THE LARGE-FORMAT CAMERA T H E O R E T I C A L
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DANIEL BOIX GALLARDO 2N A EAPG PAU GARGALLO
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THE LARGE-FORMAT CAMERA T H E O R E T I C A L
INTRODUCTION The large format camera is used by both commercial photographers with recognition by prestigious authors in the world artisitc picture. When we see the best results obtained by a plate camera, you might think that the justification for its use is the quality obtained in comparison with other popular devices (digital, 35 mm, medium format, ... ). Obviously, the amount of information it
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collects a plate, say, 4x5 “is overwhelming both the original 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 numerous.
THE LARGE-FORMAT CAMERA T H E O R E T I C A L
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, opportunity 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 MENTS
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The camera plate requires certain skills to get good results and become familiar with the equipment, know that sometimes question 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 (adjustable), 4 in the front pillar and another 4 in the rear. The difference between “displacement” and “movement” is that the light follows incidiento 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 movements are performed with the camera mounted on the tripod and without moving, making it possible to distinguish between composition and framing.
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THE LARGE-FORMAT CAMERA P R A C T I C A L
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 techniques mentioned above. Using a 13x18 large format camera. A very educational and entertaining exercise allowed us to better understand the workings of the camera, as well as being able to look closely at the quality, especially in the genre of architecture, the camera offers.
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THE LARGE-FORMAT CAMERA P R A C T I C A L
Finally I’m gonna show you the use of a digital SLR camera taking architecture photos with the purpose to compare both formats.
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THE LARGE-FORMAT CAMERA P R A C T I C A L
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THE LARGE-FORMAT CAMERA T H E
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Front pillar and Rear pillar showing the different movements of Large Format Camera.
Swing. Scheimpflug principle.
THE LARGE-FORMAT CAMERA T H E
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Tilt. Scheimpflug principle.
Architecture picture taked with the large format camera.
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THE LARGE-FORMAT CAMERA T H E
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Still life. A guitar picture taked with the large format camera.
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Landscape picture taked with the large format camera.