it includes an extra insert for added safeguarding of the ground glass, which can be easily removed or repositioned within the case. Having experienced several of Stone Photographic’s cases, I highly endorse their custom gear cases. If you want more information, please visit their website or check out my Stone Photo Gear page.

ON THE ROAD WITH THE RW45 & RSW45

I enjoy campervan travel in my home state of Florida, and the Ebony field cameras are my 4×5 film travel and landscape cameras. My RSW kit consists of lenses from 65-150 and a few accessories. The RW kit consists of lenses from 90-300 along with the same accessories as the RSW kit. Each kit fits nicely in a Tenba Fulton v2 16L Backpack. Here is my write-up on using the Fulton v2 16L with the RSW.

I travel with one Ebony camera, choosing it based on what I plan to photograph, whether it’s landscapes or just exploring small towns. I have a deep love for capturing the essence of small-town America. Although I’ve lived or worked in major cities, my heart belongs to small towns. I grew up running up and down the mountains of Topanga Canyon and riding my bike through the quiet streets of a quaint ten-street NJ town that was just a pass-through on the way to the Jersey Shore. I’ve never been a city girl at heart.

Since 2007, I have been based in North Florida, not far from the Georgia border, and enjoy traveling to Florida’s east coast, west coast, across the Panhandle, south Georgia, and eastern Alabama. I have no desire to travel south of Orlando after living in Miami-Dade for more years than I cared to. I have palm trees on my property; traveling south to see these adorable mop tops is not necessary.

I had already chosen North Florida as my retirement destination long before I retired. What captivates me about this area is its stunning landscape.

North Florida boasts the largest forest in the state, the Apalachicola, with 571,088 acres and 2,735 acres of water. It is home to one of the oldest National Wildlife Refuge in the United States, St. Marks NWR, established in 1931.

The first time I visited St. Marks, I was living in Miami-Dade, a seven-hour drive away. As soon as I arrived, I knew I had found the place I wanted to retire. When the time was right, I moved to a spot just 30 minutes from St. Marks National Wildlife Refuge.

If I could live comfortably in the marsh itself, I’d be even closer, but the thought of alligators wandering around after a tropical storm shifts their habitat keeps me at a safer distance. The last thing I want is to step out my front door and be greeted by a 15-foot gator! I do encounter them from time to time when visiting the marsh and have had a few close calls. While they generally won’t bother you if you keep a good distance, I’ve had some surprise encounters that were definitely too close for comfort.

I’ve always been drawn to the diverse habitats here, from forest with cypress, oak, and magnolias in wet, lowland areas to stands of slash and longleaf pines covering sandhills and Flatwoods, the gorgeous marshlands teeming with birds and lush subtropical vegetation, including palm trees and other exotic plants.

At one point, I considered diving into bird photography, but I soon realized the immense commitment it would take, both in terms of time and money. It would mean switching from my medium-format gear to full-frame cameras, using exotic zoom lenses paired with teleconverters. This realization dampened my initial excitement for becoming a bird photographer. However, I still find great joy in observing Florida’s magnificent birds and appreciating the stunning images captured by more skilled nature photographers. That said, if I ever get the chance to photograph birds in their natural habitat with my 4×5, it would be an incredible experience!

FILM & FORMATS

Large format photography offers a level of flexibility that is difficult to find in smaller camera systems. With my Ebony field cameras, I photograph using both traditional 4×5 sheet film and panoramic roll film formats shot through interchangeable 120 film backs.

Film choice and format selection have become increasingly important as film prices continue to rise. While 4×5 offers tremendous flexibility, panoramic formats on 120 film can often provide a more economical and efficient way to work when the composition calls for a wider aspect ratio from the start.

One of the things I enjoy most about the Ebony system is this ability to move between formats while still maintaining the slower, deliberate process that makes large format photography so rewarding.

I have owned many different brands of 4×5 film holders over the years, from Fidelity and Regal to Toyo, in metal, wood, and plastic variations. As long as a holder loads smoothly and does not fight me while inserting or removing it from the camera, I am generally satisfied.

If you are entering the world of 4×5 photography today, chances are you will be purchasing film holders on the used market. Toyo, long considered one of the more respected holder manufacturers, went out of business in 2025. Fidelity holders may still be available new in some places, but there is usually an abundance of used holders available through sources such as KEH Camera and other secondhand dealers.

Personally, I would not hesitate to purchase used holders as long as they appear clean and undamaged. Many photographers experiment with large format photography only to discover that the slower workflow is not for them, leaving behind plenty of lightly used equipment on the market.

Shown above are my current Toyo 4×5 film holders, safely stored in a Stone Photo Gear case, which I highly recommend for keeping holders organized and protected in the field.

The Ebony 45-69 Reducing Back is an interesting accessory because it incorporates a small swing-out focusing door with a built-in ground glass. The process is straightforward: compose and focus on the miniature ground glass, swing the door open, and then insert the roll film magazine using the small Graflok-style sliding clips.

During my earlier years with the original Ebony RSW, I used both the Horseman 6×7 and 6×9 film magazines with this back, and the system worked quite well. It provided a compact and practical way to shoot medium format film while still using the Ebony platform.

Today, however, I no longer have plans to return to that setup. My current workflow with the RSW is focused entirely around 4×5 sheet film and 6×12 panoramic photography using full Graflok-mounted roll film backs. For my preferred traditional medium format size, 6×6, I continue to rely on my Hasselblad camera systems.

If you plan on shooting 6×12 panoramic images on 120 film with a 4×5 camera, being able to accurately mask the panoramic format on the ground glass becomes extremely important.

Fortunately, I stumbled across a Fotoman 6×12 Graflok viewfinder, and it turned out to be one of the best accessories I have ever found for panoramic work with the Ebony RSW. Designed originally by Fotoman Camera for their DX panoramic camera line, this viewer fits beautifully on a 4×5 camera setup and makes composing 6×12 images far more intuitive.

What surprised me most was the brightness of the ground glass. It is easily the brightest focusing screen I have ever used on a 4×5 or 6×12 setup. In fact, there are times when I even use it for focusing standard 4×5 compositions in harsh sunlight because it is simply that easy to see.

I found mine years ago on eBay and have not seen another listed since. If you are serious about shooting 6×12 panoramas on a 4×5 camera, I would highly recommend keeping an eye out for one. It feels as though it was purpose built for the Ebony RSW.

And yes, the blue tape in the photo has a purpose. I attached a close up filter to the viewing port that perfectly matches my eyesight, making the viewer even more comfortable and precise to use in the field.

In image #3 above, the mask shown on the back plate was made for my P45 digital back, which I have also used with this viewfinder in the past.

When I travel for large format photography, I always make sure both my RW and RSW kits include three lenses.

For the RSW, I carry two wide angle lenses that can serve as backups for one another in the event of a technical problem while traveling. There is nothing worse than arriving at a location ready for landscape or architectural photography only to discover a problem with your primary 75mm or 90mm lens. Although I appreciate the advantages of a 65mm lens, especially when shooting 6×12 panoramas, I generally prefer the 75mm to 90mm range for most non panoramic compositions.

I currently own two Nikkor 90mm lenses. The Nikkor SW 90mm f/4.5 now lives on my Fotoman 6×17 after the original Fujinon 90mm f/5.6 developed a shutter leak, leaving the lighter Nikkor SW 90mm f/8 dedicated to outdoor field work.

While the Nikkor 150mm f/5.6 is probably the least used lens in my RSW travel kit, I still consider it essential enough to carry along.

The RW kit is more flexible and usually falls somewhere within a 75mm to 300mm range. Most often, that means either a 90mm, 150mm, and 300mm combination or a 75mm, 90mm, and 210mm setup. If I choose the RW over the RSW for a trip, it is usually because I expect to need longer focal lengths rather than wider perspectives.

Having both systems available to choose from continues to feel like a gift that keeps on giving.

If you enjoy working with 4×5 pinhole photography and are looking for a portable, versatile option to use with your existing field camera, I highly recommend the Vist Kamera Pinhole Shutter. It is compact, lightweight, and easy to carry in a travel bag, making it an excellent addition for photographers who want to keep pinhole possibilities close at hand while working in the field.

I use Model #2, which includes nine interchangeable pinhole sizes: 0.25mm, 0.3mm, 0.35mm, 0.4mm, 0.45mm, 0.5mm, 0.55mm, 0.6mm, and 0.7mm. The shutter also provides both B and T settings, along with cable release compatibility, allowing for precise control during long exposures.

For photographers curious about 4×5 pinhole photography but not yet ready to invest in a dedicated pinhole camera, this system offers an excellent and flexible alternative. It allows you to experiment with different pinhole sizes while continuing to work with a familiar camera platform.

You will, however, need a compatible lens board, and the shutter must either be mounted by you or professionally installed. I had mine mounted by S.K. Grimes using one of their Linhof-style boards, and I highly recommend their services for precision camera modifications and custom photographic machining work.

Compendium lens hoods help regulate the light entering a lens while reducing flare and glare. Their greatest advantage is flexibility.

Unlike conventional lens hoods with fixed dimensions, a compendium hood can be adjusted to suit different focal lengths and shooting situations. This makes them especially useful for photographers who frequently switch lenses or work in difficult lighting conditions.

They can also be combined with accessories such as filters, diffusers, and reflectors to provide additional control over the light within a scene.

The Made-for-Ebony Compendium Lens Hood shown above is a custom accessory I purchased from an eBay seller. It is beautifully crafted, lightweight, portable, and works well alongside the LEE Filters system I occasionally use directly on my lenses.

When using the Nikkor SW 90mm f/4.5 with a polarizer, the hood’s flip-up design makes it easy to adjust both the filter and lens settings without frustration. That convenience alone makes it a pleasure to use in the field.

Overall, I have been very pleased with this Ebony compendium hood and would gladly purchase it again.

The Stone Photo Gear lens case (#45459) holds the lenses I most often travel with for 4×5 work on the road.

When traveling with the Ebony RSW, the case typically carries the Nikkor SW 90mm f/8 and Nikkor W 150mm f/5.6, while the Nikkor 75mm f/4.5 remains mounted on the camera.

When traveling with the RW45, the setup changes slightly. The case then carries the Nikkor SW 90mm f/8 and Nikkor W 300mm f/5.6, while the Nikkor 150mm f/4.5 stays mounted and ready to shoot.

I currently use the Tenba Fulton V2 16L backpack, and this lens case fits perfectly into the upper roll-top storage section of the bag, or at least that is what I call it. The fit is so precise it almost feels as though the case had been designed specifically for that compartment. Meanwhile, the camera itself, stored inside its matching Stone Photo Gear camera case, rides securely in the lower section of the backpack.

You may also notice the black zipper pulls attached to the case. I added those to all of my field cases because they make opening and closing the zippers much quicker and easier while working outdoors.

EBONY FOCUSING LOUPE

In image #1 above, you’ll see the original Ebony Focusing Loupe, a real game-changer for my eyes. It’s my go-to tool for focusing on the ground glass, especially when paired with the third-party focusing bellows I use. Plus, it’s a lifesaver when setting up my 4×5 lenses, as those tiny font sizes on large format lenses can be a headache. I love that I can hang it around my neck during a shoot, like a close-up filter with a metal and rubber grip. But what impresses me is how Ebony designed it to fit snugly inside a leather cover case, complete with a lanyard. It’s hands down one of the best accessories I’ve ever laid my hands on since the day I got it. I use it for focusing on the ground glass of my Fotoman 6×17 as well.

I acquired a near-identical replica of the loupe (minus the lanyard and case) from eBay. Search for “LEAF / HAND LOUPE WITH RUBBER COVER (3.5X)” on eBay, and you’ll likely find one strikingly similar to the original Ebony loupe. It’s so close that it got me thinking—maybe this is what Ebony Camera used as a base when crafting theirs, except theirs came complete with the lanyard and case. But because I use the original as much as I do, I purchased this similar loupe as a backup.

CARBON FIBER FOCUSING BELLOWS MADE FOR EBONY

The Focusing Bellows, shown in Image #2 above, are made with carbon fiber frames and are wonderfully dark for someone like me who does not want to put their head under a blanket out in the wild or on the streets in small tourist towns. That could be dangerous, especially if you are an older petite female. If you prefer focusing bellows, you can look on eBay for the seller that makes them.

The nice thing about these carbon fiber bellows is that I can fit the top part of the Linhof Reflex Viewer when I need to see without any light getting in (more about this here). It gives an upright but reversed image. It travels well, better than the Linhof base, which does not fold and can be bulky. I purchased the carbon fiber viewing bellows from this eBay seller.

Above is my custom-made focusing bellows that a Linhof Reflex Viewer’s top part can be slipped inside to give a welcoming ground glass view under a bright sun. It folds nicely and is my second choice over the binocular viewing hood.

A few years after acquiring my first Ebony camera, I had a Cambo T-20 Reflex Hood modified through Badger Graphic Sales and Ebony Camera. I had previously used a Cambo T-21 during my photography school days with a Calumet/Cambo monorail system and wanted a similar viewing experience again.

I have never enjoyed working under a dark cloth, especially outdoors with long hair and no assistant, so the reflex hood appealed to me. The modification process through Ebony went smoothly and cost less than $200 including shipping.

While I used the T-20 for several years, I eventually found it awkward in the field, often requiring a small step stool since most viewing angles involved looking downward into the hood. Although the hood rotates, I never fully adapted to it and eventually sold it along with my 45SU. In the end, I realized I much prefer using a focusing bellows.

I have since seen Shen-Hao replicas of the T-20 appear on eBay, but some versions reportedly require fastening hardware directly into the rear of the camera. Personally, I would never modify an Ebony body in a way that could potentially damage or devalue it.