Photography, even when discussed as art, is still interwoven with the tools and processes used. Other photographers, as well as viewers of photographs, are often interested in the equipment, materials, and techniques used to produce the images. So, we provide the following brief descriptions of our tools and processes. The photographers of the Texas Church Project (TCP) use a variety of cameras, from 35mm through “large format”. Most of the cameras are large format view (or sheet film) cameras. These cameras use film on individual sheets rather than rolls. The most common formats are 4 x 5 inches and 8 x 10 inches, although cameras and film exist in many other formats, from 2_ x 3_ inches through 20 x 24 inches. Four of the five TCP photographers use various view cameras ranging from 2_ x 3_ inches to 7 x 17 inches. At its simplest, the first advantage of sheet film is the size. Large format negatives have inherently more detail, due to their size, and do not have to be enlarged as much as the smaller roll film or 35mm, resulting in a likewise more finely detailed print. Larger sheet film sizes are often not enlarged at all, but “contact” printed directly onto photographic paper for what many consider to be the ultimate in print quality. The second advantage is that each negative can be individually processed, giving the photographer a greater amount of control over the image. Most large format cameras have adjustable fronts and backs that allow the photographer to better control perspective and depth of focus. Architectural and close-up photographs in particular benefit greatly from this ability. Camera adjustments (movements) make it possible to solve problems (such as distorted parallel lines), and create effects, that would be impossible with a conventional fixed-plane camera. The use of front (lens plane) and back (film plane) adjustments can also yield great depth of focus when using large format cameras. Since a number of actions need to be taken when using a large format camera, many photographers feel that they lead to a more contemplative photographic style. A tripod is essential for most view camera work. Almost all of the photographs for the TCP are black and white. The photographs taken on black and white film are processed, printed, and finished by the photographers. Besides the familiar silver gelatin prints produced in most darkrooms, Mike Castles, Matthew Magruder and Jeremy Moore practice alternative, or historical processes for making black and white prints, such as platinum/palladium, or van dyke brown. Many of these processes were developed before the advent of modern silver methods and materials, but are still practiced by a growing number of photographic artists. These “alternative” processes are particularly suited to contact prints made from the larger sheet film formats, such as an 8 x 10 inch or the 7 x 17 inch camera used by Magruder. David Brown and Lee Carmichael concentrate on silver gelatin prints. The exception to the large format users on the TCP is Brown, who shoots most of his photographs with “medium format”, or roll film cameras, and uses a 35mm camera when the need arises. Notwithstanding the advantages of sheet film and view cameras, the smaller cameras offer advantages, too. In addition to being smaller and lighter (in most cases), roll film cameras can use a broader variety of lenses, including wider wide-angle lenses and longer telephoto lenses. The wider lenses are especially useful in architectural photography (such as the TCP) although this advantage is sometimes offset by the inability to correct perspective as with view cameras. On the other hand, because the film is smaller, the focal lengths of the lenses used are also shorter. Shorter lenses have greater “depth of focus”; that is, there is more area of the image in focus (from front to back). A small amount of color, both film and digital, is being shot by the TCP photographers. Two of the photographers are also using a combination of film and digital in various ways, including digitally enlarging smaller negatives for contact printing.

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Top photo: Texas Church Project Photographers and their respective tools
(from left in back) David Brown, Matthew Magruder, Mike Castles, Lee Carmichael, and Jeremy Moore (kneeling in front)

Middle photo: Jeremy Moore composing a shot with his Deardorf 5x7 camera.

Bottom photo: Matthew Magruder focusing and composing an image with his 7x17 Folmer & Schwing camera