• Abstract and Figures
• Public Full-text

Section3a LargeFormat – Field Introduction . 124 -129 Gandolfi . .130 Horseman . 131 -137 Linhof . .138 -144 Toyo . 145 -146 Wisner . 147 -150 Wista . .151 -156 LARGE FORMAT INTRODUCTION The term Large Format simply means big film size. Large format cameras use sheet film sized 4 x 5˝ or larger with the most common film sizes being 4 x 5˝ and 8 x 10˝. 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 8 x 10˝ print from a 35mm negative, you must enlarge the print 8 times. If you had a 4 x 5˝ negative, you’d only have to LARGE FORMAT enlarge it 2 times. And if you used an 8 x 10˝ negative, Toyo 45GX you wouldn’t have to enlarge the print at all! In addi- monorail view camera tion, a larger negative offers a much greater range of shown on tonal values and less apparent graininess, due to the a pan head with a greater number of silver halide crystals on the image. Nikkor-W 210mm lens 124 Modern View Cameras mounted on Although the basic concept of the view camera has a lensboard changed little since the early days of photography, refinements in design, materials and manufacturing where. In a flatbed camera, the two standards travel on have brought today’s large-format cameras into the a rectangular framework or “bed.” The frame usually realm of space-age technology. Offering precision consists of a dual telescoping track that allows you to adjustments of the lens and film plane, modern view easily adjust the lens-to-film distance. Most flatbed cameras provide unparalleled control of the large-for- cameras can be folded up into a compact, self- mat image. With the aid of computers, designers have contained box for carrying. Potential limitation of field improved both the speed and quality of large-format cameras is that not all of them accept interchangeable lenses. Yet, it remains what it has always been – a tool bellows — a major drawback if you work with very for the creativity of the user. wide-angle lenses. Types of View Cameras Monorail Cameras Virtually all view cameras can be divided into two basic In a monorail camera, front and rear standards travel design types – flatbed and monorail. Each type of cam- on a single tubular channel or rail. The great advantage era has its own advantages and disadvantages. of monorail cameras is their extraordinary flexibility Choosing the one that is right for you is largely a mat- and almost limitless combination of camera move- ter of knowing what types of subjects you’ll be working ments. Front and rear standards can be independently with and under what conditions you’ll be photograph- adjusted to the most extreme angles — usually far ing. All view cameras have three common components: beyond the needs of most shooting situations. Some a rear standard to hold the film, a front standard to monorail cameras are designed in modular fashion so hold the lens, and a flexible bellows to adjust the dis- that parts like standards and bellows and extension rails tance between the lens and film. The way the standards can be snapped in or out easily. are joined defines the type of camera. Monorail cameras are particularly popular with studio and industrial photographers whose photography fre- Flatbed Cameras quently demands radical camera adjustments, or use of Often referred to generically as field cameras, flatbed more elaborate accessories. cameras are light and portable enough to carry any- The drawback is a lack of mobility. If you are working All items are complete with all accessories as supplied by the manufacturer in a studio or at locations where bringing your equip- one format, it is not necessary to purchase a completely ment is no problem, a monorail camera should not pre- separate view camera for each film size – there are alter- sent any real handicaps. But if you are traveling some native methods of adapting cameras to different formats. distance by foot, a monorail camera can be a burden. A. The interchangeability of lenses with the appropriate While all of those great accessories are fine in the studio, lens board adapters. they can quickly become a nuisance to keep track of in LARGE FORMAT B. Reducing backs, available for many larger view cam- the field. eras, allow you to use smaller film sizes. Regardless of which type of camera you are thinking of working with, the questions of portability and conve- C. Some view cameras, called convertibles, use a more nience should be given serious and realistic considera- elaborate system that involves switching bellows and tion. Field and monorail cameras range from a few rear standards to change formats. pounds to 30 or more pounds. And remember, where D. For switching to an even smaller format, rollfilm backs the camera goes, so must the film holders, the light are also available and allow you to use 120-size roll- meters, the camera case and the tripod. film on your view camera. In essence, you can convert a 4 x 5 camera to a medium format view camera. Selecting a Format Some brands of view cameras also allow you to attach Over the years, view cameras have been made to accom- your existing 35mm or 120-rollfilm camera body modate a variety of film sizes, from as small as 35mm to 125 directly to the back of your view camera. as big as 20 x 24 inches and larger. Today, the two main view-camera formats in use are 8 x 10˝ and 4 x 5˝; and A Choice of Accessories though rapid strides in film technology are noticeably Camera and lens manufacturers have made consider- eroding the quality differences even between these two, able progress in simplifying view camera operation. each format does have its own virtues and benefits. The shutters on most modern view camera lenses, for example, can be opened for focusing and closed with a Which format is right for you? separate lever without altering the shutter speed or Choosing a camera on the basis of film size requires seri- aperture setting. ous consideration of several factors. In many commer- Several devices enable you to set the shutter speed and cial applications (studio still lifes, for instance), the the f/stop from behind the camera. Another somewhat quality of reproduction will almost certainly be an more sophisticated device automatically opens the important priority. Many product photographers prefer shutter and diaphragm for focusing when a film hold- working with 8 x 10 cameras, because such large nega- er is removed from the camera. To “correct” the upside tives (and transparencies) allow far greater freedom in down groundglass image, there is a reflex viewer that post-production techniques — retouching, stripping, also eliminates the need for a focusing cloth. making composites, etc. Industrial photographers, on the other hand, may prefer a 4 x 5 format camera, because a wider variety of lenses are available in this size, and because it is more portable and easier to use. Horseman Woodman 45 Though view camera prices tend to increase substantial- field camera ly as the format size increases, there is a far greater dif- shown with a 150mm Schneider ference in price among the brands within the same for- lens mounted on mat. Precision, high-quality workmanship and dura- a lensboard bility 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 being used has an effect on cost throughout your pro- cessing and printing system. Multiple Formats For those who must produce photographs in more than THE PROFESSIONAL’S SOURCE (212) 444-6630 • FAX: (212) 239-7770 PHOTO - VIDEO - PRO AUDIO 1•800•947•6650 LARGE FORMAT INTRODUCTION An exposure meter with a probe to take spot readings regardless of whether it is the lens or film holder that is directly from the groundglass simplifies exposure read- moved. However, it must be remembered that when the ings. One of the benefits of exposure reading taken at film holder is moved, the image moves in the opposite the film plane is that it eliminates the need to calculate direction, as when the lens is moved. (This is also true an exposure increase for the extended lens-to-film dis- for all other movements.) tance. As an aid in previewing a setup, instant print 2. Shift film backs are available in both the 4 x 5˝ and 8 x 10˝ “Shift” (sometimes also called formats. Using an instant print film back allows you to “slide”) is movement of the produce test results for checking the image before com- lens and/or film horizontally mitting to the final result. You can examine composi- while keeping the lens axis and LARGE FORMAT tion, lighting and exposure – in black & white or color. film plane perpendicular to Movements each other. It is used to move the subject area laterally. The principal features that set view cameras apart from 3. Swing all nonadjustable cameras are the cameras movements. Swing means slanting the lens and/or film holder to the In a nonadjustable camera, the relationship of the lens left or right. Unlike with rise, 126 to the film plane is fixed and permanent; other than fall and shift, the lens axis switching from one lens focal length to another, or and film plane are no longer changing your camera position, fixed cameras offer you perpendicular to each other.

Load more

  34

Copy Link