It's a unique experience using an 8x10 camera for portrait photography, despite its size and the time it takes to use it. This deliberate method fosters intimacy and attention, allowing subjects to express themselves more naturally. The process highlights the beauty in imperfection and encourages a deeper connection between photographer and subject.
I’ve been testing different papers, and Brooke was a wonderful subject. Interesting results: some papers have lower contrast with loss of detail, yet others are the opposite. Still no verdict on using VC filters with the paper. It appears to cost an additional stop and a half on the exposure. Yikes!! ISO 6 to iso…
Friday’s trip to Central Camera made for fun weekend work in the darkroom. It’s nice to have chemistry. Now for some scanning. darkroom #blackandwhitephotography #largeformatphotography #largeformat #largeformatportrait #film #filmisnotdead
Sometimes, I miss the hidden advantages of film in these days of digital perfection. Digital has brought many advantages to photography. Today’s cameras can work faster, are more accurate with metering and focus, and can show me the image being recorded as I’m photographing. I can eliminate mistakes and avoid errors before I’ve pressed the…
This is a new image from my large-format portrait project. I used an 8×10 Deardorff view camera and sensitized paper to make this image of Stephanie. We popped over to Lake Katherin to make this image. It’s such a great outdoor space. Here’s the beast. It’s a heavy one to carry, and the tripod alone…
Making portraits with a vintage process is a deliberate and slow choice. Image creation that is measured in minutes per image, not images per second. See the link in the bio to see more of our blog post.
My shut-in selfie… Say that ten times fast. I’ve had no excuses to do a self-portrait. And I know that I had to do it before I shaved off my beard, heaven knows when my next beard will appear. Balancing the Deardorff on the selfie stick was a bit of a trick. Doing a…
Ultra Large Format. This image is part of a new collection of work using a paper negative process to make intimate portraits.
This image is from a series using an 8×10 large-format view camera and paper negative. This process dates back to 1835 to Talbot’s Salt Print. I’m using a more modern version of the process. Brian had to sit very very still and he did receive a tan from the flash.
More playing with paper negs…. the texture in the photo is from the paper fibers in the negative. Still working on getting the wet plate going… its just taking time with the crazy summer schedule.