Darlene Almeda loves to share her passion for photography. Her own words and certainly true. When you’re a regular follower of a forum like GetDPI, you’ve probably come across her posts. Her contributions are always knowledgeable and to the point, without being marred by an inflated ego. The latter can make reading through forums pretty tiresome after all.

Replying to a client’s email about early pancake cameras, I noticed Darlene’s write-up about the Cambo Wide system. A camera from the film era, initially designed to offer large format photographers a compact tool to shoot wide-angle. A thorough article blending factual information about the Wide with Darlene’s personal experiences. Detailed enough to make my replies pretty redundant. With her kind permission, I quote the article from Darlene’s website here. After that, a few words about the photographer herself.

Words and photos by Darlene Almeda

My first 4×5 film setup was a Calumet 45N (made by Cambo), paired with a Schneider 210mm f/5.6 – a student kit from my early days studying product photography in advertising art school. That camera was my introduction to large format, and while it wasn’t glamorous, it got the job done and taught me the fundamentals. As I gained more experience with monorail cameras in the studio, I moved on to Linhof, Sinar, and Arca Swiss systems – mostly because I stumbled across good second-hand deals from local sellers. Still, I always had a soft spot for that early Cambo. I would lust after their Master model in the Calumet catalog and if the chance had come up to own one back then, I wouldn’t have hesitated.

Today, I’ve come full circle in a way. My current 6×12 panoramic film kit features the Cambo Wide 650- a camera I’ve grown to love for its simplicity and quality build. No bellows, no fuss – just a beautifully made tool that lets me shoot both 4×5 and 120 film. And if I feel like going digital, I can even stitch a panoramic image using my digital back.

This page is about my experiences with the Cambo Wide 650 – how I carry it, how I use it, and why it’s earned a permanent place in my kit. Funny how some cameras just find their way back into your hands, and this time, I’m not letting go.

The Cambo Wide 650

When I began exploring cameras for panoramic film photography, the Linhof 6×12 and 6×17 models caught my eye. However, they were too expensive for such a niche format. While I sometimes use my Ebony 4×5 for 6×12 shooting, I wanted a dedicated 6×12 camera with rise and fall that I could customize to my specific needs.

After some research, I discovered the older version of the Cambo Wide before it evolved into a digital model. It piqued my interest enough to start looking for one in great shape, and after a few months, I found the model I decided on: the 650 with its Schneider Super Angulon 65/5.6 lens. You can read many of the Cambo Wide’s specs in the above graphic.

Suppose you are familiar with and enjoy pancake-style digital cameras such as Alpa, Arca Swiss and Cambo. In that case, the Cambo Wide line of 4×5 cameras might interest you for shooting 4×5 and 120 films.

An Early Pancake Style 4×5 Camera

The graphic above shows side profiles of my Cambo Wide 650 (CW 650) in the various shooting configurations I’ve used. You can see how the camera’s depth changes with each setup. Image #1 shows the camera with the ground glass attached – minus the protective cover – to illustrate its minimal depth. Image #2 displays the camera with a standard 4×5 film holder, while image #3 features the Cambo C-243 6×12 magazine.

With the 6×12 magazine, that final configuration is now my go-to setup for shooting panoramics with the CW 650.

[Note: The Schneider Super-Angulon 65mm is a fine lens that still holds its own with any modern digital back. In this blog it’s featured with a Phase One IQ4-150.]

My Journey With The Cambo Wide 650

Camera Movements: Know Before You Buy

Why Rise and Fall Matter

I regularly use the rise and fall controls in my compositions, and it’s one of the reasons I’ve come to love the CW 650 for 6×12 panoramic work. You’ll notice in the image above that I keep the lens rotated to allow rise and fall – it’s my default setup. As a shorter photographer, I especially appreciate the large round turn knob. It makes adjusting the horizon from the ground glass quick and painless, no step stool required.

Service & Support: Precision Matters

After a few years of regular use, I sent my CW 650 to Precision Camera Works (PCW) for a CLA and tune-up – tightening the rails, checking the flash sync, and giving everything a good once-over. I made that investment because I genuinely enjoy using the camera and plan to keep it in my lineup. If your Cambo Wide ever needs servicing, look up Bob Watkins at PCW. He knows these cameras inside and out.

DIY Ground Glass Masking

I’ve used blue painter’s tape for years to mark off the 6×12 frame lines. It peels off clean, though the poor grid lines above and below the frame have long since vanished—casualties of my enthusiastic taping. Doesn’t bother me one bit when I’m shooting 4×5; I like having a clean window to frame the world. But 6×12, I need a little structure, and a few strips of blue tape do the trick.

The Perfect Focal Length

The 65mm lens hits the sweet spot for me. It delivers wide, dramatic views without the distorted “look-at-me” effect some ultra-wide lenses can produce. Back when I shot 6×12 on my 4×5, my go-to was the Rodenstock 65mm f/4.5. So, it’s no surprise the CW 650, paired with the same focal length, felt like home.

Performance in the Field

How well a camera performs outdoors is crucial. I use several systems for landscape photography – my 4×5 takes the longest to set up, while my Fotoman 617 is the quickest. If a camera slows me down or needs constant babying in the wild, I let it go. But after more than five years with the CW 650, I can say this one’s a keeper. Its simplicity, precision, and panoramic functionality make it a joy to use in the field.

Refining the Workflow

Over time, I’ve fine-tuned my setup for speed and ease. The combo of the custom 6×12 masking on the ground glass and the Linhof 6×12 viewfinder makes pre-visualization a breeze. It cuts down on setup time and helps me work faster when the light is fleeting.

Oh—and yes, that’s sports tape on the side handle. It’s one of my favorite little hacks. It gives me a solid grip for pulling the camera out of its case, with the 65mm lens already mounted and ready to roll.

My shooting flow now feels seamless:
Mount the camera → focus (ground glass or hyperfocal—I’ve tested mine for accuracy and recommend you do the same) → close the shutter → load the film back → cock the shutter → take the shot.

Simple. Reliable. Quick.
Exactly what I want when I’m standing in a field with the wind in my face and the light about to change.

To read more aobut living with a Cambo Wide please check out Darlene’s Photo Scapes Website.

Although the Wide was never intended for studio still live shooting – we offer other tools for those tasks – Darlene’s article about shooting tulips with here Wide-650 is highly recommendable. A simple Canon close-up lens gave the Schneider the requested close-up capabilities. Obviously not a solution for ‘pixel peepers’ but in this case we’re not talking pixels anyway and besides that Darlene decided to hand color the image. As mentioned, very interesting to read how she achieved this stunning result. Being Dutch, we have a soft spot for tulips I reckon.

A few words about the owner of the Wide 650 camera portrayed above: Darlene Almeda was a commercial photographer for over 25 years. As one of her most memorable photo sessions she mentions one with Ray Charles. You can only envy her for that.

Darlene has never limited herself to commercial work. She’s a visual artist and has taught art and photography for many years at schools and during one-on-one workshops. Although she greatly enjoyed her part-time teaching vocation, she decided to retire from teaching a few years ago. It simply became impossible to combine it with art projects, travels, many other interests, and – last but not least – a private life.

As an artist who has not only studied Advertising Photography, but also Graphic Design, Creative Writing, and Illustration, Darlene has a broad knowledge of the technical side of photography and the art form, its history, and its context. Her website, photoscapes.com, bears testimony to this. It provides insightful articles about gear, techniques, and experiments, supplemented with book reviews and personal observations. Whether you’d like to know more about Infrared Photography, how to venture into Large Format Analogue, or the great American icons, this place is definitely worth a visit.

When asked which photographers have inspired here, Darlene mentions Alfred Stieglitz as an all-time favourite of hers. An American icon indeed. “It changes over time as I discover more. One photographer whose work has stayed with me since I first discovered it over forty years ago is William Clift. His 8×10 black and white images continue to inspire me today. I’m also drawn to those whose work reflects a genuine love for the art itself; that kind of joy always finds its way into the image. Two photographers I have been admiring for the past few years are Marco Ristuccia for his creative use of light, form, and color, especially with architectural elements, and Michael Jackson, who creates beautiful abstract images with “cameraless photography”.

Thank you for sharing your knowledge and images with us, Darlene.