These photoessays will have far fewer images than the usual variety, simply because the number of images taken is necessarily lower. I’ll shoot perhaps 12 frames in a productive day. To confess, I’ve actually been hesitating a little over whether to post these at all, because even though the loss from print to screen is enormous, there’s an even bigger loss between full digital files to web. There is simply no way to represent them in such a way that doesn’t throw away most of the tonal subtlety and immersive detail. I’ll do it anyway, for the curious. But upfront I will say that something is definitely missing…there’s a ‘digitalness’ to the images at this size that isn’t present in the full size images; I suspect it’s because once you shrink an image this much a lot of the subtle tonal and microcontrast cues that say ‘film’ are downsized into oblivion. Just so you know: you’re looking at an image that’s been reduced to about 0.5% of the original size. MT
Film diaries: losing my large format virginity
Doing gymnastics for the camera. I’ve never encountered a situation in which this degree of movement is actually required.
Many of you will know that earlier this year, I acquired a large format 4×5″ studio monorail. It’s an Arca-Swiss F Line with standard bellows; it has full but ungeared movements on both front and rear standards, a telescoping monorail and takes Graflex film holders. I paired it with a Schneider APO-Symmar 150/5.6, which turned out to be the right choice as I’ve not yet felt the need for longer or wider – somehow, it matches my perspective perfectly. Film – my beloved Fuji Acros 100 – and spare holders arrived a little while after the camera, and I’ve had a complete working setup for about a month. Today’s article comprises some collected thoughts after living and working with it for a while, from the point of a primarily digital photographer who’s also gone back to revisit medium and now large format film.