All images shot on the Petzval Polaroid Rig and scanned for digital output. Thrilled to have this guy be a part of my ongoing Polaroid project. That is, as long as I can actually get my hands on the film.
The Wonderfully Unique Liz Deforest
The proud Bria Sandifer
Last shoot without lights. Still turned out brilliantly though. Negative scans to come. Thanks to Bria for being so brave and wading into the icy cold river.
THIS IS HOW YOUR EYES WORK. Your brain just fixes it.
When composing with a large format camera, the view on the ground glass is upside down and backwards.
VOTE VOTE VOTE!!
https://www.artprize.org/bud-kibby/2015/normal-relativity-to-be-normal-would-be-a-waste-of-the-potential-that-is-screaming-for-revelation
Today I learned that batteries do not support modeling light constant output.
Thankfully, it was not at the expense of my employer as it could have been, nor was it at my own expense either. I got super lucky. Thanks to Kelsey Kay for modeling for me.
Shoot 2
Due to time constraints, no social media imagery was posted for shoot 2. Special thanks though, to Tiffany Lentz for taking time out of her busy schedule to make time to model for me. She made it into the top 6 large prints for her awesome blue mohawk! This is a negative scan (more on that later). With this shoot I learned that whole shoots can overprocess based on a bad film batch and to shoot stock from multiple batches for the same shoot. Most of Tiffany's images (final positive Polaroid prints) continued processing after the shoot and became so dark that the positive prints were unusable. So, her images will live in the digitized negative scans.
Results of the Maiden Voyage:
Today I learned that the further out the bellows are extended, the closer I can get to my subject. Bellows are not zoom. They are macro. Also, I learned my tripod (or tripod head) is not meant to mount a 4X5 Field camera to. Consequently, I need to be much more careful about framing my subject. Because when I frame with the bellows fully extended and then change from the focus back to the polaroid back, the entire camera sags down from physical weight. Also, there is no mobile app that will give proper exposure readings with bellows compensation. So, proper exposure is pretty much a guess based on personal experience. This is exacerbated by the fact that there are no markers for Aperture on the lens, with my only certainty being that the max aperture is f/4. Joelle did well for this though, and I am grateful she stopped over to the mall for my lunch break in order to allow me to photograph her. :)
Maiden voyage:
The first time taking her out for a spin with the very accommodating and patient Joelle Kozak. Photo credit to Angela Goss.
Shutter from an oscilloscope camera from the 1950s
After weeks of looking I finally found a shutter that fits my lens, stays mounted, functions properly, and HAS POSTS to sync with strobes! LET THERE BE LIGHT!
Social media and me.
Clearly, it is a challenge for me to update social media regularly. So, in chronological order (mostly) here comes everything all at once.
Camera: 1930's Linhof Technika III / Lens (ca.) 1870s Unnamed Petzval
Officially secured as an artist at the DeVos Place!
So excited to a part of such a fantastic venue. Special thanks to Eddie Tadlock for allowing me to be a part of such a great space and for including me in his yearly curatorial masterpiece!
http://www.artprize.org/devos-place-convention-center?
