Banquet camera

A banquet camera is a type of the large format camera used in the early 20th century for photographying large groups of people in formal occasions. Large formal refers to any imaging format of 4×5 (102×127) or larger

Large format is larger than "medium format", the 6×6 cm (2¼×2¼ inch) or 6×9 cm (2¼×3½ inch) size of Hasselblad, Rollei, Kowa and Pentax cameras (using 120-and 220-roll fillm), and mach larger than the 24×36 mm (~ 1.0 ×1.5 inch) frame of 25 mm format. The main advanteges of large format, film ot=r digital, is higher resolution at the same pixels or grain. A 4×5 inch image has about 16 times the area, and thus 16× the total resolution of a 35 mm frame

Large format cameras were some of the earliest photographic devices, and before enlargers were common, it was normal to just make 1:1 contact prints from a 4×5, 5×7, or 8×10-inch negative

Old studio camera

Lens and mounting of a large-format camera

Comparison of 35mm, medium format, and large format

Formats

The most common large format is 4×5 inches, which was the size common cameras used in the 1930s-1950s, like the Graflex Speed Graphic and Crown Graphic, among others. Less common formats include quarter-plate, 5×7 inches, and 8×10 inches (20×25 cm); the size of many old 1920s Kodak cameras (various versions of Kodak 1, 2, and 3 and Master View cameras, to much later Sinar monorail studio cameras) are 11×14 inches, 16×20 inches, 20×24 inches, various panoramic or "banquet" formats (such as 4×10 and 8×20 inches), and metric formats, including 9×12 cm, 10×13 cm, and 13×18 cm and assorted old and current aerial image formats of 9×9 inches, 9×18 inches (K17, K18, K19, K22 etc.), using roll film of 4, 5, 6, 7, 9, or 10 inches width or, view cameras (including pinhole cameras), reproduction/process cameras, and x-ray film.

Above 8×10 inches, the formats are often referred to as Ultra Large Format (ULF) and may be 11×14, 16×20, or 20×24 inches or as large as film, plates, or cameras are available. Many large formats (e.g., 24×24, 36x36, and 48x48 inches) are horizontal cameras designed to make big negatives for contact printing onto press-printing plates.

The Polaroid 20×24 camera is one of the largest format instant cameras currently in common usage and can be hired from Polaroid agents in various countries.

Many well-known photographers have used the 235 pounds (107 kg), wheeled-chassis Polaroid

Controls

Most, but not all, large-format cameras are view cameras, with fronts and backs called "standards" that allow the photographer to better control rendering of perspective and increase apparent depth of field. Architectural and close-up photographers in particular benefit greatly from this ability. These allow the front and back of the camera to be shifted up/down and left/right (useful for architectural images where the scene is higher than the camera, and product images where the scene is lower than the camera), and tilted out of parallel with each other left/right, up/down, or both; based on the Scheimpflug principle. The shift and tilt movements make it possible to solve otherwise impossible depth-of-field problems, and to change perspective rendering, and create special effects that would be impossible with a conventional fixed-plane fixed-lens camera.

Scheimpflug principle

Uses

The 4×5 inch sheet film format was very convenient for press photography since it allowed for direct contact printing on the printing plate, hence it was widely used in press cameras. This was done well into the 1940s and 1950s, even with the advent of more convenient and compact medium format or 35 mm roll-film cameras which started to appear in the 1930s. The 35 mm and medium format SLR which appeared in the mid-1950s were soon adopted by press photographers.

Large-format photography is not limited to film; large digital camera backs are available to fit large-format cameras. These are either medium-format digital backs adapted to fit large-format cameras (sometimes resulting in cropped images), step and repeat Multishot systems, or scanning backs (which scan the image area in the manner of a flat-bed scanner). Scanning backs can take seconds or even several minutes to capture an image. When using a Sinar Macroscan unit and 54H data files, over 1 gigabyte of data is produced

Ansel Adams's large-format photograph The Tetons and the Snake River

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