Large format SLR's a definitely unique beasts, but having used a Super D many years ago, I'll throw out some negatives about them to calm your weekly obsession a little bit...
The swinging of the big mirror coupled with the huge focal plane shutter stirs up a bit of dust, no matter how much you try to keep the camera clean. Expect dust spots on your negatives.
The clunk of the mirror is sizeable, and the cameras are heavy, so many of the famous users employed a tripod or monopod, which impinges a bit on the hand-held point-and-shoot style of working. Working with a LF SLR is as deliberate as working with a view camera.
The focal plane shutters don't sync with electronic flash, so you need to use flash-bulbs or subdued back-ground light and a manual closure after the exposure. The dimmer lights will make focusing harder.
Except with the 190mm Ektar on the Super-D, you need to compose and focus at the taking aperture. Unless you're working with bright lenses or lights and close to wide open, expect some focusing difficulties.
You don't get to use a loupe for critical focusing. And the viewing hood is specially designed to be a pain in the arse for anyone wearing glasses...
Most LF SLR's (including most Super D's) take the old Graflex slotted holders, so unless you convert it to a Graflok back, or find one that's been converted, you're stuck with finding and using old holders that usually sell at premium prices.
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