What's the point? When I was 12, decent image quality with large prints only came with medium and large formats. Kodak's fastest 35mm film was Super-XX with an ISO of 125 and grainy enough that you were often limited to 5 x 7 prints. As emulsion quality improved, photographers gravitated to smaller, lighter equipment that could produce good 11 x 14 prints from a 6x? cm negative. Medium format SLRs now sport prism finders with automated metering. Why would anyone want to use archaic designs like 4 x 5 (or even larger) technical or view cameras? Simply, image quality.

• A 35mm frame is 864 square mm, a 6 x 9 cm negative has 5400 square mm, and a 4 x 5 in negative has 12,500 square mm, nearly 15 times the area of the 35mm frame. The less you enlarge the image, the less you magnify its flaws.
  Graphic evidence:
• Lens aberrations are enlarged along with the image, so as negatives get larger, the effects of lens aberrations are reduced, assuming similar quality lenses.
• Tonal gradation, that highly prized quality of B&W photography, improves with reduced grain.
• Most large format cameras allow for some amount of movement--raising or lowering, tilting or sliding--of at least the front standard and often the back standard to control perspective distortion and plane of focus (much more about this later).

Shooting styles. Modern cameras with motor drives, metering automation, autofocus lenses and image stabilization are great for action shots. They catch the moment in ways that are difficult or impossible when using typical large format equipment. This automation is seductive but it leads to choosing this shooting style for all kinds of subjects--even those that don't require this kind of responsiveness. It also leads to using much more film, a habit that gets very expensive as the size of your negatives increase. Large format photography then promotes a more deliberate style of shooting. Lenses are proportionately longer, with less depth of field and with greater tendency to magnify movement. Tripods are a must with larger, heavier equipment, so setup time is extended. I find that this style slows me down and makes me more thoughtful of technical and compositional alternatives and it very naturally enforces what Ansel Adams called visualization--understanding the shot you want while composing it. It works well for architectural, and landscape, still life and most nature photography, except perhaps shots involving animals.