Large format photography has meticulous steps to follow. Dom calls it 'The Dance'.

Large format photography has meticulous steps to follow. Dom calls it 'The Dance'. | ABC Australia

Рет қаралды 4,268

Ай бұрын

Film photographer Dominique Pierre-Nina, from Jamberoo on the south coast of New South Wales, finds autumn light ideal for shooting in large format.
But this traditonal form of film photography requires patience and dedication in following a number of steps to achieve the perfect image.
Dom says hiding from the light inside his dark cloth hood along country roads is the best bit.
📽 Video produced by Sarah Moss.
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Пікірлер: 16

@gabedamien Ай бұрын

I have always been tempted to try large format. There is something very deliberate about it which is appealing.

@mehsmehmeh Ай бұрын

Beautiful story telling which demonstrates the work necessary to take a great photograph.

@motorvelo 27 күн бұрын

You can do the same amount of work and take a poor photograph.

@cyrilhamel8289 29 күн бұрын

Thanks for sharing this experience 😊

@aaronoverstreet1436 Ай бұрын

Ooh, I wish to step into large format photography one day. Can Don speak to his post production workflow and costs? Does he develop film and print himself, work with a lab, or use scans to digitally produce his final work? Sounds like a lotto dream for me!

@motorvelo 27 күн бұрын

Depth of field is a formula that takes into account the diagonal dimension of the film, and the focal length of the lens. The bigger the film the more you need to stop down to get a decent depth of field. The lenses are designed to mitigate the defraction. Also f64 on a 210mm lens is an aperture of approx 3.5mm. About the same as f16 on a 50mm lens.

@petermcginty3636 Ай бұрын

Thanks for the video. Interesting content, but a very slow process for me.

@mrgnktevetias Ай бұрын

Thank you for this nugget. People believe this medium is dead, but it couldn't be further from the truth. This camera takes so much time to take a picture, but it provides the highest quality even compared to any current day digital cameras.

@motorvelo 27 күн бұрын

Two immediate comments. There is a ground glass screen and fresnel screen. Usually separate things. Then you are using the cloth the wrong way around. It should be the black to the inside to give the darkest result with no reflections on the focusing screen and the red on the out side, traditionally so the photographer could be seen.

@ChrisThe1 Ай бұрын

I really don't get why large format uses these tiny apertures. Sure, depth of field, but the diffraction will kill any detail in the image.

@dakman1082 29 күн бұрын

Larger formats have less depth of field, therefore needing smaller apertures relative to 35mm. It's a topic that can get pretty technical to understand in depth.

@dantasma 29 күн бұрын

@ f32 diffraction is a non issue for large format due to the size of the negative, a 20"x24" print diffraction is negligible compared to say and enlargement from a 35mm negative.

@MykeBatez 28 күн бұрын

Diffraction sets in differently based on the size of the medium you're exposing, so in the case of large-format film, diffraction will begin to affect image sharpness at a *much* smaller aperture than it would on a full-frame camera, etc.

@edhannam1127 28 күн бұрын

The effect of diffraction is dependent on the actual physical size of the aperture that the light is passing through. F stop for f stop, the aperture on a large format lens is physically larger than that of one used in 35mm photography, so you are not comparing like for like. Therefore on a large format lens the physical size of the aperture at say, f45, is similar to maybe f8 on a 35mm format camera (and depending on the sensor size), which is the maximum recommended f stop to avoid diffraction.

@jiml989 27 күн бұрын

The depth of field on a 4x5 camera at f/32 is roughly equivalent to f/8 on a 35mm camera, which is generally considered the "sweet spot" for 35mm lenses. Remember Ansel Adam's f64 group? They chose f/64 to underscore their belief, at the time, of having the sharpest and most detailed images. They were mostly shooting with 8x10 cameras. f/64 on an 8x10 camera is also approximately equivalent to a depth of field f/8 on a 35 mm camera. Before someone brings it up, the aperture size does admit the same amount of light, regardless of the camera. So f/32 is 2 stops slower than f/8 in all cases.

@KCYT2010 29 күн бұрын

I'm sure to the uninformed this will be interesting but unfortunately the photographer failed to use the view camera's greatest strength. The ability to control focus and depth of field by tilting the film and lens planes. Had he employed the Scheimpflug principle and tilted the lens and/or film planes he could have shot at a larger aperture and avoided the diffraction that is inherent in F/32. The resulting image would be much sharper and selective focus could have emphasized the subject. Drawing your eye into the image. Then there's the method of exposing the film he neglected to employ but that's another entire discussion.