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Large Format Photography |
| Though I may take hundreds of photographs every week while on the
job, I enjoy making images of my own, free of client needs and design
criteria. My favorite camera for this type of personal expression
is the classic large format view camera, or smaller medium format
variations, including those cameras that I have built myself.
There is something very pleasant about slowing down the photographic process and pausing to look at an inverted image on the ground glass and trying to visualize the print in it's final form. This is especially true in today's hustle and bustle world of digital, auto focus, auto exposure, auto flash and auto everything photography. The use of a view camera allows me to really get involved with the craft of making a photographic image, from start to finish. Using a view camera is not for everyone, there is a methodology that must be followed with each exposure, and a discipline that must be learned. I use a modification of the Zone System developed by Ansel Adams to determine my exposure and the darkroom routines that follow. I often unconsciously use this same approach in my day to day work also, even digital imaging. I have owned quite a few view cameras, some notable, some notorious, and I have several favorites. My first view camera was a totally inappropriate (for me at the time) 4x5 Sinar F monorail studio view camera. The Sinar is a beautifully crafted Swiss machine, which was part of the appeal of owning the camera in the first place. However, at the time I was seduced into buying the camera, I was stationed aboard a US Coast Guard icebreaker. With great humility I learned one of the first lessons any aspiring photographer should take to heart, "trust not the camera salesman, before taking stock of your own situation". The camera was nearly impossible to use aboard ship at sea, and too cumbersome to carry ashore easily for the short amount of time shore leave was granted. Shortly after returning from my last cruise to Antarctica, I traded the Sinar in at a loss for a camera that I have been off and on in love with for nearly over two decades, the Galvin 6x9 medium format view camera .
I have also played around from time to time with several 4x5 press cameras, impressed with the portability and rugged construction this type of camera offers. My favorite press camera is the Busch Pressman model "D". The Busch features a revolving back, the camera constructed entirely of nicely finished brushed aircraft aluminium, it features a generous amount of bellows draw, and ample movements on the front standard. The only drawback I found to the Busch when compared to the popular Graflex was the lens board, which has an unusual non standard design that utilized a prong to anchor the lens board to the camera standard. This type of lens board is much more difficult to replicate than the traditional flat lens board, and is rare, even on Ebay. The 4x5 view camera I currently use is a Tachihara field camera type view camera from Japan. I bought this camera sight unseen for it's size, portability and low price. The camera is very nicely finished, and a good bargain for under $600.00. However, after using the camera for about a year, I have come to be less and less enthralled with the cameras performance. The lack of front lens shifts and interchangeable bellows has began to really bother me, especially when I am shooting architecture. The Tachihara would make an excellent camera for someone just starting out with 4x5 as would most modern field cameras. In general, field cameras (view cameras that fold into themselves) offer the positive benefits of small size, light weight and in the case of professional field cameras from manufacturers such as Canham, Linhof, Wisner, Zone VI and Lotus, offer full technical movement, rigidity, interchangeable bellows and great engineering. As noted elsewhere on this site, I have also built or modified several large format cameras. Most notably my 4x5 wide field point and shoot, and 4x10 monorail view camera. I built these cameras to facilitate a specific need or client request. I use the wide field fairly often, and though I sold the 4x10, I have another 4x10 camera in the works, this time it will be a more portable field camera. My Commonly Used Large and Medium Format Equipment:
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Custom made in the seventies and eighties by
Jim Galvin, this camera is very small, light, and when collapsed,
it even fits neatly into my Domke camera bag right along with my
35mm and Digital gear. The Galvin has a unique feature that sets
it apart from all modern view cameras that I know of. The ground
glass is attached to an extra long spring and bail assembly that
allows a roll film holder to be slipped under the ground glass just
like a sheet film holder. Other view cameras require that the ground
glass be removed before the roll film holder can be attached to
the camera. The Galvin also is able to use roll film holders from
many manufacturers such as Graflex, Mamiya (RB) and Horseman. I
still use the Galvin today. | ©2005 Britt Leckman, all rights reserved. |