Large format photography represents the original photographic process—viewing your image directly on a ground glass screen before capturing it on individual sheets of film. It's slow, deliberate, and produces results impossible to achieve any other way.
This guide introduces large format photography, covering equipment, workflow, and what makes it unique.
What Is Large Format?
Large format refers to cameras using sheet film in sizes starting at 4x5 inches (approximately 10x13cm). Common sizes include:
| Format | Actual Size | Relative Area to 35mm |
|---|---|---|
| 4x5 inch | 102 × 127mm | ~15x larger |
| 5x7 inch | 127 × 178mm | ~25x larger |
| 8x10 inch | 203 × 254mm | ~60x larger |
The massive negative size produces extraordinary detail and tonal quality that medium and small format cameras cannot match.
What Makes It Different
Sheet film: Instead of rolls, you load individual sheets of film into film holders. Each holder contains two sheets (one per side). You can develop each sheet differently, choose different film for each shot, and process immediately.
Ground glass focusing: You compose and focus on a ground glass screen at the back of the camera. The image appears upside down and reversed—exactly as it will be recorded. This forces deliberate composition.
Movements: Large format cameras allow the lens and film planes to tilt, shift, swing, and rise/fall. These movements control focus, perspective, and distortion in ways impossible with fixed cameras.
The pace: Setting up a large format camera takes time. You work slowly, consider every element, and commit to few exposures. Many photographers find this pace meditative and creatively valuable.
Why Shoot Large Format?
Image Quality and Detail
The negative is physically enormous. A 4x5 negative has roughly 15 times the surface area of 35mm. This means:
- Extraordinary resolving power
- Finer grain appearance (grain is there but smaller relative to image)
- Smoother tonal gradations
- More information for enlargement or scanning
Practical result: A 4x5 negative can produce a sharp 20x24 inch print. An 8x10 negative can produce gallery-sized prints without visible grain.
Camera Movements
The defining feature of view cameras. Movements let you:
Control focus plane: Tilt the lens to bring an angled surface (e.g., a tabletop, a field of flowers) into complete focus—something impossible with a fixed camera.
Correct perspective: Shift the lens to photograph tall buildings without converging verticals—no tilting the camera, no distortion.
Selective focus: Swing or tilt to create a plane of focus through specific parts of the scene, leaving others soft.
These aren't post-processing tricks; they're optical corrections that happen at the time of capture.
The Contemplative Process
Large format forces you to slow down:
- Setup takes several minutes
- Each exposure is precious (film costs add up)
- Composition happens under the dark cloth, with an inverted image
- You become more deliberate about what's worth photographing
Many photographers report that this slow process improves their seeing and their work, even in other formats.
Aspect Ratio Options
The 4:5 aspect ratio (vertical when shooting horizontal subjects) differs from 35mm's 2:3. Many photographers find it more balanced for landscapes and portraits. 8x10's roughly square format is unique among common film sizes.
View Camera Types
Field Cameras
Design: Compact, folding cameras with limited movements. The lens folds into the body; bellows compress for transport.
Characteristics:
- Relatively portable
- Quick to set up
- Limited movements (front tilt/swing/rise, sometimes rear tilt)
- Often wooden construction
- Good for landscape and location work
Examples:
- Chamonix 45N-2
- Wista 45DX
- Tachihara
- Ebony (premium)
Best for: Landscape photographers, travel, hiking
Monorail Cameras
Design: Lens and film standards ride on a single rail. Both standards have full movements.
Characteristics:
- Maximum movements available
- Precise, geared controls
- Doesn't fold—bulky to transport
- Usually metal construction
- Modular (standards, rails, bellows can be swapped)
Examples:
- Sinar P2, F2
- Toyo 45GX
- Arca-Swiss F-Line
- Cambo SC
Best for: Studio work, architecture, product photography
Press Cameras
Design: Folding cameras with rangefinder focusing option, often with limited movements.
Characteristics:
- Can be handheld (faster than ground glass focusing)
- Built-in rangefinder and viewfinder
- Limited movements (front only, typically)
- Robust, often metal construction
- Historic significance (news photography, Weegee, etc.)
Examples:
- Graflex Speed Graphic
- Graflex Crown Graphic
- Linhof Technika (premium, full movements)
Best for: Handheld large format, photojournalism style, portraits
Basic Components
Every view camera has these essential parts:
Front Standard
Holds the lens. On most cameras, the front standard can:
- Rise and fall (vertical movement)
- Shift (horizontal movement)
- Tilt (forward/backward)
- Swing (left/right rotation)
The lens board mounts to the front standard.
Rear Standard
Holds the ground glass and film holder. Movements vary:
- Field cameras: often only tilt
- Monorails: full tilt, swing, and sometimes shift/rise
The film plane is at the rear standard.
Bellows
Flexible light-tight connection between front and rear standards. Types:
Standard bellows: Accordion-fold leather or synthetic. Works for normal to long lenses.
Bag bellows: Flexible bag without folds. Required for wide-angle lenses (standard bellows can't compress enough).
Extension bellows: Extra length for macro or long lenses.
Ground Glass
Frosted glass screen at the back of the camera. You compose on this surface under a dark cloth.
Features:
- Grid lines for alignment
- Fresnel lens (brightens corners)
- May be interchangeable
The ground glass must be at exactly the correct distance from the lens—the same distance as the film plane.
Film Holders
Lightproof containers for sheet film. Standard holders have:
- Two sides (two sheets of film)
- Dark slides (removable light shields)
- Notch system for identifying film type in the dark
Film loading: Done in complete darkness. Film notch code identifies emulsion type. Holder indicates which side has been exposed.
Each film type has a unique pattern of notches in one corner. In the dark, you feel the notch to confirm the film type and orientation. Notch in the upper-right corner (when emulsion faces you) means emulsion side is toward you.
The Shooting Process
Large format workflow differs dramatically from smaller formats.
Setup
Set up tripod and camera. Level the tripod. Attach camera. Zero all movements (lens and film plane parallel, both centered).
Compose on ground glass. Open lens to maximum aperture. Cover yourself with dark cloth. View the inverted image on the ground glass. Adjust framing.
Focus. Use a loupe on the ground glass. Focus on critical area. Check depth of field at shooting aperture if possible.
Apply movements if needed. Tilt or swing to adjust focus plane. Shift to correct perspective. Refocus after movements.
Exposure
Meter the scene. Use handheld meter. Consider bellows extension factor if lens is racked out significantly.
Set exposure. Set aperture on lens. Set shutter speed on lens.
Close lens, cock shutter. Lens must be closed before inserting holder, or you'll fog the film.
Capture
Insert film holder. Slide holder into camera back. Ensure it seats fully against ground glass frame.
Remove dark slide. Pull out the dark slide from the side you want to expose. Don't jostle the camera.
Make exposure. Fire the shutter (cable release is essential). For long exposures, use bulb setting and time with a watch.
Replace dark slide. Reinsert slide with the black side out (indicates "exposed"). Remove holder.
Each exposure is an event. The process ensures you think before you shoot.
Film Loading
Film holders must be loaded in complete darkness.
Equipment Needed
- Film holders
- Sheet film
- Changing bag or darkroom
- Clean workspace
Loading Process
In complete darkness: Open the film box. Feel for the notch—it should be in the upper-right corner when the film is oriented with emulsion facing you.
Open the film holder. Slide out the dark slide. Feel for the loading slot.
Insert film. Slide the film under the retaining ridges, emulsion side (notch side) facing out (toward the dark slide).
Close holder. Reinsert dark slide with the silver/white side out (indicates "unexposed").
Repeat for second side.
Store loaded holders in a case or bag, protected from light.
Common Mistakes
- Loading film backwards (emulsion facing wrong way)
- Forgetting which side is exposed
- Not seating film under the retaining ridges
- Light leaks from damaged holders
Getting Started
Minimum Equipment
Camera: A functional large format camera. Used field cameras (Tachihara, older Wistas) can be very affordable. Check bellows for pinholes and make sure movements lock securely.
Lens: One lens with working shutter. For 4x5, a 150mm lens is "normal" (roughly equivalent to 50mm on 35mm). Good starter lenses are available used at reasonable prices.
Film holders: At least 4-6 holders (8-12 sheets). Inspect used holders for light leaks and proper dark slide fit.
Tripod: Must be sturdy. Large format cameras are heavy and have long exposure times. Flimsy tripods cause blurred images.
Dark cloth: Essential for viewing the ground glass in daylight.
Loupe: Magnifier for critical focus on the ground glass. 4x to 8x magnification typical.
Light meter: Handheld meter essential. Incident and spot capability both useful.
Film: Sheet film in your chosen format. Start with one type to learn the process.
Changing bag: For loading film without a darkroom. Get a large one—sheet film needs room.
First Steps
Practice without film. Set up the camera, compose, focus. Learn how movements work. Get comfortable with the ground glass.
Practice loading holders. In the dark, load and unload a sheet of sacrificial film until you can do it by feel.
Shoot a simple subject. Start with a static subject in good light. A landscape or a still life. Focus carefully, meter carefully.
Develop and evaluate. Assess sharpness, exposure, composition. Note what went wrong and what went right.
Keep notes. Record every exposure: subject, lens, aperture, shutter speed, movements used, film type. This is how you learn.
What to Expect
The Learning Curve
Large format has a steep but rewarding learning curve:
- First few sheets: learning to avoid mistakes (loading errors, light leaks, focus errors)
- Next dozen sheets: gaining reliability
- After that: exploring movements and refining technique
Common early mistakes:
- Foggy film from light leaks (check holders, bellows)
- Out of focus (check focus with loupe, verify ground glass positioning)
- Wrong exposure (verify meter, check for bellows factor)
- Double exposures (forgot to turn dark slide)
- Blank sheets (forgot to pull dark slide)
Cost Considerations
Large format is more expensive per frame than roll film:
Sheet film: £2-5 per sheet depending on type and format Development: Lab processing is expensive; home development is economical The trade-off: You shoot fewer frames but each one matters more
Many large format photographers find they shoot fewer total frames but a higher percentage of keepers.
The Reward
When it works, large format produces images with a quality impossible to achieve any other way:
- The depth and luminosity of a large negative
- The satisfaction of a fully realized vision
- The unique look from selective focus via movements
- The large prints possible from large negatives
Summary
- Large format uses sheet film (4x5 inches and larger) for exceptional image quality
- View cameras allow movements that control focus and perspective
- Field cameras fold for portability; monorails offer maximum movements
- The workflow is slow and deliberate: compose on ground glass, load film, expose one sheet at a time
- Sheet film is loaded into holders in complete darkness
- The learning curve is steep but the results are worth the effort
- Start with basics: one lens, good tripod, careful technique
Large format is photography distilled to its essentials—light, lens, film, and a carefully considered composition. If you're drawn to a slower, more deliberate approach, it offers rewards no other format can match.