Old wooden structure on the shore of the Solway Firth, Cumbria, England

Twelve Months of 4×5 – A One Shot Story

By Ryan Galea

This is a one shot start to the story, so to speak… it’s of an Old wooden structure on the shore of the Solway Firth, Cumbria, England taken with an Arca Swiss 4×5 Camera.

I ended last year in a bit of a rut. As an amateur photographer I had burnt out over the winter months trying to photograph with ageing cameras in less than ideal condition craving to get out and shoot. As we all know winter is a tough time for photographers, although some flourish in the harsh conditions, I do not.

One of my many new years resolutions for 2026 is to expose at least one 4×5 sheet per month to pursue some consistency and get me out of this rut. I decided to send my main camera, the Leica M4-P, to get a full overhaul and the degrading prism re-silvered. With a 4-5 month turnaround it was good motivation to dust off my other cameras namely my 4×5 camera and start the year off sticking to my resolution.

So in true British winter style the weather did not let up for almost the entire of January and time was really ticking by on this project.

Finally on the 31st January I said to my wife, I’m just going to nip to the post office and take a shot on the 4×5. I’d planned the frame over many months, it’s nothing special but the tide needed to be out. I checked the tide: perfect, all the way out! So I packed the 4×5 kit and set off on my microscopic adventure.

Setting up my franken-camera, made from parts of an Arca Swiss large format camera I picked up from the popular online bidding site for a bargain price, it reminded me that my photography gloves were worth every penny! If you have never shot large format I would highly recommend it to anyone but the process is slow, intentional and until you’re all set up you don’t know exactly what the camera will see. It’s a beautiful process and the negatives are simply fantastic!

The one shot in question is fairly basic, I spent a little bit of time working out my framing to capture all of the elements without over filling the frame. I’m relatively pleased with the final image and like I said I had been planning to capture this frame for some time having driven past it several times when the tide was in. The scene itself is on the West coast of Cumbria on the shore of the Solway Firth looking over to Scotland with Criffel in the distance.

This project is a motivational tool to inspire consistency and although it’s only the first shot of (hopefully) twelve I am excited to continue planning and making the photos. The film used was Ilford FP4+ exposed at f16 for 1/15th of a second & developed in DDX.

At the time of writing this I’ve already massively messed up the February shot… but that’s a story for the next instalment.

Keep up to date with my recent work on Instagram or my newly created Portfolio.

 

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About The Author

By Ryan Galea
From the peaks of Cumbria to the nuances of global travel, Ryan Galea captures life as it happens. Having evolved from a wedding and landscape background, Ryan now focuses on documentary photography that prioritises truth over artifice.
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Comments

Jens Kotlenga on Twelve Months of 4×5 – A One Shot Story

Comment posted: 13/03/2026

Hi there, Ryan,
fantastic setting, thoughtful composition and very well executed technically, showing an impressive tonal range. My only suggestion for improvement: if you had moved the camera just a noch to the left you would have separated the two wooden structures in the centre. Imho that would have improved the composition and avoided one piece of wood growing out of the other, so to speak ...
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Bruce Parker replied:

Comment posted: 13/03/2026

Jens, looking at the image, I thought about that as well. I like it as it is. The "imperfect" (my word, not yours), composition feels real and natural.

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Ryan Galea replied:

Comment posted: 13/03/2026

Thank you both for the comments. I was torn between perfecting the composition or keeping the lines leading centrally up to the mountain in the central distance. It will probably be worth revisiting in the future to compare the composition with the background offset and achieving a better foreground.

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Erik Brammer replied:

Comment posted: 13/03/2026

I was asking myself the same question concerning those overlapping pieces of wood but then I thought maybe it’s just that little detail that does make people look and think twice. Very well done, Ryan!

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Reed George on Twelve Months of 4×5 – A One Shot Story

Comment posted: 13/03/2026

Thanks for giving us something to look forward to every month! Cool idea, much more approachable than a 365 project.
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Ryan Galea replied:

Comment posted: 13/03/2026

Thank you for the comment! I once tried to keep up with a 365 project (obviously not on 4x5) but it was becoming more of a stamina exercise than a creative adventure. I've currently got the Feb sheet to develop and the March shot still to plan and take. I always develop in pairs but the Feb shot took two attempts due to light leakage! haha

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Martin Siegel on Twelve Months of 4×5 – A One Shot Story

Comment posted: 13/03/2026

Fine project, fine photo and a great story about it, thanks!
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Ryan Galea replied:

Comment posted: 13/03/2026

Thank you for your comment! :)

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Gary Smith on Twelve Months of 4×5 – A One Shot Story

Comment posted: 13/03/2026

Nice layout to your new portfolio!

Since I don't print anything, I found that the whole 4 x 5 process was a bit much. I may or may not ever shoot the rest of the pack of 50 sheets.

Thanks for your post, perhaps your future 4 x 5 work will inspire me.
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Ryan Galea replied:

Comment posted: 13/03/2026

Thank you, the adobe portfolio platform was fairly simple to use to create it. I also don't print anything but I do find every time I pick up a 4x5 negative it almost doesn't feel like it needs to be printed because of the size and detail. However I do need to get my enlarger set up to at least start to do some contact prints of my 4x5 negatives to archive. I'm getting though my 4x5 sheets now because the once a month aim is quite a restraint once you start!

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Michael Jardine on Twelve Months of 4×5 – A One Shot Story

Comment posted: 13/03/2026

I need to stop saying that I need to shoot more 4x5 and just get on with it. Perhaps your gloves might be the Gear Acquisition that does the trick, as I "largish-format" as Dave Shrimpton (whose work is awesome, and he's done some great podcasts discussing it very candidly) calls it, requires so much faffing about... I think over 4-or-so years of ownership of an MPP field camera, I might have taken most of the downright rotten, then merely dull, photos that are required to gain some mastery of said faffing about.
This photo is lovely- thank you, and I look forward to more monthly installments. Maybe I'll join you... just starting in March, or more likely April!
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Ryan Galea replied:

Comment posted: 13/03/2026

The faffing about is my favorite part of using the camera. it requires a certain rhythm and pace and anything out of the usual causes errors (for me at least). Like the recent light leaks I've had... all down to rushing instead of maintaining the usual rhythm. haha I will keep a look out for your 4x5 posts! Keeping my kit always together and ready to go has made this project easy to start so far! Good luck! :D

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Geoff Chaplin on Twelve Months of 4×5 – A One Shot Story

Comment posted: 17/03/2026

I too wondered about the overlapping wood but i think you're right - separated it might look boring. Nice tones, incident light exposure or spot metering? If the latter where did you read the wood and the beach highlights?
I don't know if this is your plan but a shot a month, same location and composition, different weather snd tide would make an interesting series.
Thanks for the post!
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Steve Abbott replied:

Comment posted: 17/03/2026

Nice image, nice project idea. I'm new to 4x5, having aquired a MPP field camera myself about six months ago, and I admit that it's something that requires a deliberate effort - you can't slip it into a pocket when popping out, and can't carry the kit more than a couple of hundred yards from the car. like other commentators, I've found that there's a lot of faffing about, and a fair rate of cock-ups. I'm contact printing all of mine, as I find it relatively easy to do, and they're big enough to go into an album - I'm old school as well as analogue - wouldn't be here otherwise, would I?!

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