FOTOMAN 6×17 + NIKKOR 90 f/4.5
INTRO
The Fotoman 6×17 is about as simple as a camera can get: a rugged film box with a lens mounted on the front. That simplicity is exactly why I love it. Over the years, I’ve owned two, and I still use one today fitted with a Nikkor SW 90mm f/4.5 and a Schneider APO-Symmar 150mm f/5.6. Together, they allow me to move from sweeping landscapes to more intimate panoramic studies, all on beautiful 6×17 negatives.
When Fuji and Linhof largely defined the 6×17 market, their systems were excellent but financially out of reach for many photographers. Fotoman offered a different path: an affordable, stripped-down panoramic camera capable of using top-tier large-format lenses. For me, it was the perfect balance of quality, simplicity, and value. No rangefinder, no built-in meter, no unnecessary complexity. Just the essentials and the pleasure of working slowly and deliberately.
What keeps drawing me back is the way the camera demands intention. Framing, focus, and exposure are entirely in the photographer’s hands, and that involvement is part of the reward. The negatives have a presence and detail that continually remind me why I still carry the Fotoman today.
In the sections that follow, I’ll share my experiences with the system, how these cameras operate, what makes them unique, and why simplicity is often the best path to creativity.
Below is a record of the Fotoman cameras and accessories I have personally used. I’m always happy to answer questions about my experience with any of the equipment listed here.
MY FOTOMAN GEAR EXPERIENCE
FOTOMAN cameras & related gear I have used with their cameras.
FOTOMAN 617 & 617 MKII-L SPECS
| Image Size: | 56mm x 168mm |
| Film Size: | 120 |
| Focusing: | Helical Focus Mount or optional GG-617 Ground Glass |
| Viewfinder: | 120° with Interchangeable Masks |
| Body Material: | 6061 T Aluminum Alloy |
| Body Dimensions: | 203mm x 111mm x 62mm |
| Weight: | 1.56 kg (3.44 lbs.) Not Including Lens |
FOTOMAN 617 & 617 MKII-L DIFFERENCES
While both the original Fotoman 617 and the Fotoman 617 MKII-L share the same rugged minimalist design and straightforward operation, there are a few differences worth noting, especially if you’re searching for one on the used market.
(1) Frame Counter Light
The MKII-L includes a small built-in light for the film advance window, making it easier to read frame numbers through the red backing-paper window in low light. It’s a simple but genuinely useful improvement. The “L” in MKII-L may very well stand for “light.”
(2) Top Plate Changes
The original 617 features a cold shoe on the upper left side of the body. On the MKII-L, this was replaced with a built-in bubble level, a practical addition for keeping panoramic horizons properly aligned.
(3) Serial Number Placement
Earlier versions of the camera often lacked an externally visible serial number. The MKII-L added an engraved serial number on the bottom plate.
(4) Front Logo Variations
Logo styling also varied between production runs. Some cameras display the standard Fotoman logo above the lens, while others are marked “Fotoman Professional.” My current camera carries the standard logo, while my earlier MKII-L may have featured the Professional branding, though I can’t say that with certainty.
FOTOMAN 6×17 LENS CHART
FOTOMAN 6×17 LENS CHART
The lens options listed above come from the original Fotoman website. Because of the size and design of the lens cones, removing lenses from both Fotoman cameras I’ve owned required a Fotoman-specific spanner wrench. Fortunately, I was able to track down another after including the first one along with my original camera.
IMAGE: FORT CLINCH STOREHOUSE & DISPENSARY
WHO THE FOTOMAN 617 IS FOR
If you appreciate the simplicity of a 4×5 camera, the Fotoman 6×17 is a wonderfully appealing alternative. It embraces the fully hands-on experience of film photography, something I genuinely enjoy. The body is precision-machined from a solid block of 6061-T6 aluminum alloy, giving it an excellent balance of strength and portability. At just 1.56 kg (3.44 lbs), it’s noticeably lighter than the average 4×5 field setup.
One of the camera’s strengths is its straightforward film loading system. The advance and rewind knobs turn with a smooth, reassuring feel that inspires confidence during use. There is, however, one important habit to develop before loading film: always close the shutter and, ideally, place the lens cap on as well. Unlike a 4×5 camera, there’s no dark slide protecting the film while you prepare the lens. It’s an easy detail to overlook if you’re accustomed to sheet film workflows.
To prevent accidental exposures, I eventually came up with a simple solution that has worked very well for me over the years.
WHO THE FOTOMAN 617 IS NOT FOR
If you’re primarily a digital photographer, using the Fotoman 6×17 may feel more like stepping into the world of large-format film. While it shares some similarities with a 4×5 camera, there’s one major difference: no dark slide protects the film during setup. That takes a little adjustment if you’re accustomed to traditional sheet film workflows. Fortunately, I eventually developed a simple workaround that has served me well.
The Fotoman also omits many modern conveniences. There’s no built-in light meter and no through-the-lens viewfinder. Exposure must be metered externally, and focusing is handled either through the Fotoman Helical Focusing Mount for zone-focus work or with a ground glass for critical composition and focus.
It’s also important to understand that the Fotoman is a lens-and-cone system. Each lens requires its own dedicated cone, calibrated specifically for that lens. Since Fotoman ceased operations years ago, locating additional cones or spacers can be challenging. They do occasionally appear on the used market, but to my knowledge, no one is currently manufacturing replacements.
MY JOURNEY BACK TO THE FOTOMAN 617
I purchased a brand-new Fotoman 617 MKII-L directly from the factory in 2009. Not long after it arrived, I learned that Fotoman was closing its doors. At the time, my life was a whirlwind of teaching, attending school, and running a business, leaving little room for the kind of slow landscape photography the camera deserved. After roughly twenty rolls of film, I sold the kit to a photographer in the UK. Even then, I regretted letting it go and hoped that one day I’d own another when life slowed down enough to truly enjoy it.
Years later, I finally returned to 6×17 photography with a brand-new DAYI 6×17 fitted with a Nikkor SW 90mm f/8. Initially, I was excited, but the enthusiasm didn’t last. The camera never lived up to my expectations, and the poorly made lens cone quickly became a frustration. In many ways, the experience only made me miss my old Fotoman even more.
I began considering my options. Perhaps I would save for a Shen Hao 6×17 field camera, or perhaps it was finally time to start searching for another Fotoman.
The idea of moving to an even larger field camera system didn’t appeal to me. I had previously owned a 5×7 camera, but it proved too large and cumbersome for anything beyond studio use. What I truly missed was the Fotoman: solid, simple, and dependable. It had everything I needed and nothing I didn’t. That feeling stayed with me, and before long, the quiet search to find another one had begun.
It wasn’t an easy camera to track down.
IMAGE: UNDERWATER WONDERS ON LAND
In a remarkable twist of fate, I eventually came across a used Fotoman 617 paired with a Fujinon SW 90mm f/8 lens from a respected dealer here in the United States. To my delight, both the camera and lens were in excellent condition and even included a trial period. The image above was among the very first I made after the camera arrived.
What follows on this page is everything I’ve learned, experienced, and come to appreciate about the Fotoman 617 system. If you’re anything like me and dislike working under a dark cloth outdoors, be sure to take a look at my DIY viewing bellows, which makes field use far more enjoyable for me.
Not long after acquiring the camera, I replaced the Fujinon lens with a Nikkor SW 90mm f/4.5 that had been sitting unused on my shelf. I later wrote two posts documenting the lens replacement and calibration process. The procedure itself isn’t especially difficult if you enjoy careful, detail-oriented work. My years as a commercial artist taught me to appreciate that kind of focused, solitary task.
For photographers who would rather leave the adjustments to a professional, I would recommend contacting Precision Camera Works. Bob may be able to assist with lens replacement and calibration work on the Fotoman system.
You can learn more at Precision Camera Works
THE GROUND GLASS
Even though I primarily rely on hyperfocal focusing, I still use the ground glass from time to time, especially when I want to confirm framing or check critical focus. That said, the ground glass on the Fotoman 6×17 is serviceable rather than exceptional. It works, but it’s certainly not the brightest or most refined ground glass I’ve used.
At some point, I may look into having it replaced with something brighter. Better options definitely exist. The ground glass on my Fotoman 6×12 viewer, which I use with my 4×5 field cameras, is excellent, so I know improvement is possible.
If you decide to upgrade yours, there’s one important detail to keep in mind: the metal frame holding the ground glass is precisely fitted to the camera’s magnetic back. Any replacement glass should remain mounted within the original frame. Otherwise, you risk introducing alignment problems and ending up with focus inaccuracies on film.
CLOSE LENS BEFORE FILM LOADING: A HELPFUL LABEL
Once I returned to shooting with the Fotoman 6×17, I quickly relearned one of the golden rules of large-format photography the hard way: always close the shutter after focusing.
You would think something so basic would be impossible to forget, but things happen when you’re juggling a ground glass, a dark cloth, or in my case a viewing bellows, while dealing with wind, changing light, and fast-moving weather. And when the shutter stays open, so does the path for light straight onto your film.
After sacrificing a few beautifully fogged frames to the photography gods, I decided to make myself a reminder sticker, the one shown above, and placed it on the back of the camera. Its message is intentionally impossible to ignore:
CLOSE LENS BEFORE FILM LOADING
Sometimes the simplest reminders are the cheapest insurance against ruined exposures.
RED WINDOW VIEWING TIPS
By the time I acquired my second Fotoman 6×17, several years had passed since owning the first. During that time, my eyesight had naturally changed, thanks to both aging and the relentless brightness of the Florida sun. These days my eyes are far more light-sensitive, and I usually wear sunglasses outdoors. When working with a camera, however, I leave them off since polarized lenses and optical glass don’t always cooperate well together.
That meant I needed a better way to read the Fotoman’s red frame window when advancing film. After some trial and error, I settled on a simple method that works remarkably well, even in full sunlight.
I rely on two tools that are always with me on photography trips:
• My iPhone, for its flashlight
• An Ebony handheld magnifying loupe
The Ebony loupe is essentially a 3.5× close-up magnifier worn on a lanyard. For years, it has been my go-to solution for reading the tiny engravings on large-format lenses. If you’re searching for something similar today, look on eBay for a “Leaf Hand Loupe with Rubber Cover (3.5X).” It appears to be the same magnifier, simply without the lanyard.
When advancing film, I shine the iPhone flashlight across the red window and use the loupe to read the frame numbers clearly, even under harsh sunlight. Some film manufacturers print those numbers in very light gray ink, which can be surprisingly difficult to see through the red backing window. If you’ve struggled with that yourself, this simple trick can make a noticeable difference in the field.
Another technique I’ve developed is counting the number of advance strokes between frames. Over time, I discovered that if I advance the film roughly five strokes before checking the red window, the next frame number usually begins to come into view within one more additional stroke.
That said, don’t assume “five” will work perfectly for everyone. The amount of film advanced with each stroke varies depending on how you handle the camera and apply tension while winding. I would strongly recommend testing this yourself with a spare roll before relying on it during actual shooting. Once you learn the rhythm of your own camera handling, it becomes surprisingly intuitive.
SHOOTING THE FOTOMAN 6×17
FOTOMAN 6×17 GROUND GLASS READING
When shooting 6×17 panoramas with my Fotoman 6×17, I need a support system that’s quick to deploy, lightweight yet stable, and most importantly, tall enough to comfortably meet me at eye level. At 5’3″, I’ve spent much of my career carrying tripods seemingly designed for basketball players. These days, I prefer equipment that gives me exactly what I need and nothing more.
The combination that finally solved the problem for me was the Really Right Stuff QVC-14 paired with the Acratech MPN 1134 Leveling Base with the Quick Release clamp. Together, they provide a lightweight, sturdy setup that reaches the perfect working height without forcing me to carry a footstool into the field.
FOCUSING ON THE GROUND GLASS AFTER FILM LOADING
One notable characteristic of the Fotoman 6×17 is its lack of a built-in frame-stopping mechanism. Instead, the camera relies on a dark red window on the back panel to display the frame numbers printed on the film’s backing paper.
Because of this design, the camera is not compatible with 220 film. Unlike 120 film, 220 lacks continuous backing paper across the roll, making the red window unusable for frame positioning.
A question that often comes up is whether the ground glass can still be used after film has been loaded. The answer is yes, provided you work carefully. It is possible to rewind the 120 film back onto the supply spool while leaving it inside the camera body, reinstall the ground glass for critical focusing or recomposition, and then reload the film onto the take-up spool to continue shooting from the correct frame.
The key is maintaining accurate frame tracking so you avoid overlapping exposures or skipping frames. Before attempting this during an actual shoot, I strongly recommend practicing the process a few times with a spare roll of film. Once you become comfortable with the workflow, it becomes a very practical workaround whenever precise composition or focus adjustments are needed.
LENSES & THE FOTOMAN CONES
The lens cones made for the Fotoman 617 are exceptionally well constructed. While they are not especially heavy, the longer cones can feel somewhat awkward to handle in the field.
Because replacement parts are now so difficult to find, I strongly recommend treating both your lenses and cones with great care. Unless someone eventually reproduces them through CNC machining or a similar process, original cones may become nearly impossible to replace. Even then, I personally would hesitate to trust reproductions made from plastic materials.
Perhaps manufacturing methods have improved over the years, but my own experience with plastic camera components left me cautious. A few years ago, I purchased a plastic 4×5 camera with an adapter plate for a Polaroid back. While interesting in concept, its durability and precision were questionable, particularly when paired with my Linhof 4×5. After only limited use, I stopped relying on it altogether.
So, if you own Fotoman cones, protect them carefully.
I made the lens change for two primary reasons:
(1) The shutter on the Fujinon lens was not always closing completely, allowing a slight amount of light to leak onto the first frame of each roll.
(2) Because the Fotoman ground glass is not especially bright, I appreciated the additional brightness provided by the Nikkor’s f/4.5 aperture. That said, the Fujinon remains an exceptionally sharp lens in a compact package, and there are still times when I miss its smaller size and lighter weight.
Below are links to the Posts that explain the processes I used for lens replacement and calibration.
250226: FOTOMAN 6×17 LENS CHANGE PART #1: THE LENS CONE
250324: FOTOMAN 6×17 LENS CHANGE PART #2: CALIBRATION
SWITCHING LENSES IN THE FIELD
Changing lenses on the Fotoman 6×17 can range from straightforward to awkward depending on the environment and the size of the lenses involved.
I typically travel with the camera fitted with a Nikkor SW 90mm f/4.5 stored in a large Shimoda Top Loader, while my Schneider APO-Symmar 150mm f/5.6 rides in a medium Shimoda Top Loader. Both setups are larger than they initially sound. The Nikkor is physically substantial because of its fast f/4.5 design, while the Schneider is comparatively compact but mounted inside a very large Fotoman lens cone. Swapping either lens in the field requires patience, planning, and careful handling.
When changing lenses outdoors, I keep the second Top Loader hanging from my shoulder while working. Lens changes are one of the more vulnerable moments for accidents, which is why I would never attempt one mid-roll the way I sometimes do when rewinding film for ground-glass focusing. Most of my photography takes place in swampy marshlands filled with insects, snakes, and alligators, so placing gear on the ground is simply not something I’m willing to do.
When shooting 6×17 on 120 film, I’m also not overly protective of frame count. A single composition may easily consume an entire four-frame roll. My commercial photography training drilled one idea into me early: film is cheap compared to missing the photograph. Because of that, I routinely bracket exposures and sometimes depth of field as well. I can always justify one more frame for the file copy if it means coming home with the image I wanted.
FOTOMAN 617 ACCESSORIES
The title above may be a little misleading, since many of the accessories I use with my Fotoman 617 were actually made by other manufacturers rather than Fotoman itself.
Some of the images throughout this page shows my fully accessorized 617 setup, including a viewfinder, rangefinder, bubble level, and hand strap. Fotoman produced both the dedicated viewfinder and rangefinder specifically for the camera, while the remaining accessories come from a variety of other makers.
In practice, I rarely use the rangefinder. While it can certainly be useful for close-up work, my primary interest is landscape photography, where I rely on the ground glass and hyperfocal distance focusing techniques. Those methods consistently deliver the sharpness I need. I’ve kept the rangefinder mostly for sentimental reasons since it was purchased alongside my very first Fotoman 617 kit. Like most of my photography measuring tools, I prefer working in meters rather than imperial measurements, simply because I find them easier to remember and visualize in the field.
The removable viewfinder, however, sees regular use. I often use it to compose scenes away from the camera before finalizing composition and focus on the ground glass. Each composition is typically assigned an entire roll of 120 film, giving me four exposures to work with. Since I frequently shoot black-and-white film with contrast filters, I rarely hesitate to use every frame available.
Toward the end of this page, you’ll also find my recommended filter carrier and wallet setup.
When working with filters, I discovered they require just as much protection from stray light as the lens itself. Over time I experimented with various filter holders and lens shades, but none offered the lightweight, fast, and practical solution I wanted. Eventually, I approached the problem differently, which led me to the setup shown below using the SmallRig Matte Box.
Finally, I invested in a set of custom viewing bellows originally designed for the Linhof Technorama 6×17. With a few modifications, I adapted them to attach easily to the Fotoman ground glass. The project turned out to be surprisingly simple, and I detail the process in the next section.
FOTOMAN 617 DIY VIEWING BELLOWS
I’ve never been particularly fond of using a dark cloth outdoors. In the studio, it makes perfect sense, but for landscape and travel photography, I prefer something faster and more practical. That’s one reason the Fotoman 617 fits my shooting style so well. I use the viewfinder for scouting and composing while walking a location, then switch to the ground glass for final composition and focusing.
The challenge comes from the extreme wide-angle perspective typically used with 6×17 photography. On the Fotoman ground glass, the corners and outer portions of the image become very dim, especially outdoors. Without a dark cloth, seeing those areas clearly can be difficult. Rather than fight with the problem, I decided to build my own solution.
My preference has always been a viewing bellows, but Fotoman never produced one for the camera, and I couldn’t find any aftermarket alternatives. So I began searching for something adaptable.
Eventually, I located an eBay seller, fouruo4sk, offering focusing bellows designed for the Linhof 6×17 system. After about a six-week wait for overseas shipping, the bellows finally arrived. The total cost was roughly $106 shipped, which felt reasonable given how specialized the item was.
As shown in image #1 above, the bellows are slightly larger than the Fotoman ground glass frame, but in practice that actually works to their advantage since they fit comfortably around the camera back.
The next step was figuring out how to attach them securely. After some experimentation, I found a set of 1/4″ x 1/16″ Very Tiny Round Craft Magnets that fit perfectly within the limited mounting space on the bellows. Their small size left enough room to avoid excess adhesive squeezing out around the edges.
For adhesive, I chose B7000 Jewelry Glue because it works well on both fabrics and non-porous materials and includes a precision needle applicator, which proved essential when working with such tiny magnets.
The modification itself was straightforward. I simply positioned the magnets where they would align with the Fotoman ground glass frame, keeping in mind that the bellows body is slightly oversized compared to the frame itself, as shown in image #2.
Once glued in place, the adhesive required about 24 to 36 hours to fully cure. After that, the bellows attached securely and worked beautifully, as shown in image #3.
In actual use, I first mount the ground glass onto the camera and then attach the bellows. When it’s time to remove them, I simply grab the bellows and lift. The ground glass stays attached, allowing me to slide the bellows off the frame easily while holding the ground glass safely in my hand.
If you enjoy shooting with the Fotoman 617 and have wished for a practical viewing bellows, this turned out to be a surprisingly simple and effective do-it-yourself solution.
FOTOMAN 617 + SmallRig CARBON FIBER MATTE BOX
Over the years, I’ve experimented with a wide range of lens hoods and filter systems, and one thing has always bothered me: placing filters on the outside of a hood where they remain exposed to direct sunlight. That approach can easily introduce flare, halos, contrast loss, and other unwanted optical issues. I’ve never fully understood why some photographers accept that compromise.
My original plan for the Fotoman 617 was to use a Sinar hood with an integrated 100mm filter holder. Unfortunately, with my Fuji SW 90mm f/8 lens, the setup produced noticeable vignetting. I wanted to continue using the Fuji lens, so the Sinar solution quickly fell out of favor.
Next, I experimented with an older LEE filter holder combined with an Ebony flag device that mounted into the camera’s cold shoe to shade both the lens and filters. While functional, the arrangement felt awkward and overly complicated, especially in the field. Setting it up and packing it away became more frustrating than enjoyable.
Eventually, I realized the real issue wasn’t the filters themselves but the overall hood and shading system I was trying to create. I had no desire to carry a large compendium hood like the custom one I use on my Ebony 4×5 camera. It works beautifully in the studio, but for travel and landscape photography it is bulky, awkward, and slow to deploy. Since the Fotoman is already a substantial camera, I began looking toward cinematography gear for alternatives.
That search led me to a used SmallRig carbon fiber matte box. At first glance, it seemed like an unconventional choice, but it checked every box I cared about. It accommodated my filters, included the adjustable flag system I wanted, and properly shaded the filter area from stray light. The matte box also included a 67mm adapter ring, which happened to match my Fuji lens perfectly.
I’m extremely glad I gave it a chance because it turned out to be an excellent match for the Fotoman 617. The matte box completely solved my stray-light problems while remaining genuinely lightweight thanks to its carbon fiber construction.
To complement it, I added a Wooden Camera screw-in bubble level that mounts directly on top of the matte box. From behind the camera, it allows me to quickly confirm that both the hood and filter assembly are perfectly level before making an exposure.
Overall, this setup has been one of the most satisfying refinements I’ve made to the camera. It’s quick to deploy, fits easily in my bag, introduces no vignetting, and finally gives me the filter shading solution I had been searching for.
You can read more about my experience with the matte box here.
FOTOMAN 617 + SHIMODA FILTER WRAP 100
I rely on the Shimoda Filter Wrap 100 to protect my 4×4-inch (100 mm) filters whenever I head into the landscape with my Fotoman 617. It has proven to be an excellent solution for carrying and protecting my delicate LEE gel filters during travel and field work.
The wrap is clearly designed with location photographers in mind. It’s compact, lightweight, weather-resistant, and easily attaches to a tripod for quick access while shooting. Beyond protection, it also makes identifying filters much easier in the field. I especially appreciate the zippered compartment at the bottom, which conveniently stores my Fotoman ground glass inside its wooden slide-in case.
I actually carry two of these wraps: one dedicated to black-and-white contrast filters, shown above, and another reserved for neutral density filters.
For photographers using larger filters, Shimoda also offers the Shimoda Wrap 150, designed for filters up to 150 mm × 100 mm. Depending on your setup, that may be the better choice.
FOTOMAN IMAGES
