Why large format?

[Darryl Roberts]

Anti-keystoning and retardation.

 

[nosmok]

There's an old hot-rodder's maxim, "There's no substitute for cubic inches". I do LF because "There's no substitute for inches". The larger negative just does things a small one can't, even if you're printing to digital.

 

[Chuck_P]

Our job at APUG Photrio is to enable people to spend money, buy equipment and use it. Please get with the program!

AFAIC.........it is APUG.

Oh, and why large format? Well, the first time I saw the view from a 4x5 ground glass I was hooked. I can well enough imagine 8x10 or larger. And it's quite the feeling of accomplishment when I've managed a successful image on the ground glass and I love thought process of managing the exposure and development needs of the negative.

 

[abruzzi]

There's an old hot-rodder's maxim, "There's no substitute for cubic inches". I do LF because "There's no substitute for inches". The larger negative just does things a small one can't, even if you're printing to digital.

I think the official slogal was---"there's no replacement for displacement!"

 

[wiltw]

1. The movements, which

• permit correction for keystoning caused by film plane not being parallel to the subject plane of primary interest
• allow for adjustment of plane of focus
• permit correction of perspective distortion

2. The increased area of film (compared to smaller formats) to capture the same subject area, which permit greater ability to portray transitions of tonal density (black and white image) or hue (color images)

3. Lower magnification required for a given print size, resulting in apparent grain in the print which is 1/3.88 smaller in each direction, or 1/15 the size in area

4. The slowing down of the photographer's thought processes, to take photos in a more-considered approach and with greater thinking, because every LF shot consumes so much more film area and processing chemistry that one has less tendency to be cavalier about taking lots of shots, and not seek better composition and camera placement for each shot taken.

5. The opportunity to make one piece of film capture a series of exposures for different portions of a scene
This shot was done as an exercise during a workshop taken for product photograpy... four separate exposures captured with one piece of film

(yes, it could have been done with a medium format camera with multi-exposure capability, which could cock the shutter without moving the film)

5. It is more readily possible to retouch a negative directly for an image shot on 4x5 film, than using smaller formats (virtually impossible on 135 format)

6. In the past, there were publications that would not accept any images shot on formats smaller than 4x5

 

[Juan2tree]

I retired from the Hollywood film world when digital took over and got into large format and was influenced by Ansel Adams and what he said about modern photographic film in his later years before digital and what others like himself .The second statement against panchromatic film by many is it gave a washed out effect and lacked realism. It was not long after that those that ran museums were more impressed by black and white work that had less scales and shorter scales of dark contrast .I assumed it was because most were senior in age and could distinguish what they were seeing..In this modern world the curators are younger and find they are very interested in my work.which is making large black and white murals on stretched prepared canvas and my work is excepted and displayed rapidly as it is not digital photography. Collectors want to buy art that no one else has. A large format landscape mural of the same scenes Adams shot on a stretched canvas with only 9 scales and with a old slow regular silver gelatin emulsion and developed by a blue black developer I make from a very old para-aminopenol formula with x in it will outsell any digital print. So those who do this and read this do photography on the highest scale and leave a legacy

 

[DREW WILEY]

Large format is relaxing, fun, and contemplative. The lack of endless silly electronic options is a benefit in itself. It allows you to concentrate on the essentials without unnecessary distraction. You can actually achieve an almost timeless opalescent look on the ground glass itself, whether you decide to insert a film holder and push the shutter or not. Less is more; and one great shot is better than ten thousand OK ones.

Best of all, it slows you down and forces you to actually see things intently, that is, if you are open to that. Too many folks are in such a rush to capture something stereotypical than they are blind to most of the real beauty around them. Slow down, allow yourself to soak in the light, and you might actually discover something wonderful.

 

[jimgalli]

Anti-keystoning and retardation.

Finally someone who understands. I don't know about the keystoning, but retardation is my sole reason for doing this stuff.

 

[Besk]

I think the official slogal was---"there's no replacement for displacement!"

We used to say "the only thing better than cubic inches is cubic feet."

 

[dasBlute]

nowadays, you can type in a bunch mumbo-jumbo: "old trees, storm piercing rays, wild waves, rugged seascape, jellyfish, wet-plate, sepia-toned, dark, moody, ..." and out will pop a beautiful, digital, built-by-algorithms-trained-on-human-data, instagram-click generating nonsense.

I want to be as far away from that as I can.

-Tim - yeah, I guess I'm a curmudgeon by now ... and get off the lawn kid...

 

[Steven Lee]

My biggest frustration with large format is catching good light. Maybe I'm just unlucky, or maybe I'm drawn to certain types of weather and subjects, but when I see something I want on film, by the time I erect the contraption the light is gone.

On the other hand, when I convince myself not to fret and just shoot whatever happens to be in front of the camera by the time I finish setting it up, it is indeed fun and relaxing. But the results are worse than my Hasselblad negatives.

I need to rethink my approach.

 

[GLS]

Maybe I'm just unlucky, or maybe I'm drawn to certain types of weather and subjects, but when I see something I want on film, by the time I erect the contraption the light is gone.

As the saying goes for LF: "if you see great light, you're already late for work".

It can indeed be frustrating to race to set up the camera, then have the light change just as you're about to take the shot. I've experienced it many times, but you just have to be patient and develop those powers of observation and anticipation more than you would with smaller formats. The reward is worth the effort.

 

[lecarp]

I think the official slogal was---"there's no replacement for displacement!"

I've always related that to blue-water cruising sailboats!

Acreage for sheet film.

 

[Alan Edward Klein]

My biggest frustration with large format is catching good light. Maybe I'm just unlucky, or maybe I'm drawn to certain types of weather and subjects, but when I see something I want on film, by the time I erect the contraption the light is gone.

On the other hand, when I convince myself not to fret and just shoot whatever happens to be in front of the camera by the time I finish setting it up, it is indeed fun and relaxing. But the results are worse than my Hasselblad negatives.

I need to rethink my approach.

I have the same problem. There are so many interesting shots you see just driving around but you don't have time to stop and set up a camera. There's a lot to be said for cellphone photography. I also keep a digital P&S camera 1" sensor nearby for those quick shots. Of course, even then I mainly don't stop. Some of that is inertia and laziness.

 

[Europan]

Leisure, 1911​

What is this life, if full of care
We have no time to stand and stare

No time to stand beneath the boughs
And stare as long as sheep or cows

No time to see when woods we pass
Where squirrels hide their nuts in grass

No time to see in broad daylight
Streams full of stars like skies at night

No time to turn at Beauty’s glance
And watch her feet, how they can dance

No time to wait till her mouth can
Enrich that smile her eyes began

A poor life this, if full of care
We have no time to stand and stare

W. H. Davies​

1871—1940