Medium and Large Format Photography

Medium and Large Format Photography

 

Following my experience with 35mm film photography, medium and large format film felt like a natural progression plus I am very keen to observe the difference in quality for myself.
I have been lucky enough to receive a fairly old medium format camera for Christmas, which, makes my exploration into this area of photography quite exciting. The camera I am going to be using is a Yashicamat LM twin lens reflex (TLR) with fixed 80mm viewing and taking lenses, which, was made around 1958-62. It takes 120 roll film only, that produces 12 negatives sized approximately 6x6cm. This camera design was based on the very popular TLR Rolleiflex, used by the likes of 'Brassai, 'Doisneau' and Maier'. The LM on my camera stands for light meter, however, it no longer works meaning I need to use an independent light meter to obtain a correct exposure.

Brassai (1934)

Doisneau (1947)

Maier

My Yahicamat camera along with a Weston Master V light meter

One of the well know problems with this type of camera is called parallax error. In simple terms, the fact there are two lenses, usually one above the other, means what is seen in the viewfinder isn't quite what the lens sees, usually resulting in the top of your intended subject's head being missed off.
There are many other medium format cameras available which, use varying sized film/negatives. Mamiya and Hasselblad are just two of the makes that are highly recognised and respected, being particularly useful as the back is interchangeable between film and digital.

Film Developing and Printing
Part of my use and exploration into film photography includes developing and printing the images myself. This has been achieved by visiting The Engine Room Studio and Workshop and using the excellent facilities there. The process is briefly as follows:

• Pre-measure all chemicals to be used
• Using the darkroom (no light) extract the film from the cartridge or roll (35mm and 120/220)
• Load onto the film spool adjusted for the correct film size
• Once inside the light proof developing tank, pour in developing solution
• Agitate the solution by turning the tank at regular intervals during the required time
• Drain the developer once the time has completed and add stop bath
• Drain again and add fixer for the required time before removing the reel and rinsing well
• Add a wetting agent to help reduce water spots before drying and speed the process
• Remove the film from the spool carefully and hang to dry

Once dry, the negatives can be cut into strips and used to make prints. Printing is where the fun really starts.

• Prepare the correct developing solutions into trays and have the rinsing bath ready
• Use an appropriate enlarger and load the chosen frame into the negative holder and carefully place in the enlarger
• The enlarger light can then be turned on to enable focussing with the focus finder and enlarger lens wide open
• Stop the lens down before turning off the light prior to creating an exposure test sheet
• Only 'safe lights' can be on at this point
• Create the test sheet by covering a sheet of photographic paper with a board and uncover about 2cm at a time with 5 second light exposure intervals
• Develop the sheet to see assess correct exposure time for your final photograph
• Developing is carried out by placing the exposed paper evenly in the developer solution tray for 1-2 mins
• Drain using tongues then place in the stop bath tray (stops developer)
• Drain again and place in the fixer solution tray for approx 5-10 mins
• Rinse well and the photograph can now be examined in normal light and exposure time determined

Below are my medium format scanned negatives:

My contact sheet

Below are some of my medium format printed and scanned photographs including a test sheet:

Moving onto large format photography, which, captures a great amount of detail. Large format film is in the form of sheets only. Drawbacks of this type of photography is the cost of the sheet film and physical size/weight of the camera needed. This image to the right shows the camera and lighting set-up used to take a large format portrait of my son using 8x10 sheet film. The camera used is a Cambo 10x8 monorail.



 

Inventor (1929) August Sander

August Sander (1876-1964) was a German portrait photographer who, over quite a period of years that spanned both world wars, produced a large volume of work that documented the people of Germany. Sander used a large format camera to recored the major changes that took place during this time named "Citizens of the Twentieth Century".  His portraits featured all walks of life, with great attention to detail. Although unintentional, Sander's photographs were viewed as political consequently attracting attention from Nazi's due them viewing them a threat to 'pure heroic Germans'.


Technique
Using a darkroom changing bag the sheet film needs loading into the appropriate holder, making sure the slider is inserted the correct way round. The film holder can hold up to two sheets at a time and the slider indicates whether the sheet has been exposed or not. Once the image has been taken the sheet film will require developing in much the same manner as a photograph using trays with the right developing solutions, difference being a safe light can not be used so an audible timer will be required. Once developed, the negative can be used to make a print via direct contact (negative placed on top of the photographic paper).

A camera phone snap of me taken by John Kiely during the 'fix' stage of large format film processing. Once this stage has been reached, lights can be turned back on.






In this instance, I didn't create a test sheet first, which, resulted in two photographs being produced as the first was slightly too dark. The scanned images below evidence how the exposure time determines the finished print. The scanned negative is a little too dark and my first print mirrored this, however the scanned print shows how a shorter exposure time lightens the finished result.

Scanned Negative

Scanned Print

Evaluation

Firstly, I was surprised by just how much I thoroughly enjoyed the whole film, developing and printing process. It isn't something that can be rushed and I found myself immersed and engaged in the whole process without realising how much time had passed. Film photography ensured that I took my time over composing my photograph, not that I don't give this any thought with digital, however the finite amount of frames I had available with film, and the obvious cost implications, had a distinct effect on me. Framing with my Yashicamat camera hasn't come naturally to me due to seeing the focus screen back to front, something I don't experience with digital. This isn't a negative point but rather something I need to work with and I would like to take time to concentrate my efforts on it.

My attempts are quite limited so far, however, I do realise that each medium has its uses and the subject you choose should suit the medium being used. Using an old analogue camera such as this really does give a feeling of times gone by and what it must have been like for photographers such as Brassai, Maier and Doisneau.

The darkroom techniques proved to be thoroughly enjoyable and left me with a very satisfied feeling upon viewing my own printed photograph. The medium format photographs proved to be a more complex process, I didn't have access to the right size paper for the square format so had crop the prints to fit the paper. This wasn't a problem for the portrait of my son, in fact it proved to be a better composition, however, the tree stump with surrounding urban area, suited the square crop much better and I found myself unhappy with the printed result as it removed too much of the background.

The printed large format photographs are understandably a superior result. The tones and detail visible in the prints including the medium format prints, is something that has to be seen to be truly appreciated, reproducing the prints digitally doesn't do them real justice. Compared to digital images, printed photographs, particularly of people, presents me with an image that I can emotionally identify with. Gone is the harsh, clinical appearance and what I see is something that more resembles my memories. Photographs produced from film are kinder on my eyes and immensely more enjoyable to view and I do have an emotional attachment to my photographs of my son, whether he is smiling or not.
Looking at and reviewing the work of August Sander, I find myself likening the result I achieved of my son to Sander's portraits. A great deal of Sanders subjects had little or no expression and he didn't attempt to flatter them to any degree. My son is actually autistic and didn't like me asking him to remove his glasses for the portrait. This caused him to avoid making eye contact, which, leaves the result looking 'dead pan'. Many of Sander's portraits have this effect and it leaves the viewer to consider whether the person we are seeing is happy or not.

Bibliography

Amber Online. (2011). Sander Collection August Sander (Photographer). Available: http://www.amber-online.com/exhibitions/sander-collection/detail. Last accessed 7th May 2014.

Kay, L. (2003). AUGUST SANDER PORTRAITS FROM THE TWENTIETH CENTURY. Available: http://www.andrewsmithgallery.com/exhibitions/augustsander/sander.htm. Last accessed 6th May 2014.

Tate Gallery. (2010). August Sander 1876–1964. Available: http://www.tate.org.uk/art/artists/august-sander-5319. Last accessed 8th May 2014.