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 it never quite met my expectations. There was a slight amount of play in the movements that became increasingly frustrating over time, especially when working with a digital back, where precision is far less forgiving than with film.

To be fair, most bellows based technical cameras I’ve used exhibit some degree of play, but the ML2 was designed with digital use in mind, which made that limitation harder to overlook.

The problem became most apparent during product photography using a macro lens. At macro magnifications, even the slightest amount of movement is amplified, and what might be insignificant at normal working distances becomes increasingly difficult to control. At the time, product macro photography made up a significant portion of my commercial work, and I found myself spending more time compensating for the camera than concentrating on the subject. When a tool begins getting in the way of the work it was designed to accomplish, it is time to move on. That ultimately led me to sell the ML2.

At the time, medium format digital options were still fairly limited, so I began exploring alternatives.

That search led me to the ALPA Max. Its helicoid mounted lenses, combined with extension and macro spacers when needed, provided a level of precision that eliminated the issue entirely. The system also proved far better suited to both my studio workflow and travel than a bellows based monorail. Had the Arca Swiss R line been available then, I might have considered it, but it simply wasn’t an option at the time.

That experience also made me cautious about purchasing another Arca Swiss digital view camera without first spending meaningful time with it. Today, I would probably rent a Cambo Actus before making another investment in a bellows based digital camera. Unfortunately, one of the realities of modern photography is that very few camera stores still carry this type of specialized equipment, making hands on evaluation nearly impossible before committing to such a substantial investment.

For my own macro work, I continue to prefer helicoid focusing because of its precision. My ideal setup is a rail camera combined with a helicoid mounted macro lens, which is the solution I eventually adopted, just not with an Arca Swiss system.

I still have an appreciation for Arca Swiss 4×5 and 6×9 film cameras, which I enjoyed using. However, for digital color work, I found other systems better suited to my needs. That said, I wouldn’t hesitate to own another F Classic 4×5 or 6×9 if the right opportunity came along.

These days, my landscape work leans toward wide and ultra wide lenses, and cameras like the Ebony RSW field camera and the Cambo Wide 580 and 650 align more naturally with how I approach 4×5 and 6×12 film.

For anyone working in large format or 120 film, I still recommend Arca Swiss field cameras. They are thoughtfully engineered and remain among the finest tools available for precision film work. When it comes to their digital platform, though, my experience was less convincing, and I can only speak to that honestly.