So, how often do you really use your camera's movements?

[Frank Petronio]

I don't know, the big negative is overated IMHO, at least compared to a good Mamiya 7 or Fuji 6x9.... I know from long and expensive experience that comparing them to handheld large-format is a wash, if not clearly in favor of the medium format for nearly all handheld work.

Roll-film cameras dominated portraiture for several generations for very good reasons, as has digital since.

What works in favor of large format is the tripod and the time factor. Knowing that you are going to spend at least a minute or twenty making a picture, then laboriously and expensively processing or editing it means that you slow down and make your fewer pictures count.

Large format is also advantageous with willing portrait subjects (i.e. not babies, cats, or fidgeteers). Because it is rare and novel, and people recognize the time and effort you're putting into making their picture, you are often rewarded with a heightened sense of connection once the big cameras come out.

In other words it is all a psychological advantage, not a technical-quality one. Making a few obscure camera movements and generally behaving like Felix Ungar is part of that "slowness" that is so different and welcome.

[Scotty230358]

Mainly front rise and tilt.

[jcoldslabs]

Frank,

I'll concede that a solid Mamiya 7 or Fuji 6x9 shot rivals a lesser LF image (handheld, in your example). The two largest prints I have of my own work hanging in my house are both 16x20 Cibachromes from Velvia, one from 4x5 and one from a Fuji GSW690II. Both look fabulous at that size, although the level of minute discernible detail in the print made from the 4x5 is perhaps superior. I remember taking each shot, and I can tell you that the experience of framing the 4x5 photo with my Toyo was a more pleasurable and memorable one than the act of holding the Fuji to my eye and clicking the shutter.

I agree with your description of "psychological advantage," but I would argue that works not just for the subject but for the photographer, too. Last week I had my 8x10 at our neighborhood park and a guy walked over to me and asked why I still shoot film. It's a fair question, and I won't even argue that the 2D shots are superior to a good digital capture, but shooting a digital shot (or twenty) of the slide at the park, or snapping a couple with the Mamiya 7, would have taken all of ten seconds, whereas setting up the 2D allowed me to have a conversation with a mother and her two young kids who were fascinated by what I was doing. All of that adds to my photographic experience and is something I would lose if I weren't shooting large format, movements or no.

Jonathan

[Mark Barendt]

I agree that a big chunk of the advantage of large format is psychological, as stated above that's true for both photographer and subject.

Another advantage of LF which is just as important for me is in being able to do more of my creative work at the camera rather than at home.

It is the same reason I break out my Holga for snaps, choosing the "right" tool for the job makes printing the result I want easier.

[cosmicexplosion]

bit of a silly question really
like asking a pub full of punters how much they drink...

[Cletus]

I know the question here is "What movements do you use, if any", but I'll second the 'psychological' advantage of LF too.

I'm still quite new to 8x10 and in the process of learning the ropes of the larger format. I know I went 'round and 'round for many months making the decision to move up from 4x5 and ultimately, it was a go, both for the larger negatives and the quality of the final contact print.

I had asked this question here and there was some discussion - to me there is enough improvement in the sharpness, detail and tonality of the final contact print to be worth the trouble. And in all reality there's not a h*ll of a lot of difference betwixt an 8x10 contact print and an 8x10 enlargement from 4x5. the difference is there though, so for me, the 'psychological advantage' mostly lies in the quality of the final print, whether real or perceived. Also the "advantage" of being able to do alt process contact printing without a digital negative.

But back to the question: Yes, I use movements and they are solely dictated by the subject. I have always struggled with "Scheimpflug focusing" and until recently, when I needed to apply the principle I just basically fiddled around randomly until I got something approximating good focus - and then stopped down to f45 to make up the rest.

Then the other day, for the first time, (and in no small part due to the excellent advice obtained here by some of you) I was able to systematically correct the perspective of the "tall tower" I was shooting AND bring it into correct, tack sharp focus (wide open) utilizing Scheimpflug rules. I had to tilt the camera up slightly to get the framing I needed as front rise had run out on the tall subject I was photographing. It was a successful photograph and I felt quite confident in which movements were needed and to what degree to bring the tower properly into focus.

So yes, I use movement as required, which is probably 50-60% of the time for the subjects I shoot. It will always be a learning process to determine WHEN they are required, however, and movements are my second reason for using the big view camera. The first reason is the quality of the print possible because of the large negative. Those two reasons may change places as I become more experienced and confident with focusing and composing with the view camera.

[Drew Bedo]

I use front tilt a lot (70% of set ups?) and som swing. Rarely use rise or shift.


Cosmic-Ex: What actually is a "Punter"?

[Leigh]

I know from long and expensive experience that comparing them to handheld large-format is a wash, if not clearly in favor of the medium format for nearly all handheld work.

But Frank,

Nobody in his right mind shoots LF hand-held.

- Leigh

[cosmicexplosion]

oh sorry drew
in australia its a general term for people at a pub
i think it comes from the betting culture, one who takes a punt. a bet. they gather en-mass and stair at horses on a screen. yelling.

[cosmicexplosion]

But Frank,

Nobody in his right mind shoots LF hand-held.

- Leigh

-except all the millions of people who have used speed graphics. goersies, photomans, linhofs.