Why 8x10?
Image quality, while important, is not the only reason that Richard Avedon chose to use an 8"x10" camera for so much of his great fashion, advertising, and portait photography — there are several other significant advantages to that large format.
Surprisingly, one of these is that it allowed a more intimate connection with the person being photographed. With smaller cameras such as a Rolleiflex or a 35mm SLR, the photographer is kept busy (and partly distracted) holding and looking into the camera. A camera as large as the 8x10 Deardorff was mostly operated by his assistant, while he was free to roam around and engage with the sitter, connected to the shutter by a remote release.
In the photo above, he is holding a small rubber bulb connected by long tubing to a pneumatic release on the camera, while I am feeding film holders into it and cocking the shutter. This was taken at San Francisco's original hungry i nightclub in 1955 — today a more modern 8x10 camera such as a Sinar with an automatic shutter and a radio remote release would be used.
Another advantage, at least in portraiture, is that an 8x10 camera is intimidating. It shows the sitter that you really mean business.
The shallow depth of field associated with the necessarily long focal-length lenses (at least 12" or 300mm) can also work in your favor. Once in focus, the sitter is forced to stay put unless a very small aperture (f/22 or higher) is being used. Having all distracting elements well out of focus makes the in-focus subject really "pop."
Avedon used 8x10 Deardorff cameras since very early in his career, and continued to use them for location jobs right up until his death in 2004. For studio work, however, in the early 1960s I convinced him to purchase a very expensive Swiss-made Sinar Norma 8x10 camera (photo, left). This was quite heavy, extremely rugged, and had a behind-the-lens shutter that automatically closed and set the f/stop every time a film holder was inserted. Removing the holder also opened the shutter and lens for a focus check. Speed settings could be made from the rear of the camera, a convenience for the assistant. The whole arrangement made sittings go more smoothly by reducing the time interval between exposures. Nothing was as upsetting as the camera not being ready to shoot when that magic moment struck. Despite his aversion to shiny technical things, Avedon must have loved this camera because he continued to use it for decades after I left in 1965.
Wouldn't a 4x5 camera offer most of these same advantages? No, emphatically NO. 4x5s are fine for product, landscape, and architectural shots, but not for serious fashion or portrait photography. Although much less expensive to operate and lighter to carry, they are just as cumbersome to use and do not produce the same results. To my knowledge, Avedon never used a 4x5. I bought one (a Calumet monorail with a 150mm f/5.6 Symmar lens) in 1966 for our studio, but quickly changed to an 8x10.
One of the great advantages of a large-format view camera, be it a 4x5, an 8x10, or even larger, is the range of swings and tilts to correct (or introduce) perspective distortion and selective focus. The Sinar was especially versatile in this respect, the Deardorff not as much. Avedon, however, as far as I know never used these features. His cameras were always set up straight, by eyeballing in the case of the Deardorff and by exact measurements on the Sinar — that masterpiece of Swiss precision.
Whether 8x10 or 4x5, sheet film has to be loaded into lightproof holders for insertion into the camera. This requires a darkroom, a changing bag, or — if pressed — a closet that can be made dark. Avedon took many exposures for every picture, meaning that dozens of film holders had to be pre-loaded for every job. Carrying them to a location could be back-breaking work. That's what assistants are for.
In the end, it was (and still is) well worth the extra expense and work because the 8x10 format has a look about it that just can't be duplicated with smaller cameras. And certainly not with digitals.
NEW:
Photography's Golden Age ended long ago but remains very much alive in my memory. From 1952 through 1965 I assisted Avedon during his most creative period, and do I ever have the stories to tell! Now, at the end of 2015, is the time to reveal all, while I'm still alive and kicking. Tales of personalities, motivations, intrigues, and even the fine details of how it was all done.
What I need to make this a reality is an co-conspirator to aid in getting the whole, true, uncensored story published -- either as a book, an e-book, or even a documentary.
Anyone interested? Leave a comment and I'll get back to you.
RETURN to the Avedon Years index.
Thanks for the look into the working process of Richard Avedon. I love his portraits and it's seldom possible to take a look behind the scene a great artist.
Thanks for your great website.
Greetings from Germany
Martin
Posted by: Martin Böttcher | July 31, 2009 at 05:33 AM
Enjoying your blog very much, Earl.
Avedon did in fact use a 4x5, once that I know of.
His photo of the Dali Lama was taken with a 4x5 Wisner view camera.
http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5379352
Wisner made a big deal about it at the time, in its ads in View Camera magazine.
It's obviously a 4x5 negative when you compare the film edges of this photo with the film edges of all the others.
As far as I know, this was the only time Avedon used a 4x5.
Awesome blog; I'm looking forward to your book!
Posted by: William McEwen | August 29, 2011 at 03:50 PM
This happened after my time. I can't even imagine how much he charged Wisner for that.
Posted by: Earl Steinbicker | August 29, 2011 at 04:27 PM