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Introduction
to Large Format, Part I
This section
is divided into three files.
Part
I
The
term Large Format simply means big film size. Large format cameras use
sheet film sized 4x5" or larger with the most common film sizes being 4x5"
and 8x10". Why such a large film size? Because in photography, the bigger
the film size, the better the quality. A larger negative produces better
quality prints because it requires less magnification than a smaller negative
would. For example, to create a 8x10" print from a 35mm negative, you must
enlarge the print 8 times. If you had a 4x5" negative, you'd only have
to enlarge it 2 times. And if you used an 8x10" negative, you wouldn't
have to enlarge it at all! In addition, a larger negative offers a much
greater range of tonal values and less apparent graininess due to the greater
number of silver halide crystals on the image.
Modern
View Cameras
Although
the basic concept of the view camera has changed little since the early
days of photography, refinements in design, materials and manufacturing
have brought today's large-format cameras into the realm of space-age technology.
Offering precision adjustments of the lens and film plane, modern view
cameras provide unparalleled control of the large-format image. With the
aid of computers, designers have improved both the speed and quality of
large-format lenses. Yet, it remains what it has always been--a tool for
the creativity of the user.
Types of
View Cameras
Virtually
all view cameras can be divided into two basic design types--flatbed and
monorail. Each type of camera has its own advantages and disadvantages.
Choosing the one that's right for you is largely a matter of knowing what
types of subjects you'll be working with and under what conditions you'll
be photographing. All view cameras have three common components: a rear
standard to hold the film, a front standard to hold the lens, and a flexible
bellows to adjust the distance between the lens and film. The way the standards
are joined defines the type of camera.
Flatbed Cameras
Often referred
to generically as field cameras, flatbed cameras are light and portable
enough to carry anywhere. In a flatbed camera, the two standards travel
on a rectangular framework or "bed." The frame usually consists of a dual
telescoping track that allows you to easily adjust the lens-to-film distance.
Most flatbed cameras can be folded up into a compact, self-contained box
for carrying. Potential limitation of field cameras is that not all of
them accept interchangeable bellows--a major drawback if you work with
very wide-angle lenses.
Monorail
Cameras
In a monorail
camera, front and rear standards travel on a single tubular channel or
rail. The great advantage of monorail cameras is their extraordinary flexibility
and almost limitless combination of camera movements. Front and rear standards
can be independently adjusted to the most extreme angles&emdash; usually
far beyond the needs of most shooting situations. Some monorail cameras
are designed in modular fashion so that parts like standards and bellows
and extension rails can be snapped in or out easily. Monorail cameras are
particularly popular with studio and industrial photographers whose photography
frequently demands radical camera adjustments, or use of more elaborate
accessories.
The drawback
is a lack of mobility. If you're working in a studio or at locations where
bringing your equipment is no problem, a monorail camera shouldn't present
any real handicaps. But if you're traveling some distance by foot, a monorail
camera can be a burden. While all of those great accessories are fine in
the studio, they can quickly become a nuisance to keep track of in the
field.
Regardless of
which type of camera you're thinking of working with, the questions of
portability and convenience should be given serious and realistic consideration.
Field and monorail cameras range from a few pounds to 30 or more pounds.
And remember, where the camera goes, so must the film holders, the light
meters, the camera case, and the tripod.
Selecting a
Format
Over
the years, view cameras have been made to accommodate a variety of film
sizes, from as small as 35mm to as big as 20x24" and larger. Today, the
two main view-camera formats in use are 8x10" and 4x5"; and though rapid
strides in film technology are noticeably eroding the quality differences
even between these two, each format does have its own virtues and benefits.
Which format
is right for you?
Choosing
a camera on the basis of film size requires serious consideration of several
factors. In many commercial applications (studio still lifes, for instance),
the quality of reproduction will almost certainly be an important priority.
Many product photographers prefer working with 8x10 cameras because such
large negatives (and transparencies) allow far greater freedom in post-production
techniques--retouching, stripping, making composites, etc. Industrial photographers,
on the other hand, may prefer a 4x5 format camera because a wider variety
of lenses are available in this size and because it is more portable and
easier to use.
Though view
camera prices tend to increase substantially as the format size increases,
there is a far greater difference in price among the brands within the
same format. Precision, high-quality workmanship, and durability generally
account for the differences. Lenses for 8 x 10 cameras are less plentiful
and more expensive than lenses for smaller formats; and the size of the
film you use has an effect on cost throughout your processing and printing
system.
Multiple
Formats
For
those who must produce photographs in more than one format, it is not necessary
to purchase a completely separate view camera for each film size--there
are alternative methods of adapting cameras to different formats:
A.
The interchangeability of lenses with the appropriate lens board adapters.
B. Reducing
backs, available for many larger view cameras, allow you to use smaller
film sizes.
C. Some view
cameras, called convertibles, use a more elaborate system that involves
switching bellows and rear standards to change formats.
D. For switching
to an even smaller format, roll-film backs are also available and allow
you to use 120-size roll film on your view camera. In essence, you can
convert a 4 x 5 camera to a medium format view camera. Some brands of view
cameras also allow you to attach your existing 35mm or 120-roll-film camera
body directly to the back of your view camera.
A Choice
of Accessories
Camera
and lens manufacturers have made considerable progress in simplifying view
camera operation. The shutters on most modern view camera lenses, for example,
can be opened for focusing and closed with a separate lever without altering
the shutter speed or aperture setting.
Several devices
enable you to set the shutter speed and the f/stop from behind the camera.
Another somewhat more sophisticated device automatically opens the shutter
and diaphragm for focusing when a film holder is removed from the camera.
To "correct" the upside down ground-glass image, there is a reflex viewer
that also eliminates the need for a focusing cloth.
An exposure
meter with a probe to take spot readings directly from the ground glass
simplifies exposure readings. One of the benefits of exposure reading taken
at the film plane is that it eliminates the need to calculate an exposure
increase for the extended lens-to-film distance. As an aid in previewing
a setup, instant print film backs are available in both the 4 x 5 and 8
x 10 inch formats. Using an instant print film back allows you to produce
test results for checking the image before committing to the final result.
You can examine composition, lighting, and exposure--in black & white
or color.
Continue
to Part II
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