Having a little fun with the panoramic function on my iPhone in class today. Took this picture of two of my Large Format students doing studio portraits with a 4×5. I dug into the vaults and found some of my remaining stash of Polaroid Type 55 and let the students burn a couple sheets. I was more than pleasantly surprised with how well it worked- my Type 55 has to be a decade out of date by now, but the pods still processed nicely. I’d post some results but my students ran off with the negatives before I could copy any of them.
This was also my first test of my PocketWizard wireless flash sync setup on large format, and it worked very well. I got a little clamp from B&H photo that locks onto the front standard of my camera, and attached a hot shoe to PC adapter to the clamp. The PC cord connected the shoe to the sync on the shutter, and the PocketWizard sat in the shoe.
The other PW unit was connected to my Calumet Travelite monolight. This setup let me use my Sekonic L358 meter which has a PocketWizard trigger module, so I could meter wirelessly. That’s a big boon even when doing still life, and an even bigger one when shooting portraits, because that’s one less wire for you OR your sitter to trip over. If you look carefully at the front standard of the camera, you can see the PocketWizard module sticking out of the side in the photo.
I’ve walked past this mural for years, and they re-do it every so often. The primary change from visit to visit is the color palette, but over time, major compositional elements change as well. I’m showing the previous version (circa 2013) and now both in black and white just to keep the comparison visually fair.
The bird’s head on the right is a mosaic, originally including mirror fragments, now painted. I think the fisheye treatment in the first image works well because the mural already has a bit of a fisheye perspective to begin with.
Double-exposures, especially accidental ones, can be so much fun! You never know what you’re going to get, and how it will work out. Here I have two very different images layered one atop the other, both with my Mamiya RZ Fisheye lens. Had they been done with different lenses I don’t think this would have worked out so well.
I decided to treat myself to a lens toy – I got a Mamiya RZ Fisheye lens for my RZ67. It arrived this weekend and I took it on a walkabout in my neighborhood to put it through its paces. I especially wanted to try and do some shots that did not scream “shot with a fisheye” to see if it could be versatile enough to keep in my camera kit, or was it really a one-trick pony.
In this shot, it shows that you CAN use it for street documentary if you want. It’s still a challenge, though, with the distortion it brings to background subjects. And it forces you to get right up on top of your subjects – They were maybe five feet away from me.
Applied sensibly to architecture, it works. You do have to be extra careful that your horizons are level and square, or you will get wild distortion.
This is perhaps my favorite image of the shoot. Leading lines abound and the backlit subject with the sun in the frame create drama.
Selfie with the fisheye – with the sun behind me, it’s impossible to keep yourself out of the photo (or at least your shadow).
I was downtown DC the day of the March For Our Lives gun control protest. I wasn’t actually there to document the march – I was there to see it and experience it, but not even as my primary goal for the day, so I didn’t shoot a ton of film. Regardless, when I arrived at the parade route, the students and parents from Marjorie Stoneman Douglass High School in Florida were passing the intersection where I crossed Pennsylvania Avenue. It was truly moving to be there amongst them as they marched past. I’ll let the images speak for themselves, and just add that the closing image of the series says it all – Don’t just march, VOTE.
For those interested, I shot the entire series on my Mamiya RZ67 with the 65mm lens, which was really the perfect lens to use for this – I had enough room to get groups and action, but I could still get close up and isolate individual people. Film of choice was the classic documentary film, Kodak Tri-X.
For those who haven’t seen the palladium printing process end-to-end, I thought I’d share a moment from the process to let you see the magic happen. It’s a much faster process than silver printing, in the development stage. The image, when exposed but not yet developed, is a “ghost” image. You can generally see the form, but not the fine details, nor the overall tonality. Depending on the overall image tonality, you may see very little at all inside the exposed borders of your print. This is why it is a good idea to coat outside the borders of your image (but not too much- every drop of emulsion costs money!) – you can judge proper exposure by looking at your borders if you’re not used to printing.
Then, pour on the developer, and WHOOSH! Magic!
And the finished print:
This was from a 35mm infrared shot, scanned and enlarged on Pictorico transparency media.
If you’re curious what a digital negative even is, or what it looks like, here’s the negative for that shot:
I have two upcoming classes this spring at Glen Echo Photoworks, Introduction to Large Format Photography, and Introduction to Platinum/Palladium Printing. I’ve scheduled them so that students of Intro to Large Format can have somewhere to go with their new camera skills. Intro to Large Format runs March 11th – April 22. The course covers what you need to know to take advantage of the medium – we start with the basics of the cameras themselves – different camera types, their parts and how they work, why to choose one type over another, lenses and lens selection. We move on to film selection and film handling, loading film and developing it. There are modules on portraiture, still life/tabletop, landscape and architecture. For the Architecture module we’ll do a field trip down to the National Cathedral.
Due to student interest, I’ve acquired several cameras for student use in-class. If the popularity continues, I’ll look into getting one or two more and setting up a rental program to allow students to check out cameras for the duration of the class.
The next class is Introduction to Platinum/Palladium Printing. I will be including a module on making and using digitally enlarged negatives for platinum/palladium printing with this course. This class runs May 5th and May 12th. This course covers the history of the medium, materials and techniques. We discuss the various tools for making prints – brushes vs coating rods, UV light sources (the sun, black-light fixtures, other options). We go over paper selection and paper handling. In this intro class we will make palladium prints because palladium is the easier medium to work with, but we will discuss and demonstrate the differences between platinum and palladium. Contrast control techniques will also be covered, and developer chemistry as well. We will work from both in-camera negatives that we make that weekend, and from digital files students bring and/or create from scans.
To register for the classes, click on the links below: