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An 8x10 large format camera is a camera which exposes images onto eight inch by ten inch pieces of film.. They tend to be very large, slow and expensive to use. Currently the cost of a single exposure of color film with processing be be around $12USD. This comes at the benefit of an incredible amount of detail being captured which allows for very large prints to be made with minimal lose of image quality.

Some notable contemporary photographers who use 8x10 cameras would be Joel Sternfeld, Stephen Shore and Alec Soth.

Additional added by separate author;

Some other advantage to using an 8x10 format camera are that the part of the camera that holds the lens and the part that holds the film can be moved independently. In addition to focusing these "standards" can be turned and tilted. This results in the image projected onto the ground-glass in the back of the camera where the film will be placed to produce an image which is distorted relative to having the front and rear standards in their straight "home" position. This "distortion" may allow a greater area of the view to be in focus and/or "correct" optical illusions which may make vertical or horizontal lines appear to converge.

Pointing a camera with a wide angle lens upwards or downwards even slightly at a building for example will make the vertical lines appear to converge. By tipping the rear standard this can be corrected "in-camera" so the once converging verticals are again parallel.

Another advantage in comparison to smaller cameras of similar design is that the working area on the rear of the camera is much larger making it sometimes easier to compose as well as check focus and corrections (see above).

Note that these types of camera systems like all cameras invert the image so it is seen on the ground glass in the rear of the camera upside down. The image is also reversed. Subject on the left view in front of the camera are projected to the right side of the rear of the camera (as viewed from the back of the camera). This can both aid in formal design composition as well as disorient the photographer in viewing the subject. Smaller format cameras use a prism to correct this in the viewfinder so the subject area appears as one sees it with the eye (the image on the back of your eye is also upside down and reversed, but is corrected in your brain).

The Bellows is the flexible container between the standards which maintains a dark space between the lens and the film plane. The longer the space between the standards and the more the bellows is extended the dimmer the image projected on the film plane. This effects not only the exposure but also the ability to see the projection on the ground-glass for focusing and corrections. The closer the lens is to the subject, the longer the bellows needs to be. Also longer focal length lenses require more space between the lens and film-plane.

Conversely extremely wide angle lenses may require the use of a smaller special bellows called a bag bellows as the standards are much closer together.

Lenses used on the 8x10 format must be able to project a circle of illumination equal or in excess of 10" to cover the entire film plane. If the standards are offset to aid focus, composition or correct perspective this may require an even larger area to be covered. A typical less for this format may be described not in millimeters but in inches. A 12" lens (300mm) is roughly equivalent to the standard or normal 150mm lens on 4x5, 80mm on Medium format and 50mm lens on 35mm format (full frame).

Many of the advantages on 8x10 format can be replicated on the smaller but similar format of 4x5. Several manufacturers now make digital backs suitable for use on 4x5 camera systems. This provides most if not all of the advantages of 8x10.

The ability to movie standards to some degree can be replicated in digital post production. Perspective correction can be made easily and selective focus can be applied to images where the entire field or most of it is captured in focus. This has allowed smaller formats including both Medium format as well as "Small Format" digital DSLRs to compete.

8x10 may well disappear entirely as the manufacturers of films for the format discontinue production due to lack of demand. Older stock of film, and hand made glass film plates may allow the format to survive but likely only as an "art format" and no longer used commercially.

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Q: What is an 8x10 large format camera?
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What type of camera did Berenice Abbott use?

She used a large format camera.


What kind of camera did yousuf karsh use?

he used an 8x10 bellows Calmut


Will a 35mm professional grade digital camera produce images comparable in quality to those produced with a 8x10 Wisner Technical Field View Camera loaded with Ilford FP-4 Plus developed in PMK?

Comparable, Yes, but they have no hope of matching the detail using one exposure. Exposure to print would be so much simpler with the digital. Since 8x10 enlargers are not terribly common, a contact print is usually all that is done. At 8x10 size the digital could equal or better the 8x10 negatives print in both archival characteristics and simplicity. No need to even get your hands wet! A print bigger than 8x10 would be phenomenally better if done from the 8x10 neg and using the enlarger. ******* If you are considering such a camera, there is a lot more at stake than technical image quality which you allude to. I feel safe in saying no 35mm camera will provide the control possible with the field camera, and then there is the whole purist thing. Perhaps you have read this essay? http://www.wisner.com/digital.htm


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Three examples of prepress image capture devices are drum scanner, flatbed scanner, and scanning back for large format camera. The price of changing a print image during prepress is normally 10% of what it would cost on press.


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Related questions

What type of camera did Berenice Abbott use?

She used a large format camera.


What are the disadvantages of the large format camera?

Every thing is way too blurry


What kind of camera did yousuf karsh use?

he used an 8x10 bellows Calmut


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