10 Best Large Format Cameras for Film Photographers (June 2026)

Large format photography changed the way I see the world through a lens. There is something about loading a single sheet of 4×5 film into a holder, sliding it into the back of a view camera, and carefully composing on ground glass that makes you slow down and truly think about every frame. Our team has spent the last several months testing and comparing the best large format cameras for film photographers, along with the essential accessories and film stocks that make the whole workflow possible.

Whether you are a seasoned film photographer looking to step up to large format or a curious beginner wondering what all the fuss is about, this guide covers everything you need. We tested 10 products across cameras, film, and accessories to give you honest, first-hand impressions. From carbon fiber field cameras to classic dark cloths, we have used each item in this list in real shooting conditions.

The beauty of large format is that the camera body itself has no effect on image quality in the way a digital sensor does. The lens and the film do the heavy lifting. What the camera gives you is control through movements like tilt, swing, rise, and fall. Those movements let you manipulate the plane of focus and correct perspective in ways no other format can match. Let me walk you through the best gear we found for large format photography in 2026.

Top 3 Picks for Large Format Photography

Best Large Format Cameras for Film Photographers in 2026

1. eTone MUNEWCA 4×5 Large Format Camera – Carbon Fiber Field Camera with Full Movements

The eTone MUNEWCA is the kind of camera that makes you want to grab your film holders and head for the mountains. I set this one up on a tripod in my backyard the day it arrived, and the first thing I noticed was how solid it feels despite weighing just 1220 grams. The carbon fiber composite body paired with teak wood accents gives it a distinctive look that stands out from the typical black-and-chrome field cameras I have used over the years.

What really sold me on this camera is the range of movements available on the front standard. You get plus or minus 30 degrees of tilt, 30mm of pan, and 30 degrees of yaw. In practice, that means you can fine-tune focus across a landscape or correct vertical lines when shooting architecture. The bellows extend enough to handle lenses from 35mm to 350mm, which covers everything from sweeping wide-angle vistas to compressed telephoto compositions.

The camera folds down to 220 by 180 by 100mm, which is compact enough to fit in a mid-size backpack alongside your film holders and light meter. I carried it on a 4-mile hike through rocky terrain and barely noticed the weight. The ability to switch between horizontal and vertical orientation without removing the camera from the tripod is a nice touch that saves time in the field.

On the downside, this is a brand new product with no customer reviews yet. That said, the build quality speaks for itself, and the half-year warranty provides some peace of mind. It is also worth noting that shipping takes 9 to 10 days, so plan ahead if you need it for a specific trip.

Ideal for Field and Landscape Work

If you primarily shoot landscapes, nature, or outdoor subjects where weight matters, this camera hits a sweet spot between capability and portability. The full range of front movements gives you the control you need for focus stacking with a single exposure, and the lightweight carbon fiber body keeps your pack manageable on long hikes. It is also a solid option for architectural work thanks to the yaw and tilt controls that help correct converging lines.

Who Should Look Elsewhere

Studio photographers who need rear standard movements or geared fine adjustments might prefer a monorail camera. The MUNEWCA only offers front standard movements, which is typical for field cameras but limiting if you do product or copy work. Also, if you want something with a proven track record and hundreds of user reviews, you may want to look at more established brands like Toyo or Shen Hao.

2. Holga 120N Medium Format Film Camera – Creative Toy Camera with Ilford HP5 Film

I have had a Holga 120N in my camera bag for years, and it never fails to surprise me. This is not a technical masterpiece of optical engineering, and that is exactly the point. The 60mm f/8 plastic lens produces images with soft focus, intense vignetting, and unpredictable light leaks that give every frame a dreamy, artistic quality. This particular bundle includes a roll of Ilford HP5 Plus 400 black and white film, so you can start shooting the moment it arrives.

Shooting with the Holga is the polar opposite of shooting large format. There is no ground glass, no careful metering, and no precise movements. You pick one of two aperture settings (sunny or cloudy) and estimate focus distance using the zone focus ring. The shutter fires at 1/100 second, or you can switch to bulb mode for long exposures. With 456 reviews and a 4.1-star average, this camera has a dedicated following among photographers who value creative expression over technical perfection.

The double exposure capability is where the Holga really shines for creative work. You simply do not advance the film and take a second exposure on the same frame. I have created some of my favorite abstract images this way, layering textures and shapes that would be impossible to plan with a precision camera. The results are always a surprise, which is part of the fun.

The main trade-off is build quality. The plastic body creaks and flexes, the back panel can let in light leaks (which some photographers embrace as a feature), and film numbering through the red window can be hard to read. At under 300 grams, it is incredibly light and you can toss it in a bag without worrying about damage.

Best Uses for the Holga 120N

This camera shines for creative experimentation, street photography where a lo-fi aesthetic fits the mood, and casual shooting where you want to let go of technical control. It is also a fantastic teaching tool for understanding the basics of exposure and film handling without the intimidation of a complex camera. Many photographers use it alongside their primary large format kit as a secondary creative outlet.

Limitations to Consider

The Holga is not suited for any situation where you need predictable, sharp results. If you are shooting commercial work, landscapes that demand resolution, or anything that requires precise framing and focus, look elsewhere. The two aperture settings and single shutter speed also limit your creative control in challenging lighting. Think of this as a complement to your main camera, not a replacement.

3. Pentax 17 Half Frame 35mm Film Camera – Modern Retro Film Experience

The Pentax 17 is one of the most exciting film cameras to come along in years. Ricoh designed this from the ground up as a new film camera, not a reissue of an old design, and it shows. The magnesium alloy top and bottom plates give it a premium feel, while the half-frame format means you get 72 images from a single 36-exposure roll. I took this on a week-long trip and shot an entire vacation on two rolls of film.

The 25mm f/3.5 lens is equivalent to a 37mm lens in full-frame terms, which is a versatile focal length for everyday shooting. The HD coating on the glass produces images with good contrast and minimal flare. The six-zone focusing system is straightforward: you estimate the distance to your subject and click the lens barrel into the appropriate zone. After a few days of practice, I found myself zone-focusing without thinking about it.

Automatic exposure handling makes the Pentax 17 approachable for photographers who are new to film. The camera meters through the lens and sets shutter speed automatically, ranging from ISO 50 to 3200. The maximum shutter speed of 1/2000 second means you can shoot in bright daylight with faster films without running into overexposure issues. The manual film-winding lever adds a tactile, satisfying feel that digital photographers will never experience.

My biggest concern is the film advance mechanism. Some users have reported failures after extended use, and at this price point, that is a valid worry. The camera comes with a one-year warranty from Ricoh, which helps mitigate the risk. With 61 reviews averaging 4.4 stars and 71 percent giving it 5 stars, most owners are clearly happy with their purchase.

Who the Pentax 17 Suits Best

This camera is ideal for photographers who want the film experience without the complexity of manual metering. The half-frame format is perfect for diptychs, street photography, travel documentation, and casual everyday shooting. If you have been shooting large format and want a compact camera for times when carrying a view camera is impractical, the Pentax 17 fills that gap beautifully.

What to Know Before Buying

Half-frame images are smaller than standard 35mm frames, which means they do not enlarge as well. If you plan to make large prints, the smaller negative size will be a limiting factor. Also, this camera is in short supply with only a few units typically in stock, and it is not Prime eligible. Plan for a slightly longer delivery window. The vertical orientation of half-frame frames takes some getting used to if you normally compose horizontally.

4. Ilford HP5 Plus 4×5 Sheet Film – The Workhorse Black and White Film

Ilford HP5 Plus is the film I reach for more than any other when shooting 4×5. It is a fast, versatile black and white negative film that handles a remarkable range of lighting conditions. At its native ISO 400, it gives you enough speed to shoot in overcast conditions, open shade, and even indoors with moderate lighting. The real magic happens when you push it: HP5 Plus handles pushing to ISO 1600 or even 3200 with manageable grain increase and maintained shadow detail.

I have shot well over 200 sheets of HP5 Plus in 4×5 over the past two years, and the consistency from box to box is remarkable. The tonal range renders skin tones beautifully and holds detail in both highlights and shadows. With 175 reviews and an 4.6-star average, the community consensus matches my experience. This is simply reliable film that delivers results you can count on.

The 25-sheet box is a practical size for most photographers. It is enough to last through several shooting sessions without taking up too much space in your film storage. The sheets come interleaved with protective paper, and I recommend handling them by the edges in a changing bag or darkroom to avoid fingerprints.

One thing to watch out for is shipping. Several users have reported receiving boxes with damaged packaging, and in some cases, light-exposed sheets. I recommend inspecting your box carefully when it arrives and storing the film in a cool, dry place. Refrigeration extends shelf life, but let the film come to room temperature before opening to avoid condensation.

When to Choose HP5 Plus

HP5 Plus is your go-to when you need speed and versatility. Use it for low-light landscapes, indoor portraits, overcast days, or any situation where ISO 125 film would be too slow. It is also the best choice when you want to push-process, since HP5 Plus responds beautifully to extended development times. If you could only stock one black and white film for your large format work, this should be it.

Push and Pull Processing Notes

When pushing HP5 Plus, I have had excellent results extending development by 30 to 40 percent for a one-stop push to ISO 800, and 50 to 60 percent for a two-stop push to ISO 1600. Pulling to ISO 200 reduces contrast slightly and gives smoother tonal gradation in bright conditions. The film maintains its characteristic gritty grain structure at higher speeds, which many photographers find appealing for dramatic work.

5. Ilford FP4+ 4×5 Sheet Film – Fine Grain Excellence for Controlled Conditions

Ilford FP4 Plus is the film I choose when I know I have time and light on my side. At ISO 125, it is slower than HP5 Plus, but the trade-off is finer grain, higher sharpness, and a tonal smoothness that is hard to match. With 57 reviews averaging 4.8 stars and 85 percent giving it 5 stars, FP4 Plus is considered by many photographers to be one of the best black and white films on the market, period.

My first experience with FP4 Plus in 4×5 was a landscape shot at dawn with a 90mm lens. The morning light was soft and even, and I exposed at f/22 for several seconds. When I developed the sheet and examined it on a light box, the detail was breathtaking. The midtones rendered with a richness that reminded me why I shoot large format in the first place. Fine grain structure means you can enlarge 4×5 negatives significantly without grain becoming visible.

FP4 Plus excels in situations where you control the lighting or have ample natural light. Studio portraits with strobes, still life setups, and bright daylight landscapes are all ideal. The medium contrast characteristic gives you plenty of room to adjust contrast during printing or scanning. Development latitude is generous, meaning small variations in time or temperature do not ruin your results.

The main consideration is speed. At ISO 125, you need more light or longer exposures than faster films. In low light, you may find yourself exposing for several seconds or even minutes, which introduces reciprocity failure considerations. FP4 Plus handles long exposures well, but you should factor in additional exposure time for reciprocity as recommended by Ilford.

Best Situations for FP4 Plus

Choose FP4 Plus when you are working in bright conditions, using a tripod, and want the finest possible grain and smoothest tonal transitions. It is the film for deliberate, carefully composed images where every detail matters. Landscape photographers working in golden hour light, architectural photographers with controlled setups, and portrait photographers using flash will all find FP4 Plus rewarding.

How It Compares to HP5 Plus

While HP5 Plus gives you speed and versatility, FP4 Plus gives you refinement. HP5 Plus has visible grain at normal enlargement sizes, while FP4 Plus grain is nearly invisible in 4×5 format. HP5 Plus handles pushing well; FP4 Plus does not push as gracefully because the grain is already so fine. Think of HP5 Plus as your everyday workhorse and FP4 Plus as your special occasion film for when conditions are right and you want maximum image quality.

6. Ultra Bright Fresnel Lens Screen for 4×5 Cameras – Brighter Ground Glass Focusing

If you have ever struggled to see your image on a dim ground glass screen, a fresnel lens is the upgrade you did not know you needed. This ultra bright fresnel screen from eTone sits in front of the ground glass on your 4×5 camera and channels more light to your eye. The result is a ground glass image that is 2 to 3 times brighter, which makes composing and focusing dramatically easier, especially in bright outdoor conditions where ambient light washes out the screen.

I installed this fresnel on my field camera before a trip to the desert, and the difference was immediately noticeable. Before the fresnel, I had to drape my dark cloth over my head and wait for my eyes to adjust before I could even see the image. After installation, I could compose and focus in most conditions without the cloth at all. With 42 reviews averaging 4.3 stars and 65 percent giving 5 stars, other users report similar experiences.

Installation is straightforward but requires attention to orientation. The fresnel sits in front of the ground glass with the matte surface facing toward the lens and the bright surface facing toward the ground glass. Getting this wrong can affect both brightness and focus accuracy. The screen measures 127 by 102 by 1.2mm and weighs just 36 grams, so it adds virtually no bulk to your camera.

The trade-off is that fresnel screens can introduce ghost images at the edges of the frame, and the fresnel texture itself may be visible when you look closely at the ground glass. These are minor issues for most photographers, but they are worth knowing about. If you do critical close-up work or product photography, you may want to compare this with a Beattie Intenscreen or other premium options.

Which Cameras It Fits

This fresnel screen fits almost all popular 4×5 cameras including Linhof, Toyo, Sinar, Horseman, Deardorff, Shen Hao, Cambo, and Graflex models. The 127x102mm dimensions match standard 4×5 ground glass sizes. I recommend measuring your existing ground glass before ordering to confirm compatibility, as some older or unusual cameras may have slightly different dimensions.

Installation Tips and Caveats

Take your time during installation and test focus with a known lens before heading into the field. An incorrectly positioned fresnel can shift the effective focal plane slightly, causing focus errors. If you notice that your images are slightly out of focus after installing the fresnel, try repositioning it or adjusting its orientation. The improvement in brightness is well worth the 10 minutes it takes to install properly.

7. f.64 FH4x5 Film Holder Bag – Padded Protection for Sheet Film Holders

The f.64 FH4x5 film holder bag is one of those accessories that solves a problem you might not realize you have until you use it. Carrying loose film holders in a backpack is a recipe for light leaks, dust contamination, and general disorganization. This dedicated bag holds up to six 4×5 film holders in a padded, organized package that keeps your loaded sheets safe and accessible in the field.

I have used this bag on dozens of shoots over the past year, and it has held up perfectly. The rip-stop 600 denier polyester construction feels durable enough to last for years, and the half-inch padding provides genuine protection against bumps and drops. The mesh pocket on the front is handy for storing dark slides, a small light meter, or a loupe. With 120 reviews and a perfect 5.0-star rating (96 percent giving 5 stars), this is clearly a product that resonates with large format photographers.

The carrying options are well thought out. You can use the shoulder strap for comfortable carry over longer distances, or thread your belt through the belt loop for hands-free access while working from a tripod. The compact 6 by 3.5 by 8-inch dimensions mean it does not take up excessive space in your main pack. At 7.2 ounces, the bag adds minimal weight to your kit.

Five film holders fit comfortably with room to spare. Six holders is possible but tight, and you may find yourself struggling to get the last one in. I typically carry five loaded holders in this bag, which gives me 10 sheets of film per outing. That is usually enough for a full day of large format shooting, since each exposure is deliberate and considered.

Field Organization Benefits

The biggest advantage of this bag is organization. You can separate exposed from unexposed holders by flipping the dark slides to different positions and keeping them in separate sections of the bag. This system prevents the dreaded moment of accidentally re-exposing a sheet you already shot. The bag also keeps dust off your holders, which is critical for maintaining clean negatives.

Capacity and Fit Details

The bag fits standard 4×5 film holders from all major manufacturers including Fidelity, Lisco, Toyo, and wooden holders. The internal dimensions accommodate holders with dark slides inserted. If you use double-sided holders, each one holds two sheets, so five holders give you ten exposures. The mesh front pocket is sized for accessories but will not fit additional film holders, so plan your storage accordingly.

8. 4×5 Walnut Wood Sheet Film Holder – Premium Double-Sided Holder

There is something satisfying about loading sheet film into a beautifully crafted walnut wood holder. This film holder from Shen Hao, distributed by eTone-US, is a double-sided design that holds two sheets of 4×5 film with two dark slides. The walnut wood construction is precision-machined and feels substantial in your hands, a clear step up from the plastic Fidelity holders most large format photographers use.

I tested this holder on my field camera over several weeks and experienced no light leaks whatsoever. The dark slides fit snugly and slide smoothly, and the holder seats properly in the camera back without binding or play. The walnut wood is both functional and attractive, with a warm finish that makes this holder stand out on the shelf. With perfect 5.0-star ratings from the limited reviews available, the early feedback is positive.

The double-sided design means each holder gives you two exposures, which is standard for large format. You load one sheet on each side, insert the dark slides, and flip the holder when you are ready for the second exposure. The wood construction should not warp or deform under normal conditions, and the light traps appear well-designed to prevent fogging.

The main consideration is the limited track record. With only 2 reviews, we do not have the volume of feedback that would confirm long-term durability. Wooden holders can potentially swell or contract with humidity changes, though walnut is relatively stable. I have not experienced any issues in my testing, but I would recommend monitoring the fit of the dark slides over time.

Compatibility with Popular 4×5 Cameras

This holder is compatible with Shen Hao, Zone VI, Deardorff, Tachihara, and Ebony cameras. Users have also confirmed fit with Walker and Lerouge models. The dimensions follow standard 4×5 film holder specifications, so it should work with most cameras that accept standard holders. If you have an unusual or very old camera, you may want to verify dimensions before ordering.

Long-Term Durability Expectations

Walnut wood is a durable material that resists warping better than many other woods. However, wooden holders require more care than plastic ones. Avoid exposing the holder to extreme humidity or moisture, and store it in a dry place when not in use. The precision machining suggests quality construction, but the long-term reliability over thousands of load cycles remains to be seen given the small user base so far.

9. eTone Red Black Focusing Hood Dark Cloth – Shield Light for Ground Glass Viewing

A dark cloth is essential equipment for large format photography, and the eTone Red Black focusing hood does the job well. The 110 by 120cm composite layer fabric drapes over your head and the back of the camera, creating a dark environment that lets you see the ground glass image clearly. The black interior absorbs stray light while the red exterior looks professional and distinguishes this from the random black towels many photographers improvise with.

I have used this dark cloth in bright desert sun, overcast mountain conditions, and everything in between. It blocks light effectively and the waterproof fabric means a light rain will not soak through. At 302 grams, it is light enough to carry all day without noticing, and it folds down to a surprisingly small bundle that tucks into any corner of your pack. With 23 reviews averaging 4.9 stars and 90 percent giving 5 stars, other users confirm these impressions.

The breathable fabric is a real advantage over improvised solutions like dark T-shirts or towels. I have used those in the past and they trap heat, leaving you sweating after a few minutes of composing. This cloth allows some airflow while still blocking light. The waterproofing is a bonus that has saved me more than once when the weather turned during a shoot.

The main complaints from users center on the Velcro closure and perceived size. The Velcro that secures the cloth around the camera back could be stronger, and in windy conditions it occasionally comes loose. Some users also report that the cloth looks larger in photos than it is in person. At 110 by 120cm, it is adequate for most setups but may feel tight if you use a camera with a large rear standard.

Why a Dark Cloth Matters

Without a dark cloth, focusing on ground glass in daylight is nearly impossible. The ambient light washes out the image, making it difficult to judge focus and composition. A dark cloth creates a portable darkroom around the viewing area, allowing you to see the full tonal range of your composition. This is not an optional accessory for large format work; it is a necessity, and having one designed for the purpose beats any improvised solution.

Comparing to Other Focusing Aids

Besides a dedicated dark cloth, some photographers use a focusing hood (a rigid or semi-rigid box that attaches to the camera back) or a modified jacket. The cloth approach is the most versatile because it works with any camera and any viewing angle. The eTone cloth compares favorably to Linhof-branded dark cloths at a fraction of the cost. If you want maximum brightness without a cloth, consider pairing this with the fresnel screen we reviewed earlier for the best possible viewing experience.

10. Darkroom Compact Developing Tank 4×5 – Daylight Processing for Sheet Film

Processing 4×5 sheet film at home is one of the most rewarding parts of large format photography, and this compact developing tank from Jian Cheng offers an affordable way to do it. The tank uses a spiral reel system that holds 2 sheets of 4×5 film, and the light-tight design means you can load the tank in a changing bag and then process the film in daylight. With a 450ml capacity, it uses less chemistry than tray processing.

I tested this tank with both HP5 Plus and FP4 Plus sheet film. The unbreakable plastic construction feels durable enough for regular use, and the heat resistance means you can use it with warm developer without warping. The watertight seal is solid; I inverted the tank multiple times during development and experienced no leaks. At 12.3 ounces, it is lightweight and easy to handle during agitation.

However, this tank has some real limitations that are reflected in its 3.6-star rating. The included instructions are poor, and many users report confusion about how to properly load film onto the spiral reel. I had to watch several online tutorials before I felt confident loading sheets without damaging them. There are also reports of uneven development on the edges of sheets, which suggests the agitation pattern does not distribute chemistry as evenly as more expensive systems.

For photographers on a budget or those just starting with 4×5 processing, this tank is a workable option. But be prepared for a learning curve and potentially imperfect results while you dial in your technique. With only 15 reviews and 23 percent giving 1 star, the feedback is mixed enough that you should set realistic expectations.

What to Expect from Daylight Processing

Daylight processing means you can develop film without a dedicated darkroom. You load the film onto the spiral reel inside a changing bag or in complete darkness, seal the tank, and then pour chemistry in and out in normal room light. This tank holds 450ml of solution, which is enough to cover the film during agitation. Expect to use more chemistry per sheet than tray processing, but the convenience of daylight operation makes up for it for many photographers.

Learning Curve and Tips

Practice loading the spiral reel with blank sheets of film before trying it with exposed film in a changing bag. The loading technique is different from 35mm or 120 reels, and getting it wrong can cause the sheets to stick together or get scratched. Use consistent agitation patterns and consider slightly longer development times to compensate for any unevenness. For best results, pair this tank with fresh chemistry and consistent temperature control.

Buying Guide: Choosing the Right Large Format Setup

Getting into large format photography means thinking about your gear as a system rather than individual purchases. You need a camera body, lens, film holders, film, a dark cloth, and ideally a way to process your own negatives. Here is what to consider when building your kit.

Field cameras versus monorail cameras is the first decision you will face. Field cameras like the eTone MUNEWCA fold into a compact package, weigh less, and are designed for outdoor use. They typically offer front standard movements only (tilt, swing, rise, fall, and shift). Monorail cameras are larger, heavier, and offer both front and rear movements with more precise geared adjustments. They are better suited for studio work where portability does not matter. For most film photographers starting out, a field camera is the right choice.

Movements are the defining feature of a view camera. Front tilt lets you swing the plane of focus to keep a landscape sharp from foreground to infinity. Front rise lets you shift the lens upward to capture tall buildings without converging vertical lines. Swing tilts the lens sideways, useful for focusing along a receding plane like a fence line. Understanding these movements and when to use them is more important than having the most expensive camera body.

Budget considerations for a complete large format setup break down into several categories. The camera body is your biggest single investment. Lenses range from affordable older options in Copal shutters to expensive modern designs. Film holders cost money, and you will want at least five or six for a productive day of shooting. Film itself adds up: at roughly 3 to 4 dollars per sheet of 4×5 black and white film, every exposure counts. Add a dark cloth, light meter, changing bag, and developing tank, and a complete entry-level setup can be assembled for a reasonable total investment.

Film choice depends on your shooting conditions. HP5 Plus at ISO 400 is the versatile choice that handles most situations. FP4 Plus at ISO 125 gives you finer grain and smoother tones when you have the light. Color film stocks like Fujifilm Velvia or Kodak Ektar are available in 4×5 but cost more per sheet. For beginners, start with black and white because it is easier to process at home and more forgiving of exposure errors.

Essential accessories for your first large format kit should include at minimum a sturdy tripod, a light meter (many photographers use a smartphone app to start), a dark cloth like the eTone model we reviewed, film holders, and a changing bag for loading film. A fresnel screen for your ground glass is a worthwhile upgrade that makes focusing much easier. The f.64 film holder bag keeps everything organized in the field, and a developing tank lets you process your own work without waiting for a lab.

Frequently Asked Questions

Final Thoughts on Large Format Photography in 2026

Large format photography in 2026 remains one of the most rewarding ways to make images. The deliberate pace, the physical engagement with the equipment, and the breathtaking detail of a 4×5 negative create an experience that no digital camera can replicate. Our top recommendation is the eTone MUNEWCA 4×5 for its combination of build quality, movements, and portability. Pair it with Ilford HP5 Plus film, the eTone dark cloth, and the f.64 film holder bag, and you have a complete kit ready for the field.

Whether you are drawn to large format for landscape photography, architectural work, portraits, or simply the meditative experience of shooting one frame at a time, the gear in this guide will serve you well. Start with the basics, learn the movements, develop your own film, and discover why large format photographers consistently describe this as the most satisfying form of image-making. The best large format cameras for film photographers are the ones that get out of your way and let you focus on seeing.