GEAR & EQUIPMENT
My equipment choices have always been dictated by what I shoot and by the look I have in mind for my images. This is true both for my choice of cameras, lenses and filters, as well as for other fundamental parts of my kit such as support, carrying and (if necessary) lighting. I believe that as vast a knowledge of equipment as possible, in terms of different cameras, tripods, filters, and so on, is fundamental to constantly improve my work. More, mastering such knowledge is also fundamental to help my Workshop participants to make the most of their potential and to sensibly choose the equipment that best suits their workflow and shooting style.
THE ROAD TO LARGE FORMAT
When I started working professionally as a landscape photographer, back in 2010, I used medium digital backs on tech cameras – first a Silvestri Bicam, then a Linhof Techno – both equipped with some truly spectacular Rodenstock and Schneider lenses.
During the following ten years, I used medium format cameras such as the Pentax 645D and 645Z, Leica S (Typ 007), Hasselblad X1D and X1D II. While I keep learning everyday, working all over the world in all kind of environments and weather conditions I can easily say that since the advent of digital medium format I built up an extensive experience with this medium.
I always loved the aesthetics of medium format and having the ability of covering the same field of view with longer lenses, compared to 35mm. In 2024, when I felt the urge to go back to B&W film photography, having worked with a tech cam for the previous four years, tilt and shift became so ingrained in my workflow and in my way of bringing my vision to life that I wasn’t ready to give up the power of camera movements.
So, after briefly considering Medium Format analog photography, I decided to go big. Since I travel constantly for my work and I hike a lot to get to where I need to be for my photography, I settled on 4×5″ as the best Large Format size for my work. Once that decision had been made, I took all the time I needed to research, study and finally put together the best kit for my photography.
In August 2024 I finalised a 4×5″ kit based on a beautiful Arca-Swiss F-Line camera, customised to fit my needs and equipped with Rodenstock, Schneider and Nikkor large format lenses. Arca-Swiss large format cameras aren’t just perfectly designed and superbly built; they also have the advantage to be extremely flexible. With Arca-Swiss, a single camera body allows me to photograph with 4×5″ and 120 film, while still being able to accommodate a digital image acquiring solution, such as a digital back or a digital body from pretty much any brand, if needed.
I worked with my Arca-Swiss F-Line camera between September 2024 and September 2025, when I demoed an Arca-Swiss M-Two; I loved the added rigidity and sturdiness of the M-Two so much that I am now the proud owner of my own M-Two. After two years working exclusively with Large Format film, I am more and more convinced that this is the best way for me to express myself through Fine Art landscape photography.
LARGE FORMAT 4x5" PHOTOGRAPHY
GOING BACK TO FILM | Film photography accompanied me all my life. I started photographing in my teens, in the 1980s, and I never stopped since. After almost 15 years working professionally as a landscape photographer with digital cameras, and after two years of working in B&W exclusively, in 2024 I felt it was time to go back to that first love.
The aesthetics of film together with the ethics of working with large format, the overall process and workflow called me back in an irresistible way. Plus, there is simply something unique in the feeling of pulling a negative out of a developing tank and seeing my vision coming to life at the end of the whole process!
Below you’ll find a detailed list of my 4×5″ equipment, hoping it’ll help you build your own kit.
CAMERAS | After trying out different cameras, since September 2025 I settled on:
– ARCA-SWISS M-TWO 4×5″
– ARCA-SWISS F-LINE 4×5″, in my personal configuration
LENSES | Since moving to 4×5″ large format I have been experimenting with a lot of lenses. Here’s the ones currently in my lens cabinet, organised by brand:
SCHNEIDER
– Super-Angulon 47mm XL f/5.6 (14mm FOV eq.)
– Super-Angulon 72mm XL f/5.6 (20mm FOV eq.)
– Apo-Symmar 5.6/150mm (42,5mm FOV eq.)
NIKON
– Nikkor-SW 4.5/75mm S (21mm FOV eq.)
– Nikkor-SW 4.5/90mm S (27mm FOV eq.)
– Nikon Nikkor-W 5.6/150mm S (42,5mm FOV eq.)
– Nikon Nikkor-W 5.6/210mm S (59mm FOV eq.)
– Nikon Nikkor-M 9/300mm (85mm FOV eq.)
RODENSTOCK
– Rodenstock 55mm f/4.5 Apo-Grandagon (16mm FOV eq.)
FUJINON
– Fujinon-SWD 5.6/90 (27mm FOV eq.)
– CM Fujinon W 5.6/135mm (38mm FOV eq.)
– Fujinon W 5.6/150mm (42,5mm FOV eq.)
– Fujinon W 5.6/180mm (50mm FOV eq.)
– CM Fujinon W 5.6/250mm (70mm FOV eq.)
– Fujinon T 8/300mm (85mm FOV eq.)
ACCESSORIES | Last but not least, here’s a list of accessories allowing me to make the most of my 4×5″ system:
– 12 x Chamonix 4×5″ Film Holder
– 6 x Fidelity Elite 4×5″ Film Holder
– 2 x Pentax Digital Spotmeter
– Reveni Labs Spot Meter Mk.2
– ETONE LOUPE 6X (paid link)
– 2 x Wanderer Photo Gear Dark Cloth, Ultra Light
120 FILM AND LARGE FORMAT | Both my Arca-Swiss 4×5″ cameras are extremely flexible, allowing me to use 120 film (or even a digital back) if needed. This can be useful when carrying 4×5″ film is less practical, or when I need the option to have more shots in a single outing, and so on. In addition to my 4×5″ kit, in my 120 bag you’ll find:
– Rodenstock APO-Grandagon 35mm f/4.5
– Schneider Super-Angulon 38mm XL f/5.6
– Horseman 6×7 film holder
– Horseman 6×9 film holder
– Horseman 6×12 film holder
OTHER CAMERAS | Besides my main 4×5″ Arca-Swiss film system, in the field I carry a FUJIFILM GFX100RF (paid link), a 100Mp, fixed-lens compact medium format camera I have been enjoying using for my Fine Art landscape work (see my FUJIFILM GFX100RF review).
(As an Amazon Associate I earn from qualifying purchases)
DIGITISING NEGATIVES
SCANNER OR DIGITAL CAMERA? | When I went back to film, I decided I wasn’t going to do darkroom printing anymore. After developing them in-house, I would digitise, post-process and print my negatives digitally. To do so, at first I used an Epson V850 Pro scanner. I loved the files, but both my volumes and the fact that Epson discontinued the V850 Pro, the last scanner available new that could digitise large format negatives, made me decide to move to the following camera-based digitising solution instead. This, to me, currently is the best compromise between file quality, workflow efficiency and future-proofness on the market.
CAMERA & LENS | After trying out different solutions, I settled for:
– FUJIFILM GFX100S II (paid link)
– FUJIFILM 120MM F/4 MACRO R LM OIS WR (paid link)
STAND | Rather than going for one of those pre-built kits, which I never found supported a really efficient, flexible and fast workflow, I decided to build my own. As a reproduction stand I went for the KAISER RS 10 REPRO (paid link), heavy and sturdy enough for my needs. I then added a LED light panel, featuring variable colour temperature and CRI 95. To make sure my negatives were absolutely flat, I built a set of two glass panes, one anti-Newton rings and the other one anti-reflective to sandwich them in, and I was good to go.
(As an Amazon Associate I earn from qualifying purchases)
FILTERS
FILTERS | For my work, high quality filters are as important as cameras and lenses; they bring me as close as possible to creating the images I envision directly in camera, helping me to reduce my post-processing to a minimum. Filters allow me to balance the light and to control saturation and reflections in my images. Crucially, they provide me with complete control over shutter speed, thus becoming great expressive and compositional tools.
Since 2024, thanks to the control over tonal range allowed by B&W film, I don’t need to use square Grad ND filters anymore. Therefore, to keep things as light and compact as possible, I built a kit with 95mm Kase magnetic round filters which I adapt to all my lenses. Here’s my dedicated analog filter kit:
– CPL Circular Polariser
– 3-stop, 6-stop and 10-stop ND filters
– Orange #21 and Red #25 filters
For those of you needing 100mm square filters, see my BEST FILTERS FOR LANDSCAPE PHOTOGRAPHY and BEST 100MM FILTER HOLDER FOR LANDSCAPE PHOTOGRAPHY articles for a full comparison of 100mm square filter systems.
LENS COVER | Rather than using lens caps, I much prefer to always leave a filter holder’s adapter ring on each lens I carry. This way, I am always ready to work without the hassle of screwing adapter rings on and off my lenses, something I find unpractical – and potentially dangerous! – in many situations, such as cold weather, when in precarious balance conditions, and so on.
For my large format lenses, I installed a magnetic inlaid ring on each lens allowing me to swap a Kase magnetic lens cap with my magnetic round filters in seconds. This system offers great protection and is very fast to use in the field.
For lenses needing a square filter kit, I use a LENSCOAT HOODIE (SMALL) (paid link) on each lens I carry. The hoodie offers the same protection as a lens cap, or better, and it only takes a second to take it on and off my lenses.
(As an Amazon Associate I earn from qualifying purchases)
NYA-EVO BAGS
BAGS | I travel and hike a lot for my work, in all kinds of environments and under any kind of weather. While I do my best to minimise the equipment I carry, to be as effective and efficient as possible I still need to carry a hefty amount of gear. To do that as easily as possible, I need a truly comfortable bag, one that allows me to carry what I need with the least effort and the best balance. I also need a bag that is durable and able to withstand all the travel I do as well as the hard weather and though environmental conditions I work in.
After years spent trying to find the perfect bag, I finally settled for NYA-EVO bags for my large format gear. For me, they are simply the best bags out there, bar none.
NYA-EVO AMBASSADOR | I have been a proud NYA-EVO Ambassador since 2023. Today, both myself and my wife are using exclusively NYA-EVO bags to carry our gear in the field.
NYA-EVO bags are not just built like a tank; they are intelligently organised to carry all our stuff and then some. Most importantly, they are without question the most comfortable bag to carry that we ever used, and this makes a huge difference when carrying them for long walks and hikes.
For my 4×5″ film & digital kit, I use the new, very light:
– FJORD 50-C ECONYL backpack with
– LARGE RCI (GEN 3)
For her FujiFilm X-T4 kit, my wife uses:
– FJORD 36 ECONYL backpack with
– MEDIUM RCI (GEN 3)
DISCOUNT | As a NYA-EVO Ambassador, I am happy to offer you a 10% discount on all your purchases! Just use code VIERI10FORU on NYA-EVO EUROPE or NYA-EVO USA website (paid links), and your discount will automatically show up in your shopping cart. Enjoy!
CLOTHING | Working for about 6 months a year in the field, often in extreme weather conditions, clothing is a fundamental part of my equipment.
For maximum flexibility, I prefer to dress in layers, and I use merino clothes as much as possible due to their amazing thermal proprieties, lightness and ability to pack small. I use Mammut down jackets & shells for their comfort, thermal proprieties & durability and SCARPA RIBELLE HD (paid link) shoes for their sturdiness, precision and reliability.
(As an Amazon Associate I earn from qualifying purchases)
SUPPORT: TRIPODS & HEADS
TRIPODS | For landscape photography, the importance of a great tripod can never be overestimated. Even the best camera in the world will output mediocre results if your supporting platform is not stable enough. This is true with any camera and becomes more and more evident as you progress working with higher Mp count cameras and better lenses, and with cameras with larger sensor or film sizes.
The best tripods for me, and the ones I recommend, are made by Gitzo, Really Right Stuff and FLM. Currently, my tripods of choice are:
– GITZO Systematic GT5543XLS, a.k.a. The Beast
– Really Right Stuff TFC-34L MkII as backup
– FLM CP26-TRAVEL II, as a small and light backup
TRIPOD HEADS | Besides a tripod, a head is of fundamental importance to ensure your camera’s stability in the field. I also favour having a strap on cameras supporting it, if nothing else, even with the camera always on a tripod, to hold on to in conditions of precarious stability.
To support my equipment in the field, I use and recommend Arca-Swiss ballheads, for me the absolute best on the market. On my tripod, you’ll find:
– ARCA-SWISS MONOBALL Z1+ dp (for large format)
– ARCA-SWISS MONOBALL P0 CLASSIC (read my REVIEW)
– ARCA-SWISS MONOBALL P0 HYBRID
As well, currently I am lucky enough to have some demo heads from Arca-Swiss for our LANDSCAPE PHOTOGRAPHY WORKSHOP‘s participants, to introduce everyone to the superior stability that these little gems allow.
LIGHTING | Last, when I work on my architectural Portfolio or when I am on assignment doing commissioned work, either to complement the sunlight or when the sunlight is not enough, I use GODOX AD400 PRO flashes (paid link) with various light modifiers.
(As an Amazon Associate I earn from qualifying purchases)
THE HEAT COMPANY
In particular, I use their MERINO LINER PRO paired with their SHELL, adding HAND WARMERS in either the liners or the shell (or both) as needed. This combination provides me with the best thermal insulation together with maximum flexibility in use, allowing me to modulate the level of heat and of camera control according to the situation.
Starting in October 2020, I am proud to be partnering with The Heat Company! As such, I am very happy to offer you a discount on their amazing products, with no kickback whatsoever to me. CONTACT ME to get your discount code!
ANY QUESTIONS?
If you have any questions about Arca-Swiss digital and film cameras and their amazing ballheads, my 4×5″ film gear, NYA-EVO bags, The Heat Company gloves & accessories or the rest of my gear, or if you want to talk about about landscape photography, about art or about my work, or if you are interested in my unique LANDSCAPE PHOTOGRAPHY WORKSHOPS with attendance limited to just THREE participants or One-on-One, or if you want to bring home the magic with my FINE ART PRINTS, CONTACT ME, I am always happy to hear from you!