advise for beginner

What is the advantages to using a large format camera rather than a

35mm.? I'm intrested in studio photography and wondering what kind

of camera would be best. Any info. would be appreciated.

Image-wise, 35mm is to large format what a plastic flute is to a symphony orchestra. ;-) With large format (4x5 is a good place to start) the advantages are the far larger negative (far more image detail), and perspective controls provided by view camera tilt, swing, etc. Suitability of LF depends on what you're shooting, of course. Fast-moving fashion and dance poses are probably easier to do with 35mm or medium format. More static subjects, however, are the domain of LF.

 

Without knowing what you may be shooting, it's tough to make specific camera recommendations. There is, however, a wealth of basic and advanced LF information available at http://www.largeformatphotography.info/, and in the archives here on specific questions.

The main advantage, is that you get to carry on many interesting conversations. When you shoot 35mm, nobody ever stops, looks at your brand new Ebony SV45U and asks, "Is that an old camera?" and then goes off muttering about garage sales following your answer.

I would also be interested in hearing recommendations for a field camera. I don't so any large format now, but it does interest me. I would like to have something transportable in a backpack along with a suitable tripod of course for short hikes and such.

One real advantage for studio work is the ability to change perspective and distortion. A view camera has movements to allow for situations where depth of field can be altered (for example a table top with sharp focus from near to far). There are many good texts which show these functions well. Take a look at View Camera Magazine to get an idea of what is possible.

The biggest advantages are the physical fitness benefits you get from carrying tons of

gear around with you and the increased neck muscles you get from bending down

under the darkcloth. You also increase your night vision trying to see things on the

darkglass. Also, you will keep your home or studio much cleaner as you work to avoid

dust on film holders. You'll also save money on batteries.

 

Might have missed a few, but I think that's it.

Jennifer - short answer is that you need to look at monorail cameras to get the maximum movements as described above.

 

Robert, short answer is that all field cameras are designed for (relatively) easy carrying about and the best tripod is the most stable one you can carry....

 

Longer answer for both of you is: http://www.photo.net/bboard/q-and-a-one-category?topic_id=1547&category=Beginner%27s%20questions.

Followed by http://www.largeformatphotography.info and then take trip to your local library if you have a decent one within reach.

 

Have a read and come back with more specific questions - at the moment you are in "how long is a piece of string" territory and the answers you get will be appropriately wide ranging....

 

Good luck,

One word. Sinar

"Studio" is not enough information to make a decsion on format. Clearly you want either MF or LF (not 35mm), but more inforamtion is needed on subject matter, what the purpose of the photos will be, who will use the photos, whether you need camera movements (rise, tilt, etc.), and any other information you can provide.

One advantage, and it is an important one is that when you look

at the image in the ground glass, the image itself will be upside

down and fliped horizontally. This seems akward in the begining

but in the long run, you will notice that your photographic skill will

increase. The fact that the sheet of color film plus the processing

will be costing you close to 5 dollars is another great way to

learn photography too. You will see!

I have a better idea. Buy all your film from me. I will charge $20 per sheet (processing not included), so that way you will learn photography more than 5 times faster than normal.

Jennifer,

 

The answer depends on what sort of things you intend to shoot in the studio.

 

If it's people, forget it. Stick to 35mm or digital ( i would have said MF until a few months ago but now believe it's dead in the water)

 

LF offers two advantages over smaller formats:

 

Firstly, the image quality is better. By that I mean that detail is more apparent and tonal gradation is more subtle. These both arise from the larger neg or tranny size and the reduction in enlargement needed for a given sized print. The advantage over the best smaller systems doesn't really become apparent until you get to 16x12 or beyond, if we're honest.

 

Secondly, and most importantly in my view, LF cameras offer camera movements. These allow you to control the perspective of your image (i.e. take a photo of a church tower without getting converging verticals). They also allow you to control where the plane of sharp focus in your scene is. With 35mm cameras and fixed (non tilt/shift) lenses this plane will always be parallel to the lens and film planes. With a large format camera, the plane can be placed, within reason, where you want it, including from your feet flat along the ground to the horizon. This can be devillishly useful for tabletop photography in the studio.

 

If you want some pointers to more detailed information, just shout, although this page:

 

http://www.largeformatphotography.info/

 

will tell you a lot.

MF is dead in the water! From today painting is dead!

 

Reports of many demises are often greatly exagerated.

One consideration is that the cost of large format work (at the learning stage, almost certainly) more or less requires access to a darkroom. While this can be an obstacle, the corresponding advantage is that negatives are made as individual frames, and not as multi-frame rolls. It becomes reasonable to set up a photograph, make one or a very few negatives, and see the results before forgetting just what was being attempted. I suppose that one could keep a record and make notes of each frame on a roll of 35mm film, but I don't have that kind of patience and I don't think that I have ever met anyone who does.

 

In my experience, it is possible to do a great deal of studio work without the need for camera movements, making medium format a reasonable entry-level compromise. This is certainly true of portraits, and holds for still life as well unless the subject is extended in distance along the camera axis. (Stopping down for depth field is not quite the same as aligning the focal plane using camera movements.)

 

There is an argument to be made that a given level of proficiency requires a certain number of "events"; in large format, this might be 100 sheets of film, and in 35mm 100 rolls of film (100 useful attempts, and 3500 discards...)

Jennifer, I think your question covers too much information. One of the benefits of this format is the diversity of opinions and experiences. However, I think some of the responses here tend more toward attempts at humor than at conveying information. Most of my 4x5 work has been field oriented rather than studio work. There is some carryover, however, I feel others are more qualified to answer your question than I am. Hopefully they will do so.

Jennifer, the 2 major reasons for large format are the size of the film (which allows for big enlargements while maintaining quality) and the movements (which allow for very precise control of perspective and focus).

 

If you want to work in the studio, a monorail is probably better as it'll allow for more movements. I have a Sinar F that I enjoy very much, and that is still light enough to be carried around (although for long hikes with a backpack I would consider a wooden field camera).

I agree with Jean-Baptiste. I might add my thoughts on the large negative. I usually make 8x10 prints, very occasionally 11x14. (never larger) I make the same size from 35mm. I like the smoothness and tones and textures of the large negative. In digital terminology, the 4x5 negative has more "pixels".

 

Once you experience the creative choices of the view camera, you may feel cramped with a regular camera. If you enjoy the paintings of Vermeer, you will find the groundglass magic.

The only real advantage for Large Format Photography is that it requires you to slow down and evaluate carefully what it is that you are doing. All the rest is just technical masterbation.