This thread is strangely lacking in picture to try and inspire the OP, let me try and change that

If you like careful, considered photography - but with the option of far greater spontaneity than what is possible with your 4x5in camera - the RB67 is probably the best cameras system ever made, and a steal at current prices. Forgive me if I gush a bit, but few people seem to understand the greatness of this system.
I shoot both 35mm (Olympus OM, Leica), and 4x5in (Linhof Technika V) but I keep on coming back to the versatile RB67. I find the C-series and K/L-series Sekor lenses extraordinarily good, even when compared to my Zuiko and Schneider lenses. This is a camera for serious artists (as opposed to posers who buy jewel-like Swedish cameras just for the coolness factor). Mine is a very old first-series model (actually produced in the first year of production) and I just can't kill it.
If you don't mind the weight, the RB67 can be hand-held down to ridiculously slow shutter speeds because of the heavy weight, and the leaf-shutter lenses. I have very sharp images made at 1/8s hand-held, such as this one (ISO 100 film, night time):
A recursion of misplaced values
(Fuji Provia 100, Sekor-C 65mm @ f/4.5)
The C-series lenses have some kind of magic coating that almost makes them impervious to secondary reflections when you point them straight into the sun. Especially the 65mm f/4.5 is absolutely extraordinary. Because of the bellows focusing, without any special equipment whatsoever, you can take 1:1 or better Macro images with the 50mm wide angle (if you don't mind field curvature, that is!). Oh, and almost all the lenses have floating elements to correct for close-up imagery. I simply placed my camera on the beach sand for this one:
Dune Bug
(Ilford FP4+, Sekor-C 50mm @ f/22.0, 1s exposure)
The 140mm C-series Macro is a bit rare, but not expensive, and superior to any Canon or Zeiss general-purpose Macro that I have ever used. In this image, the bright afternoon sun is shining straight onto the front element, and it's shot wide open. My ex-Canon EF 100mm f/2.8 or Zuiko 90mm f/2.0 hazes like crazy in this sort of extreme harsh light. The in-focus areas show lucid resolution and contrast, right down to film-grain level:
Undergrowth with a view
(Ilford FP4+, Sekor-C 140mm @ f/4.5)
Two more wide-angle images:
Dry and Drying
(Ilford HP5+, Sekor-C 37mm @ f/16)
JB's Corner (Melrose arch)
(Ilford HP5+, Sekor-C 50mm @ f/11)
(All the monochrome images above are scanned prints that I made in the darkroom)
While not as special as 4x5in negatives (which I inherently prefer) there is no denying that one has at least half the outright quality, on convenient rolls of 10 images each, which are pain-free to develop compared to the everlasting battle for evenness with 4x5in.
If you value your craft (and as a 4x5in shooter in this day and age, I am almost assured that you do) the RB67 is a cantankerous, charismatic, versatile maker of masterpieces. People classify it as a "studio camera" because of the weight, but if you take it out, it will show its true colours.
I purchased my kit four years ago (RB7 body,
five lenses, several acessories) for about $600 - all because some pro thought a Canon digital rebel would make him happier. Then again, for commercial (volume) work, he might just be right. His loss!