How Did We Come To LF?

[otto.f]

1. I was much interested in the possibilities of selective (out of) focus area’s not parallel to the film plane, but in function of what you want to tell with an image. I was also interested in correcting oblique perspective lines, but later on I found that not as fascinating as I thought it would be.
2. The possibilities of very rich tonal scales and smooth transitions from dark to light, as opposed to the 35mm format
3. It was in the time that Ansel Adams’ books were popular and I found it a challenge and a plus to develop every single negative in a way that fits the specific light situation.
In fact all these reasons to practice LF still stand. How to attain these goals is a different story and in fact the problem with LF too. It’s not that easy.
Nice idea for a thread indeed!

[Gary Beasley]

I found a Crown Graphic kit at a camera store in Little Rock for a good price and bought it. I’d found an old DeJur 4x5 enlarger earlier that needed work and was using that in my darkroom. The rest is history.

[Mudrunner]

It's genetic.
My father, brother, and uncle were professional photographers. My uncle still is.
I got my first Kodak at 5 years old. In high school, I saved up my lawn-mowing money for a K1000, then I joined the yearbook and newspaper so that I could get access to a darkroom and free film, developing, and experience....when I finished high school, I decided to become a professional photographer. I moved to the East Coast and started as an apprentice in a commercial/fashion studio in the early/mid 80s ...at a time when the term Supermodel was coined...I got to know and use medium and large format cameras (4x5, 5x7, 8x10).
Working in the studio, was very controlled and meticulous about everything...I learned a lot.
Eventually, I missed the mountains and moved back to the West Coast (there was also a gal), and went into architecture...so I sold my photo gear for tuition and rent.
I re-started my love for film when my (now adult) kids started using my old gear....about 5 years ago. I realised how much I missed it and decided that I needed to express myself through large format...and combine it with my love for the mountains. So here I am shooting 4x5 again.
My son did a digital media program at high school, my daughter took advanced photography at college. They are both quite talented, and they both shoot film....albeit 35mm for now.
It's genetic.

[Mark Sawyer]

When I was in college in the '70s, everyone had 35mm cameras, including me with an old Minolta. The Center for Creative Photography was just starting up, and I was marveling over the Ansel Adams prints. One of the graduate students told me, "If you want to get 4x5 quality from a 35mm, you need to get a Nikon."

So I bought a Nikon, but my prints looked about the same. And one of the professors explained to me, "If you really want 4x5 quality from a 35mm, you have to get a Leica."

So I traded in the Nikon for a Leica, and my prints still looked about the same. And someone said to me, "If you really, really want 4x5 quality from a 35mm, you should get an Alpa."

So I traded in the Leica for an Alpa, and my prints looked about the same. And I said to myself, "If I really really really want 4x5 quality, maybe I should get a 4x5."

So I bought a cheap 4x5, and my prints looked a lot better.

Then I decided I wanted 8x10 contact print quality, so I bought an 8x10, and it felt like falling in love for the first time...

[Oren Grad]

Merged with the existing thread on the topic.

[maltfalc]

wanted a camera i could use for daguerreotypes, procrastinated about it for ages then found most of a voigtlander avus at a thrift store for $10. went looking for replacement parts on ebay, got distracted and ended up buying a dirt cheap speed graphic instead.

[John Kasaian]

All the cameras I saw on Looney Tunes andThe Three Stooges had bellows.
I naturally thought that was how all cameras were supposed to be

[j.e.simmons]

In the early 70s I was shooting a Yashica TLR when I saw a magazine article on the Zone System. It immediately made sense to me. Shortly after, I saw Adams’ five little books in a store. Reading those made me want a view camera, and 6-7 years late I got an Omega 4x5.

[Michael R]

Mostly the work of George Tice, Mark Citret, Stephen Shore and a few others that made me want to try LF.

[Ulophot]

Mark, that's a great way to tell the story. I love it, even though I'll never get to 8x10. Thanks!