Taller analógico: 20 x 25 gran formato

Workshop Details

• Exceptional Image Quality

Large format cameras, which typically use 4×5 inch or larger negatives, capture an incredible amount of detail and a much wider tonal range than 35mm or even high-resolution digital cameras. This is because the size of the negative allows for greater resolution and the ability to capture finer details.

• Total Control Over Depth of Field

Large-format cameras have a very shallow depth of field, allowing almost total control over what’s in focus in the image. You can precisely adjust the focus area and create effects like tilt-shift, which is difficult to achieve in other formats.

• Unique Aesthetics

The grain texture of large-format film has a unique quality. While it may be more noticeable in large prints, the sense of “tactility” and the smoothness of the tonal transitions have an undeniable visual appeal.

• More Thoughtful Experience

The process of taking a photograph with a large-format camera is much more deliberate than with a digital camera. You can’t take hundreds of photos quickly. Each photo requires more preparation: composing the image, adjusting focus manually, and loading film. This makes each shot much more intentional and conscious, which can enrich the creative process.

• Greater Flexibility in Printing

With a larger negative, prints can also be much larger without losing quality. This is ideal for those who want to create large prints, where visual quality is crucial.

• An Appreciation for Analogue

Some people enjoy the entire process of developing and printing photos manually, which is part of the magic of analogue. This includes processes like darkroom development, which adds a layer of artistic control to the final work.

• Artistic Challenge

Working with large-format cameras requires patience, technical skills, and knowledge of exposure, composition, and focus. This challenge can be very satisfying for photographers looking to go beyond the immediacy often associated with digital cameras.

BEGOÑA ZUBERO APODACA

She studied Audiovisual Communication at the Complutense University of Madrid. She trained as a photographer at Isabel Matoses’ studio and at the School of Visual Arts in New York.

Since her first projects, she has developed a thesis photography of impeccable technical, formal, and aesthetic craftsmanship, in which documentation and research have allowed her to create images of great intellectual depth.

Throughout her career, she has explored various genres, from realistic photography of urban spaces and still lifes to her experimentation with the abstraction of subjective photography.

Her project Existenz (2002-2013) focused on research into the ideological use of architectural and urban spaces by 20th-century European totalitarian regimes.

Her time at the Royal Academy of Spain in Rome and her interest in the complex relationships between culture and ideology during the Fascist period led her to the figure of Michelangelo Antonioni and to the study of landscape as a repository of identity, memory, and imagination.

She participated with the project “Cinecitta Ocuppatta” at the 24th Venice Architecture Biennale in the Arsenale.

Her most recent exhibitions include NEEEV at the Trastevere Museum in Rome, and later at the Palazzo della Merced in Córdoba and at the Citadel of Pamplona; In the Landscape at the Erica Ravena Gallery in Rome; and Classicism and Modernity by Enrico Del Debbio at the MAXXI Architecture Museum in Rome.