The image displays the name DAMIR PILDEK in bold, uppercase black letters on a white background.

HANDMADE ULTRA LARGE FORMAT CAMERA
 KLARISA 2020

A wooden ultra large format camera 20x20 inch with black accordion bellows, metal supports, and a large lens sits on a base against a vintage-style backdrop featuring trees and a decorative railing.
PREPARING TO START
After starting to work in a large format (4x5), I wanted to work with picture formats that I could exhibit directly. The technology and materials are the same, and the shooting is the same(?), but you need an ULTRA-LARGE format CAMERA for that kind of shooting. I looked at the ads and immediately concluded that buying a large camera was out of the question.
Since I've been working in and around the workshop all my life, it was logical that I try to make my own camera.
I didn't even have all the necessary tools, considering that I worked more in metal than wood, but I still went on an adventure with tools that belonged more to the hobby than professional tools.
I had no choice, so the decision was easy.
Of the material that would be suitable, I only had massive old oak frames for the shop window, 50-year-old oak that was well stored and healthy.
The idea was for the output format to be 40x50cm and only for the collodion cassette.
After viewing hundreds of photos of large-format cameras from various manufacturers, I found the CHAMONIX cameras to be the most appealing.
That was a foundation for further work.
Drawing, redrawing, and constructing according to the materials took some time, and the camera's final shape slowly began to emerge.

I conducted several simulations of the shape and size of the front and rear standards to make a final decision.
A cluttered workshop with tools, wooden shelves, a workbench, saw, vacuum, and various equipment. Sunlight enters through large windows, and colorful garage signs hang on the back wall.
A workbench in a workshop holds wooden frames, tools, and various woodworking materials. The background shows a fire extinguisher, ladder, and panel leaning against the wall.
A wooden workbench with woodworking tools, wooden pieces, a metal square, a caliper, and papers. A partially assembled wooden frame is on the bench, with a window and an air compressor in the background.
BEGINNING FROM THE END
To make sure that there will be no surprises, I started the work from the BACK STANDARD AND THE CASSETTE.
The back standard is cut from oak and planed and cut into sections. I started assembling from the frame of the rear standard (56 cm x 56 cm), which serves to accept the cassette. I also cut the parts for the cassette and checked the dimensions to ensure the cassette and the back standard matched. I glued everything and reinforced the corners.
Wooden planks and strips are arranged on a table saw in a workshop, ready for further cutting or assembly. Various woodworking tools and materials are visible in the background.
Several wooden planks are neatly arranged on a workbench in front of a blue Scheppach woodworking machine, with various tools and a red measuring stick nearby in a workshop setting.
Several pieces of cut wooden boards of various lengths and widths are neatly arranged on a wooden table, ready for assembly in a workshop setting.
A woodworking table with wooden pieces, a wooden frame, measuring tools, papers, and an air compressor underneath. The table is set near a window in a workshop with a concrete floor.
A woodworking table with wooden boards held together by metal clamps, papers and tools scattered nearby, suggesting an ongoing carpentry project.
A wooden frame is being assembled on a workbench using corner clamps. Nearby are tools, wooden dowels, a metal ruler, and a bottle of wood glue. Sunlight shines through a window with cracked glass.
A rectangular wooden frame under construction sits on a workbench, surrounded by tools and papers, with a window in the background.
A partially assembled wooden frame lies on a table next to a cordless power drill, suggesting a woodworking or DIY project in progress. The workspace has a wood surface and some tools visible.
Close-up of a wooden frame with precisely joined corners, showing the grain and layered texture of the wood, as well as screws securing the pieces together.
After everything was assembled, a sensitive part of the cassette remained, specifically the light stopper, which prevents light from entering the inside of the cassette.
The slides are cut, and the cassette is assembled
Three wooden pieces, one metal rod, and two small metal brackets are laid out on a light brown wooden surface, possibly as parts for assembling an item.
A close-up of a corner of a wooden and glass frame, showing two screws securing the wood, with the frame resting on a wood-textured surface.
A large black glass panel with a light wooden frame stands upright on a workbench. Tools, eyeglasses, and license plates hang on the wall behind it. The workspace looks organized and tidy.
Close-up of a wooden frame corner secured with two silver screws, with a black panel inserted into the top. Background includes a metal tool and a partially visible sign with the words LEAVE EVERYTHING BEHIND.
A rectangular wooden frame with a black surface is placed on a workbench. Behind it are woodworking tools, glue, and another smaller wooden frame, set against a wood-paneled wall.
A close-up of a wooden frame being assembled around a black metal panel with four circular holes along one edge, resting on a wooden surface.
A wooden cabinet door with a metal hinge and handle is placed on a workbench, surrounded by various tools in a workshop setting.
A woodworking bench with tools hanging above, displaying a partially assembled wooden frame with a black panel, a screwdriver, and various other tools and materials in a workshop setting.
A partially assembled black and wood cabinet sits on a workbench in a workshop, with its panels and frame laid out and tools, drawers, and license plates visible in the background.
A workbench with two wooden cabinets, tools, and measuring equipment. On the wall behind are vintage license plates, a black-and-white building photo, and a blue garage sign. Various wood pieces surround the workspace.
FRONT STANDARD
The front standard is for a lensboard of 25x25 cm. The frame is also made from oak, and the lensboard is from mediapan. Stoppers are made of brass. You can see that even the smallest part of the camera is bigger than an ordinary 4x5-inch format camera. The lens is not the right one for dimension perception because it has a focal length of 500mm and an aperture of f/5, which is massive.
A close-up of a metal plate with three screw holes attached to the corner of a wooden frame on a dark textured surface.
A wooden frame is held together with four black metal clamps and a hand plane rests on one side, all on a light-colored workbench in a woodworking setting.
A small rectangular black chalkboard with a wooden frame and two metal brackets, lying flat on a wooden floor.
Three vintage cameras of varying sizes are displayed on a wooden frame with a black base. The largest is a large lens, the middle is a classic rangefinder, and the smallest resembles a miniature toy camera.
A large vintage camera lens and a silver Leica camera top plate are displayed on a black square with a wooden frame, viewed from above.
A close-up of a mitered corner joint made from metal on a wood-grain surface, showing precise angles and clean lines where the metal pieces connect.
Close-up of a metal bracket with two screw holes mounted on the corner of a wooden frame, with a black surface in the background.
A large round lens is mounted at the center of a square wooden frame with a black panel. A small battery is placed beneath the frame on a wooden floor for scale.
A close-up of a brass hinge or latch, attached with two screws to a wooden frame and a black panel, possibly part of a piece of furniture or equipment.
Close-up of a blue wing nut attached to a metal and wood frame, with a black panel on one side. The hardware appears to be part of an adjustable or modular structure.
MECHANIC & BASE PLATE SLIDERS
The base plate is cut from lighter but stronger wood. The sliding plate of the front standard is made of oak for strength. The side slides and the screw for precise sharpening are made of steel (CNC parts). The hinges of the latest standard are also metal. Aluminum "L" profiles are installed as guide holders for the front standard and extend the entire length of the base plate to increase strength.
All metal parts are finally anodized in black.
Close-up of a metal linear rail and carriage block, commonly used in CNC machines or 3D printers, mounted on a wooden surface. The carriage has green and red plastic components and is attached to the rail with screws.
A pencil, two metal linear rails, and three linear rail blocks, some in plastic packaging, are laid out on a wooden surface. One rail and block set is partially assembled inside a plastic sleeve.
Close-up of a woodworking project showing wooden pieces joined with a metal hinge and bracket, on a workbench with tools and additional wood parts in the background.
A wooden frame structure with glass panels lies partially assembled on a workbench in a workshop. Tools, glue, and neatly arranged screwdrivers are visible in the background.
Close-up of a metal linear rail with three green and red slider blocks mounted between two wooden boards, one light-colored with drilled holes and the other partially black-painted.
A close-up of a wooden frame joint with a metal hinge, showing precise carpentry work. The frame rests on a black and brown wooden surface with various workshop tools partially visible in the background.
Wood and metal parts, including a threaded rod with a bearing, metal ruler, hex keys, and a piece of wood with grooves, are arranged on a black workbench, suggesting a woodworking or mechanical assembly in progress.
A close-up of a wooden board with a metal lead screw mechanism mounted along its length, featuring a coupling and support bracket, on a workbench in a workshop.
A wooden board with metal rails and a rod mechanism is placed on a black platform, surrounded by tools and workshop materials on a workbench.
A close-up of a wooden board being aligned in a woodworking jig, with measurement guides and a black adjustable stop on a workbench scattered with tools and screws.
A close-up of a metal frame corner joint on a wood-textured surface, showing precise mitered edges and clean lines.
FOCUSING SCREEN
A few hours of grinding finally clouded the glass enough to call it sharpening glass.
One little note: while you are grinding the glass and it is wet, you cannot judge the quality of the matte surface. The glass must be dry to consider opacity.
After finishing the sharpening of the glass, I blackened the edges and installed brackets to secure the glass in place. Under the metal part is a thin plate made of soft plastic, designed to prevent the glass from breaking in the event of impact or sudden temperature changes.
A large, semi-transparent glass panel with textured, abstract patterns that resemble swirling, feather-like shapes stands upright in front of a window, reflecting light and casting soft shadows.
A wooden-framed glass panel with hinges lies on a workbench, surrounded by tools like a metal ruler, tape, glue, square, screws, and a cutting mat. A window and wood pieces are in the background.
Close-up of a wooden frame with a black metal mounting bracket attached by two screws, resting against a reflective surface.
A square wooden frame with a frosted glass or plastic center and metal hinges sits on a small, hexagonal outdoor table with black metal chairs nearby.
ASEMBLING & MECHANICAL TESTING
After the mechanical part of the camera was complete, I assembled all the parts to verify that everything worked as intended. The camera can move in all directions, the front and rear standards have large movements, and the cassette and glass fit tightly as they should. The pictures also show the camera extensions. The most significant extension is 1400 mm, and the smallest is 280 mm. In the first picture, the Sinar 4x5 and the camera Klarisa 20x20 were recorded together for size comparison.
Two vintage large format cameras on tripods are set up indoors, one wooden with a bellows and large lens, the other smaller and black, against an ornate, painted backdrop showing a garden scene.
A large-format wooden view camera with a ground glass focusing screen and bellows, mounted on a tripod, is set against a vintage grayscale backdrop.
A large format wooden field camera with a lens mounted on the front, shown against a green backdrop. The camera has an open frame and metal supports, with no bellows attached.
A large format wooden camera without a lens or ground glass, showing its frame and base, is mounted on a tripod in front of a green backdrop.
A large format wooden view camera on a tripod stands in front of a green screen, featuring a black lens, bellows frame, and adjustable metal supports.
A large format wooden view camera is set up on a tripod, with a smaller Nikon film camera placed on its base, against a plain green background.
A large format wooden field camera with a long bellows, extended on a tripod in front of a green screen backdrop. The lens and ground glass focusing screen are visible at opposite ends of the camera.
A large format wooden camera with metal supports is set up on a tripod in front of a green screen background. The camera is viewed from the side, showing its extendable bellows and frame.
A large format wooden camera with a bellows and metal supports is mounted on a tripod, set against a plain green background. The camera is shown in a side profile view.
A large format wooden field camera with a bellows and a ground glass focusing screen, set up on a tripod against a green screen background.
ASEMBLING BELLOWS
The camera below is one of the most challenging components to manufacture. They consist of many parts, and the assembly does not tolerate mistakes. After all, when you work with glues, you do everything - just once - or you must start from the beginning again.
I started by drawing the bellows' shape and size according to the back standard's size. Initially, it was clear that it would be a "big bite."
I printed the drawing on thin, strong cardboard (400g). Since the below are huge, I had to print individual pages on two A0 sheets. So I got eight prints that I should put together on canvas.
After printing, I cut out all the folds and edges of the ribs, which was quite a long process. After cutting, I connect all ribs with adhesive tape. The ribs are connected with adhesive tape, and everything is ready to be transferred to the fabric.
I had two choices for the glue that I could use to glue paper and fabric. Neoprene glue would be best, but it does not allow for mistakes in the positioning of the ribs. When the paper and fabric smeared with neoprene glue are joined together, corrections cannot be made anymore because the paper and fabric cannot be separated.
Another choice was PVA bookbinding glue. It is easy to apply and gives enough time for possible corrections. However, the problem lies in determining the correct glue density for a specific fabric. Namely, if it is too thin, it will pass through the fabric to the other side, leaving unwanted stains. If the glue is too thick, it dries quickly and loses its stickiness. I slightly thinned the glue with water.
But if the devil is in the details!
Before gluing, the fabric should be washed in water and then ironed, as washing alters its dimensions. The fabric is shrinking. Thus, problems arise with the final connection of both ends of the bellows.
I could adjust the ends of the bellows with some struggling and glue them into the final shape.
All that remained was to glue the end plates, which fasten the bellows to the camera.
A man lies on his back with arms and legs outstretched on large sheets of paper covered in charts or graphs, spread across a red carpeted floor in an indoor setting.
A man stands with arms outstretched in front of a large, wall-mounted object shaped like a grand piano, with a partial keyboard visible. The room has scattered electronic equipment and a chair on a tiled floor.
A sheet of white paper with evenly spaced slits is curved upwards, casting striped shadows of light and shadow onto the white surface below.
A close-up of a curved measuring scale with numbered lines and small rods, illuminated by a round overhead lamp against a beige background. Detail of the construction of a bellows for an ultra-large format camera
A workbench with a rectangular wooden panel and a sheet marked with numbered columns from 1 to 32, separated by strips of masking tape. Tools and other materials are visible around the workspace. Detail of the construction of a bellows for an ultra-large format camera
A close-up view of a numbered chart with black numbers (62 to 69 visible) printed on white rows and yellow columns, creating a grid pattern that extends into the distance. Detail of the construction of a bellows for an ultra-large format camera
Several white paper strips with pointed ends are arranged on a wooden surface, with some separate small white paper triangles scattered nearby. Detail of the construction of a bellows for an ultra-large format camera
A curved surface with a grid marked by lines and numbers lies on the floor. A wooden square with a white cylinder is at the center. Nearby, electronic devices and tools are set on a glass surface. The background shows a tiled floor. Detail of the construction of a bellows for an ultra-large format camera
A large, curved chart with columns and zigzag lines is displayed on a black surface. A small camera is mounted near the center of the chart, which appears to be used for data or pattern analysis. Detail of the construction of a bellows for an ultra-large format camera
A close-up of a large, black and brown accordion-style flexible object on a tiled floor, possibly a bellows or a collapsible duct segment. Detail of the construction of a bellows for an ultra-large format camera
A large, black, pleated and accordion-like geometric lampshade with beige edges sits on a tiled floor in a room with visible skirting boards and wooden flooring in the background. Detail of the construction of a bellows for an ultra-large format camera
A wooden frame with a circular opening, possibly a part of a musical instrument, sits on a workbench covered with black fabric. Tools like scissors and clamps are scattered around. Detail of the construction of a bellows for an ultra-large format camera
Several red and black clamps hold the frame of a chair seat together on a workbench, securing fabric and materials in place during what appears to be a furniture repair or upholstery project. Detail of the construction of a bellows for an ultra-large format camera
rbt
AND FINALLY - HER MAJESTY - THE ULTRA LARGE FORMAT CAMERA  - KLARISA 2020
After considerable mental effort and a lot of work, I finally finished the camera. Of course, I immediately tried it and concluded that all that significant effort was worth it.
I could have started by making a more miniature camera, but .... why????
The reason is that all large-format cameras are the same; only the parts of which they are composed are larger or smaller.
That's why I chose what I can't buy, but I can make.
LET'S MOVE ON!
A large vintage wooden bellows camera on a sturdy tripod stands indoors next to a round wooden table and a black chair, with a monochrome scenic backdrop behind them.
A large format vintage wooden camera with a bellows, mounted on a tripod, stands in front of a black and white backdrop with a garden scene.
A large-format wooden bellows camera is set up in a studio with a decorative backdrop. A small wooden artist’s mannequin and a camera are on a round wooden table in the foreground.
A large-format vintage wooden camera with a bellows and a circular lens is mounted on a sturdy tripod, set against a blurred, nature-themed backdrop.
A large vintage bellows camera on a stand is positioned in front of a black-and-white painted backdrop. A small wooden table nearby holds a mannequin and a modern camera.
A large wooden box camera on a tripod stands in front of a black-and-white backdrop. Next to it, a round wooden table holds a small camera and a wooden artist mannequin with raised arms.
A large vintage wooden camera with bellows sits on a wooden tripod in front of a black-and-white painted backdrop, beside a small round wooden table.
A man with gray hair and a beard, wearing a blue shirt and beige pants, stands beside a large vintage wooden camera on a tripod, against a black-and-white studio backdrop.
rbt
A man with gray hair and glasses stands beside a large vintage wooden camera with a black accordion-style bellows, positioned against a monochrome scenic backdrop.
A large format camera with a bellows and wooden frame is mounted on a wooden tripod stand in front of a photographic backdrop of water and trees, on a shiny black tiled floor.
A man in a plaid shirt sits on a green bench with arms crossed, next to a large vintage wooden and metal bellows camera on wheels, in a studio setting.
© Copyright - Damir Pildek 
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