In the past, I strongly preferred Arca Swiss field film cameras. When medium-format digital systems finally reached a quality level I was happy with, I initially chose the Arca Swiss ML2. I used it for about a year in the studio, but ultimately, it didn’t quite meet my expectations. There was a slight amount of play in the movements that became frustrating over time, though in fairness, most bellows-based technical cameras I’ve used tend to have some slop.

Medium-format digital options were limited at the time, so I started exploring alternatives.

That’s when I switched to the ALPA Max. Its helicoid-mounted lenses offered precision without the slop, and it was far easier to travel with than a monorail setup. If the Arca Swiss R-Line had been available then, I might have considered it—but it wasn’t on the market yet.

I still have a deep appreciation for Arca Swiss film cameras, especially their 4×5 and 6×9 systems, which I thoroughly enjoyed using. However, I found other systems better suited to my needs for digital color work. That said, I wouldn’t mind owning another F-Classic 4×5 or 6×9 someday—if the opportunity felt right.

These days, my landscape work leans toward wide and ultra-wide lenses, and the Ebony RSW field camera is a better fit for how I shoot now. Still, for anyone working in large format or 120 film, I highly recommend Arca Swiss cameras—they’re beautifully engineered and remain among the finest tools available for precision film work.