DANIEL BOIX GALLARDO2N A EAPG PAU GARGALLO

THE LARGE-FORMAT CAMERAT H E O R E T I C A L A N D P R A C T I C A L W O R K

INTRODUCTION

The large format camera is used by both commercial photographers with recogni-tion by prestigious authors in the world artisitc picture.

When we see the best re-sults obtained by a plate ca-mera, you might think that the justification for its use is the quality obtained in com-parison with other popular devices (digital, 35 mm, me-dium format, ... ). Obviously, the amount of information it

collects a plate, say, 4x5 “is overwhelming both the ori-ginal size as the lens used to get, which are often very large format maintained by the manufacturers. But this hypothetical original will always be conditional on being digitized as optimistic way, and here the possibility that the scanner is not used to the altitude are more nu-merous.

THE LARGE-FORMAT CAMERAT H E O R E T I C A L W O R K

BENEFITS AND DRAWBACKS OF THE LARGE FORMAT CAMERA

The flexibility is the best benefits that this camera give. In fact, the nickname of the view camera is also “flexible camera” photographer’s property that requires some adaptation, knowledge and disciplines of work, change can be an invaluable ally in various situations by offering a definition, contrast, and excellent approach, opportu-nity to correct the perspective through the uprights movements, control of depth of field (Scheimpflug and counter-Scheimpflug).

These benefits are applicable in every kind of photography areas.

LARGE FORMAT CAMERA’S MOVE-MENTS

The camera plate requires certain skills to get good results and become familiar with the equipment, know that sometimes ques-tion which we thought to have. A camera technique, suppose an optical bench, has 8 possible shifts, 4 on the front pillar and 4 at the rear.

In turn, has another 8 movements (adjusta-ble), 4 in the front pillar and another 4 in the rear. The difference between “displacement” and “movement” is that the light follows inci-diento shift in the focal plane (the film) with an angle of 90 °, while on the move alter this angle. These two concepts are not present us with most lower-format cameras except for the Flexbody Hasselblad, Hasselblad HTS 1.5 adapter or a camera with a shift lenses.

It is worth to note that these shifts and mo-vements are performed with the camera mounted on the tripod and without moving, making it possible to distinguish between composition and framing.

THE LARGE-FORMAT CAMERAT H E O R E T I C A L W O R K

To conclude with this work, in this most practical, I will show the pictures taken by us in school, with the help of the large format camera and implementing some of the te-chniques mentioned above. Using a 13x18 large format camera.

A very educational and en-tertaining exercise allowed us to better understand the workings of the camera, as well as being able to look clo-sely at the quality, especially in the genre of architecture, the camera offers.

THE LARGE-FORMAT CAMERAP R A C T I C A L W O R K

Finally I’m gonna show you the use of a digital SLR ca-mera taking architecture photos with the purpose to compare both formats.

THE LARGE-FORMAT CAMERAP R A C T I C A L W O R K

THE LARGE-FORMAT CAMERAP R A C T I C A L W O R K

THE LARGE-FORMAT CAMERAT H E D I F F E R E N T P I C T U R E S U S E D

Front pillar and Rear pillar showing the different movements of Large Format Camera.

Swing. Scheimpflug principle.

THE LARGE-FORMAT CAMERAT H E D I F F E R E N T P I C T U R E S U S E D

Tilt. Scheimpflug principle.

Architecture picture taked with the large format camera.

THE LARGE-FORMAT CAMERAT H E D I F F E R E N T P I C T U R E S U S E D

Still life. A guitar picture taked with the large format camera.

Landscape picture taked with the large for-mat camera.