{"id":75631,"date":"2025-12-22T17:41:59","date_gmt":"2025-12-22T15:41:59","guid":{"rendered":"https:\/\/visualjournalism.de\/?post_type=magazin&p=75631"},"modified":"2026-09-26T17:25:01","modified_gmt":"2026-09-26T15:25:01","slug":"analogue-large-format-photography","status":"publish","type":"magazin","link":"https:\/\/visualjournalism.de\/en\/magazine\/guides\/analogue-large-format-photography\/","title":{"rendered":"Analogue large-format photography: why I love the heaviest camera in the world"},"content":{"rendered":"\n \n\n
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Analogue large-format photography: why I love the heaviest camera in the world.<\/strong> Why would I voluntarily lug a camera as heavy as a sack of cement around the world? In this first-hand account, you\u2019ll find out what still makes analogue large-format photography so special today.<\/p>\n

\r\n Ludwig Nikulski<\/a><\/span><\/span><\/div>\r\n <\/div>\n\n\n\n
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\n \"\"\n \n Photo: Ludwig Nikulski, petrol station in the evening light<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n\n
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Why would anyone spend minutes bent over<\/strong> a mirror-reversed, upside-down image until they feel dizzy? Lining everything up, nearly losing it, metering the light, calculating a mid-grey, watching every line \u2013 only to suspect you\u2019ve accidentally knocked the camera and the framing is off. Back to square one.<\/p>\n\n\n\n

In this incomplete guide, you\u2019ll learn about the highs and lows of analogue large-format photography.<\/p>\n\n\n\n


<\/p>\n\n\n<\/div>\n\n\n

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\n \"\"\n \n Photo: Ludwig Nikulski<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n<\/div>\n<\/div>\n\n\n

I could explain that a 4 \u00d7 5\u2033 negative is about 15 times larger than a 35 mm negative. And if medium format is the good china among negative formats, large format is the marble tabletop you serve the medium format on. If you drop it by accident, it sounds like a record hitting the floor. Just kidding \u2013 that would be a glass plate negative, and maybe that\u2019s another article for later.<\/p>\n\n\n\n

All you really need to know, though, is that large format is huge \u2013 much bigger than a standard photo print from the chemist\u2019s. On hot summer days, you could fan yourself with a little cool air that smells faintly of chemicals.
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\n \"\"\n \n Photo: Ludwig Nikulski<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n<\/div>\n\n\n
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The simple design of the Linhof Technika V<\/strong> can be pictured like this. Admittedly, I\u2019ve never really understood what most of the parts are for. But let\u2019s move on for now.<\/p>\n\n\n<\/div>\n<\/div>\n\n\n

Large format is slow. You can\u2019t just take a picture and run off quickly after once again photographing someone on the street without asking. And yes, it demands your attention too.<\/p>\n\n\n\n

You are completely in the moment \u2013 this won\u2019t be a snapshot. You have to look, I mean really look! You have to concentrate, you have to know what you\u2019re doing, because you don\u2019t have endless chances \u2013 large format is bloody expensive.<\/p>\n\n\n\n

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What does a colour photo cost?<\/h2>\n\n \n <\/div>\n\n \n\n\n\n\n
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1.<\/strong> A box of Kodak Portra 400<\/a> with 10 sheets currently costs \u20ac127.00 at Calumet.<\/p>\n\n\n\n

2. <\/b> <\/strong>So one negative costs \u20ac12.70.<\/p>\n\n\n\n

3.<\/strong> If you want more than a latent \u2013 that is, invisible \u2013 image on your negative, you also have to get it developed. At Pixelgrain<\/a>, for example, development costs \u20ac7.14 per negative.<\/p>\n\n\n\n

4.<\/strong> That brings us to \u20ac19.84 per photo<\/strong>. We\u2019ll leave it there and assume you have your own scanner to turn the negative into a (digital) positive.<\/p>\n\n\n<\/div>\n<\/div>\n\n\n

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It\u2019s not quite that bad, though.<\/h2>\n\n \n <\/div>\n\n \n\n\n\n\n

1.<\/strong> Maybe money simply doesn\u2019t matter to you.<\/p>\n\n\n\n

2.<\/strong> You could also find cheaper<\/a> deals \u2013 go and do some research!<\/p>\n\n\n\n

3.<\/strong> Or you shoot in black <\/a>and white<\/a>, which is also really great<\/a>.<\/p>\n<\/div>\n\n\n\n

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So what\u2019s the point of it all?<\/h2>\n\n \n <\/div>\n\n \n\n\n\n\n
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In the endless whirlpool of digital possibilities, almost anything is doable today. Mistakes are almost impossible. Much of it happens automatically. You don\u2019t really have to make an effort. It\u2019s nice and comfortable. And anyone who wants to play it safe simply stays right there. From a capitalist point of view, that makes sense.<\/p>\n\n\n\n

Large-format photography is anything but cosy and definitely not safe. Maybe the dark slide wasn\u2019t closed properly? Is there a hole in the bellows? Was the film exposed wrongly? Did you forget to clean the film holder, and now there\u2019s loads of dust on your negative? These are just a few of the many destructive possibilities that can turn your next large-format project into hell.<\/p>\n\n\n<\/div>\n\n\n

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\n \"\"\n \n Photo: Ludwig Nikulski<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n<\/div>\n<\/div>\n\n
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\n \"\"\n \n Photo: Ludwig Nikulski, car wash, Hannover, 2022<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n\n
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Suddenly you have to think!<\/h2>\n\n \n <\/div>\n\n \n\n\n\n\n

But that can be an advantage. Difficulties activate the brain. The challenges we face can act as a catalyst for creative processes and force us to use ways of thinking we haven\u2019t tapped before. If you only have twenty, ten or even just two sheets, you ideally don\u2019t want to cock it up.<\/p>\n\n\n\n

You start to think differently: what exactly do you want to photograph? What subject are you even looking for? How does the light fall? What framing will you choose? What pose should a person strike, and where are they in the space? You start asking yourself questions before you press the shutter \u2013 and that changes everything.<\/p>\n\n\n\n

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Sometimes I want to preserve what\u2019s real<\/strong> \u2013 the chaos of this world and its unpredictability \u2013 through large-format photography.<\/p>\n <\/blockquote>\n\n

\n\n \"\"\n Ludwig Nikulski<\/span>\n <\/figcaption>\n \n <\/figure>\n <\/div>\n\n\n\n \n\n
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\n\n \"\"\n\n Photo: Ludwig Nikulski, Mathilda and Theo on the moped. Greifswald, December 2022<\/span>\n \n \n <\/figure>\n\n <\/div> \n\n\n \n\n \n \n\n
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\n\n \"\"\n\n \n \n <\/figure>\n\n <\/div> \n\n\n \n\n \n<\/div>\n\n\n
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You don\u2019t have to do anything!<\/h2>\n\n \n <\/div>\n\n \n\n\n\n\n

But to be honest, you don\u2019t need to know exactly what you\u2019re photographing. You\u2019re also allowed to just experiment and enjoy an old, brilliant technique. And a C-print, a real hand print? It just looks incredibly good. Because somewhere in the world, light flew through a lens and exposed a negative, and later light flies through the same frame again, this time in the enlarger, straight onto photographic paper.<\/p>\n\n\n\n

No sensors, no software. Just physics and chemistry. And suddenly a real image of the world appears without a single digital step in between. Looking at it for a while has something meditative about it \u2013 which, by the way, is true of all analogue techniques.<\/p>\n\n\n

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\n \"\"\n \n Photo: Ludwig Nikulski, Weidendamm. Hannover, 2021<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n\n
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Large-format photography changes a lot.<\/strong> Above all, how you work \u2013 but also how you are perceived. People look at you. Maybe they come up and ask if you\u2019re a speed camera, or whether you could take their portrait. They think you\u2019re taking \u2018really cool vintage photos\u2019.<\/p>\n\n\n\n

What they don\u2019t know is that what they call \u2018vintage\u2019 is really just very good quality. No retro filter, no top hat, bowler or braces. Just detailed, deep and sharp. You could even say large format is up to date.<\/p>\n\n\n<\/div>\n\n\n

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\n \"\"\n \n Photo: Ludwig Nikulski<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n<\/div>\n<\/div>\n\n\n

It is a technique with which you consciously set yourself apart from the flood of images, from the ever more and ever faster. Here, quality counts rather than quantity. And with a bit of practice, it will show in your pictures. Used properly, the effect is simply amazing.<\/p>\n\n\n\n

Large format is also a technique that serves concentration rather than distraction: no display, no autofocus. Large format reminds us that seeing, thinking and deciding are all part of photography.<\/p>\n\n\n\n

A lot of things are smart and automatic today, and that\u2019s a good thing, because it helps many people. Still, there is a growing longing to return to craft, to calm and concentration, to things you can touch and smell. Large format could fill that gap.<\/p>\n\n\n\n

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\n \"\"\n \n Photo: Ludwig Nikulski<\/span>\n <\/div>\n\n \n <\/figure>\n\n\n\n<\/div>\n\n\n
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Just gushing and nostalgia?<\/h2>\n\n \n <\/div>\n\n \n\n\n\n\n

Maybe a bit of both. But behind it all there is also something very real. An analogue image is created physically: countless tiny points of light that hit your negative randomly and in no particular order form an image that is anything but random.<\/p>\n\n\n\n

A digital sensor works quite differently. It has a grid of photodiodes, strictly ordered, accurate to the pixel. The image is calculated cleanly. And that is exactly why a digital photo sometimes looks so smooth.

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\n \"\"\n \n Boto\u0219, Romania, 2024. Photo: Ludwig Nikulski<\/span>\n <\/div>\n\n

Liliana at the monastery in the Carpathians.<\/strong> For his series \u2018Unter den Palmen\u2019 (Under the palm trees), Ludwig Nikulski travels along Ukraine\u2019s western borders.<\/p>\n<\/figcaption>\n \n <\/figure>\n\n\n\n\n

Sometimes I think that the world isn\u2019t orderly and geometric. It is total chaos, and we are taught to always strive for a supposed security. Sometimes I want to preserve what\u2019s real \u2013 the chaos and the uncertainty \u2013 through large-format photography. That\u2019s when I feel alive.<\/p>\n\n\n\n

So maybe just make a start, experiment a little, make mistakes or don\u2019t, take part in a workshop<\/a> if you like \u2013 and then decide whether it\u2019s for you.<\/p>\n\n\n\n

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Who still shoots large format like this?<\/h2>\n\n \n <\/div>\n\n \n\n\n\n\n

Ute and Werner Mahler<\/a>, Elliot Verdier<\/a>, Vanessa Winship<\/a>, Heiner Beisert<\/a>, Julius Schien<\/a> and many more.<\/p>\n\n\n\n

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Recommended by the editors:<\/strong><\/p>\n <\/div>\n\n\n\n\r\n\r\n\r\n\r\n

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\r\n The world’s largest Playmobil collection: 400,000 figures <\/h3>\r\n\r\n
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It all began in a child’s bedroom \u2013 today Oliver Schaffer owns the world’s largest Playmobil collection, with more than 400,000 figures. A visit to his high-bay warehouse.<\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

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Dirk and Thomas came out to their families only recently. Today they live together as a couple. In an interview with our author, they talk about their path to an open life.<\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

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He used to march through the streets in a leather coat, carrying the Reich war flag, giving hate speeches and dreaming of the great revolution. Today Axel Reitz works in extremism prevention.<\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

\r\n \"\"\r\n\r\n <\/figure>\r\n\r\n \r\n \r\n <\/a>\r\n\r\n <\/article>\r\n\r\n \r\n <\/div>\r\n\r\n\n\n\r\n\r\n\r\n\r\n
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\r\n\r\n Guides<\/span>\r\n

\r\n Which camera for photography? Professionals explain why the technology comes second. <\/h3>\r\n\r\n
\r\n

Analogue or digital, full frame or APS-C, mirrorless or DSLR? Magnum photographer Nanna Heitmann and lecturers at Hochschule Hannover explain why good photos depend not on the camera brand but on the person behind it.<\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

\r\n \"\"\r\n\r\n <\/figure>\r\n\r\n \r\n \r\n <\/a>\r\n\r\n <\/article>\r\n\r\n \r\n
\r\n\r\n \r\n\r\n
\r\n\r\n Collecting<\/span>\r\n

\r\n The world’s largest Playmobil collection: 400,000 figures <\/h3>\r\n\r\n
\r\n

It all began in a child’s bedroom \u2013 today Oliver Schaffer owns the world’s largest Playmobil collection, with more than 400,000 figures. A visit to his high-bay warehouse.<\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

\r\n \"\"\r\n\r\n <\/figure>\r\n\r\n \r\n \r\n <\/a>\r\n\r\n <\/article>\r\n\r\n \r\n
\r\n\r\n \r\n\r\n
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\r\n Lightroom Classic: organising your photos \u2013 a simple workflow for your catalogue. <\/h3>\r\n\r\n
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Losing track in Lightroom Classic? This guide shows you a simple workflow for importing, organising and selecting your photos quickly.<\/p>\r\n <\/div>\r\n\r\n <\/div>\r\n\r\n\r\n \r\n

\r\n \"\"\r\n\r\n <\/figure>\r\n\r\n \r\n \r\n <\/a>\r\n\r\n <\/article>\r\n\r\n \r\n <\/div>\r\n\r\n\n\n\n
\n TO THE MAGAZINE HOMEPAGE<\/a>\n <\/div>\n<\/div>\n","protected":false},"author":4,"featured_media":62611,"template":"","tags":[405,331,404],"magazinkategorie":[161],"class_list":["post-75631","magazin","type-magazin","status-publish","has-post-thumbnail","hentry","tag-ratgeber-en","tag-photo-series-en","tag-fototechnik-en","magazinkategorie-guides"],"acf":[],"yoast_head":"\nLarge-format photography: why I love the heaviest camera<\/title>\n<meta name=\"description\" content=\"Why analogue large-format photography? 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