Features of Large-Format Cameras (3)

By TAMADA ISAMU

Basic Operations and Techniques

This month, I will mainly describe the safe and sure techniques of using large-format cameras, speaking from personal experience. I believe they are very effective, and you should try them out. If any of you have other good ideas, send them to CamerArt magazine.

Using a Tripod

In large-format photography, it is quite common to use slow shutter speeds such as 1/2 sec and 1 sec. Therefore, a sturdy tripod is required to prevent camera shake. A tripod usually has a simple construction. The larger and heavier it is, the sturdier it is. Small and light tripods are highly portable, but prone to cause camera shake. While tripods for compact cameras are light and easy to set up, Iarge tripods can cause physical strain if handled improperly. It is best to avoid handling a large tripod while you are crouching or bending over.

Setting Up a Tripod

If the tripod has a locking ring or lever at the end of each extendable leg,

follow the procedure below.

1, Use one hand to hold up the tripod and use the other hand to extend one leg to the required length and to lock it in place.

2. With all three legs still closed, stand the tripod on the single extended leg. Then loosen the other two legs and extend them to the ground, Lock the two legs. The length of all three legs should be the same.

3. Spread each leg as far as it can go. Mark the tripod legs at a convenient height to make it easier to set up the tripod the next time,

If the tripod has a locking mechanism at the top of each leg, follow the procedure below.

1 . Spread the tripod legs and use one hand to hold the tripod head at the required height. Be sure to keep the elevator post perpendicular to the ground.

2. Use the other hand to unlock the legs and let them drop to the ground.
To retract the legs for either tripod, remove the camera from the tripod head. Then hold the tripod upside down and unlock the legs. The legs will then retract under their own weight. When they retract completely, tighten the lock. The procedures above can be done while you stand up. They are the safest, surest, and least strenuous way.

Attach the Camera to a Vertical Platform

Studio-type large-format cameras have a tripod socket on the monorail base and field cameras have one on the front panel (flatbed). The camera can thereby be mounted on a tripod or on a camera stand's freeturn panhead. In the case of a studio-type large-format camera, remove the monorail base from the monorail and mount it on the free-turn panhead. Then mount the camera-mounted monorail on the monorail base. The monorail should be positioned on the tripod head with the front and rear ends well balanced. When mounting field cameras on a tripod, many people set the tripod head's camera platform horizontally, place the camera on the head, and crouch to grope for the tripod socket. This method makes it difficult to find the tripod socket, It is easier when the tripod head's camera platform is set vertically for mounting the camera. This makes it easier to see the tripod socket without crouching. It is also faster. This method can also be applied to studio-type cameras. There is also a quick-shoe tripod attachment. It allows the camera to be mounted on or removed from the tripod head at a touch of a lever, freeing you from turning the tripod screw each time. It is a convenient accessory outdoors when you often attach and detach the camera from a tripod. Choose a quick shoe which provides sturdy camera support.

Drawing Out the Front Standard

Field cameras use one of two ways to retract the front standard. One way is used by most wooden field cameras. The inner side of the front panel or flatbed has dual tracks on which the front standard travels. The front standard can be turned 180 degrees and folded against the flatbed which is then folded up. If the front standard is not positioned correctly or folded down properly, the flatbed cannot be folded up. Therefore, it takes practice. The other way has the front standard travel on the flatbed tracks all the way to the rear of the camera box without being folded. This method is used by the Linhof Master Technika, Horseman, and some wooden large-format cameras. When moving the front standard from the camera rear to the flatbed on the tracks, the left and right sides of the standard must move in parallel. Otherwise, it may whittle away the tracks. To prevent this, the tracks on the flatbed must meet the tracks on the camera box precisely before the front standard is drawn out or retracted into the camera box.

Focusing and Camera Movements

To obtain sharp focus for near and distant objects and to obtain correct perspective of buildings, etc., with camera movements, follow the procedures below.

1. Obtaining sharp focus from near to far distances First focus on the distant subject, then focus on the near subject. For landscape photographs, the subject hardly changes. First obtain sharp focus of the distant background, then tilt or swing the front standard to obtain sharp focus of the near subject. Due to the camera movement, the near subject on the part of the ground glass nearer to you will appear to be larger. The relationship between the near and far subjects is thus exaggerated. Since this camera movement does not move the lens' optical axis from the image center, it is suitable for lenses having small covering power and for teiephoto lenses. If an exaggerated relationship between the near and far subjects is undesirable, execute camera movements with the front standard to compensate.

2. Obtaining proper perspective After setting the camera position, execute camera movements with the rear standard and secure it in place. Then execute camera movements of the front standard to focus as required. The perspective of the subject can be controlled with the camera movements of the rear standard. For example, to obtain proper vertical perspective of a tall building, set the rear standard parallel to the building. Do this even when facing the camera upward or downward. If you want to make a part of the subject look larger, tilt and/or swing that part of the ground glass toward you. No camera movement can actually make the subject look smaller. Camera movements can only make a subject or part of a subject look larger, making the other parts look smaller in comparison.

Using a Focusing Cloth

A focusing cloth is used to block out surrounding light while you view the ground glass. It makes it easier to see the image on the ground glass. Large, square focusing cloths black on the outside and red on the inside are commonly used. However, as long as the cloth can block out light totally, the cloth can be of any color. Some people hang the focusing cloth on the camera and then stick their head under it to view the ground glass. Others leave the cloth around their neck and then pull the cloth over their head and camera with both hands. The latter is the correct way. If the cloth is left on the camera, it may press down on the bellows and cause vignetting on the upper part of the ground glass. The cloth may also slip down left or right while you focus.

Shake and Tap the Film Holder

The sheet films used with large-format cameras must be loaded into a sheet film holder. When a loaded sheet film holder is shaken left and right, the film will make a soft tapping sound. This is a convenient way to check whether film is loaded in the sheet film holder. Since the film is able to move in the sheet film holder, it is possible for the film to move during exposure. Once when I was using a slow shutter speed to take a picture of an advertising product, the film apparently moved down during the exposure and the photo came out blurred vertically. The shock of the shutter release jolted the film downward. Although the chances of this happening is very small, I make it a habit to do the following:

1. I shake the film holder to make sure film is loaded.

2. I tap the palm of my left hand with the film holder edge which will on the bottom side when the holder is inserted into the camera. The film will drop to that edge. Then I insert the film holder into the camera. Before using the film on the other side of the holder, I skip step I and definitely do step

3 if the shot is to be horizontal again. Since the hoider will be flipped over to take the second shot, the film on the second side will be floating toward the holder's top edge. The film is thereby prone to drop down. Therefore, tap the holder so that the film on the second side fall down to the holder's bottom edge. The above procedures prevent shooting with no film and film move-ment during exposure. However, they are unnecessary for Kodak's packet film, Fuji Film's Quick-Load film, and instant film.

Test Firing

After setting up the camera, composing the shot, focusing, adjusting camera movements, measuring the exposure with an exposure meter, setting the shutter speed and aperture, and cocking the shutter, you're finally ready! You insert the film holder into the camera, pull out the dark slide, hold your breath, and press the shutter release. But the shutter does not fire. You forgot to close the shutter!. This is the most common mistake beginners make. There are old-type shutters which close when the shutter is test fired. However, most modern large-format lens shutters do not fire if it is not closed. In either case, it ruins the film if the shutter had not been closed. Therefore I recommend that you test fire the shutter two or three times before taking the actual shot. This prevents you from forgetting to close the shutter and allows you to check the condition of the release and shutter. It also makes the shutter operation smoother.

Look at All Four Corners of the Ground Glass

The four corners of the ground glass on most large-forrnat cameras are cut off. Many people seriously think that the resulting holes are air release holes to allow the bellows to be extended or contracted. They are actually peep holes which you look through to view the lens and check for any vignetting caused by the lens barrel, Iens hood, or bellows. If you look through the lens through one of the ground glass corners and cannot see ,the outside scene completely because the lens barrel, hood, etc., is in the way, it means vignetting will occur at that corner. Even if you can see the outside scene with a fully-open aperture but fail to see it with a stopped-down aperture, vignetting will still occur. Also, if a stopped-down aperture lacks its actual shape, underexposure will result due to a lack of light. If the shape of the aperture opening does not look complete, the cause might be attributed to any of the following:

1. The lens' covering power is inadequate.

2. Vignetting is being caused by the lens hood.

3. Vignetting is being caused by the bellows. The cause of any vignetting can be known by looking through the peep holes. If, however, the cause is difficult to discern, remove the ground glass and peer into the camera. If the camera's ground glass does not have peep holes at the corners, affix a triangular piece of cellophane tape to the four corners on the inside of the ground glass. The tape will make the frosted glass transparent, allowing you to peep through.

Using a Focusing Loupe

You would think that a higher magnification loupe is better for precise focusing. However, this is not so. If the magnification is too high, the roughness of the ground glass will stand out more and make it difficult to obtain a clear view of the subject. The ideal magnification is 4X to 5X. The loupe should have a wide viewing angle and a black barrel blocking outside iight. A Ioupe having a diopter adjustment and a base made of plastic or a material not prone to scratch the ground glass is best. When a wide-angle lens is used or when camera movements are excessive, the edges of the frame may be difficult to focus. If this occurs, view the loupe through the opposite end and set it at an angle on the qround glass.