steve sherman

Actually, I have quite a large stock of the paper dating back to the early 80's. All paper

has been frozen and used as I need it. Portriga Rapid is a chloro-bromide emulsion and

therefore tends to keep better than ordinary bromide papers.

 

Pot. Bromide would be the restrainer of choice rather then Benzotriazole (Kodak Anti-Fog

#1) as it has a warming effect as opposed to Benzotriazole.

 

In my opinion it is the finest enlarging paper I have ever used and that covers near 30

years. Cheers

Sergio,

 

PRN is the designation for normal contrast (grade 2 ) and PRK is the designation for Higher

contrast (grade 3 ) The # 118 designates a matt surface while the # 111 designates a glossy

surface

Just a follow up to the original post.

 

I received Levere's books today and they are first rate. Fine reproductions within 190 pages and 81 plates comparing the 1930's and modern day New York City. Pre and post 9 / 11 photographs of the city.

 

For more information about next Sunday October 2nd presentation please visit this link to learn more. http://www.steve-sherman.com/nelfpc.htm

Greetings,

 

The New England Large Format Photography Collective will present New

York City photographer and book maker Douglas Levere on Sunday

October 2, 2005 at the Kehler Liddell Gallery, located at 873 Whalley

Ave. New Haven, CT.

 

 

Levere will give a gallery talk and slide presentation about his book

project www.newyorkchanging.com beginning at 3 pm until 5 pm . The

book ?New York Changing? replicates the works of world renown large

format photographer Berenice Abbott. Abbott?s iconic photographs of

the New York City skyline during the 1930?s became her signature work

with the 8 x 10 camera. Levere uses the same camera, researched the

time of day and time of year to portray NYC as it is now from the

exact spot as Abbott in the 1930?s. Levere will sign copies of his

new book and be available for questions and answers.

 

 

In addition from 1 pm - 3 pm The New England Large Format Photography

Collective will host our 2nd Annual Members Show. 12 Collective

members will display their work in this huge gallery for just this

one day. Photographs produced with Large Format Cameras ranging in

size from 4 x 5 to 12 x 20. Silver Gelatin, Silver Chloride and

Platinum / Palladium processes will exhibited. The afternoon of

October 2nd will be a celebration of Large Format Photography from

it?s infancy all the way up to modern day, why not join us!

 

 

For more information or directions e mail: NELFPC@steve-sherman.com

Michael Mutmansky will give a darkroom demonstration of his Gum

Bichromate over Palladium process. Immediately following the View

Camera Conference in Springfield, Massachusetts on Monday May 23rd at

a darkroom and studio in Springfield MA. Demo will last all day and

remainng space is very limited. Email NELFPC@steve-sherman.com for

further information

Trying to coordinate the timing with the Large Format View Camera

Conference in Springfield later this month. Anyone interested in a

Clamshell Portfolio Presentation box in the 16X20 X1.5" size. Color

will be the matching middle taupe / brown that was successfully

offered some months ago by Michael Mutmansky through various forums.

I will have an exact match of this box with me in a different size at

the VC Conference. Look me up, I will give a 10AM program at the

Conference if you are interested in taking a look or reserving a box

at that time. Steve Sherman

The New England Large Format Photography Collective will sponsor

Michael A. Smith and Paula Chamlee in a talk. The husband and wife

team will share their work, books and insight into their success. The

event takes place at the First Congregational Church in Cromwell,

Connecticut on October 24th from 2-4PM. The event is free to all

Large Format photographers and is the second such event hosted by

NELFPCollective. E mail NELFPC@steve-sherman.com for directions and

further information.

The New England Large Format Collective will present an Ultra Large

Format photographer and noted Plantinum printer in an afternoon

presentation on April 4th. Presentation is free to all.

 

For more information please e mail NELFC@steve-sherman.com

Anyone familar with back country roads between Page, AZ. more

specifically Big Water up to Escalante, UT? I have detailed maps but

have no idea how long it will take to traverse this route. Thanks

Cheers to your efforts, wish we had something like this in the East. Enjoy the time spent

The above mentioned suggestions assume that the holder is being held in a vertical position. I don't know about the rest of you but I load holders in a horizontal position holding the holder in my left hand and sliding the film in which brings the notch code in the lower right not the upper right. No matter how you do it you should keep the notch code closest to the bottom of the dark slide. Cheers.

Nick, I regularily travel 2 hours early in the morning to shoot large format and even ULF cameras around not so great areas of the city and to date have had no problems. Most people who do notice you just mine their own business. However, if you were flashing around brand new and expensive looking equipment you might send the wrong signal. As mentioned earlier, you would be wise to keep your wits about you and act confident about your surroundings. Let us know how you found your NYC experience.

I have the 300mm Dagor that easily covers 7 X 17 film. I also have a

9 " 1/2" Goerz Dagor which just falls short by less than 1" of

covering 7X17 film. Does anyone know for sure if the 10"3/4" will

definetely cover 7X17 film? Thanks

Two of the best Black and White books I own are "Summit" by Vittorio Sella, published by Aperture and "Mountian Photography" by Bradford Washburn, published by The Mountaineers Books. Not only do these books have a historial side to them, they are visully breath taking. Washburn is in his ninities and still making an occassional public appearence, he does have posters for sale through a gallery in Boston. Enjoy

Mark,

Utah is an absolute incredible landscape of erosion and ever changing landscape. Anyone of the National Parks will provide a very unique and rewarding black and white opportunities. If you are interested in specfics e mail me at steve-sherman.com for more specfics. I have been there dozens of times. Happy trails.

I would like to try PyrocatHD. I know the chemicals it calls for,

don't seem to see exact matches on ArtCraft Chemicals. Anyone have a

suggestion Thanks,

How could you forget the Dark Slide God? As soon as you are about to or already have pulled the slide the wind kicks up noticably. At least it does with my film holders.

In several years time the black Sharpie pens have bleed on glossy heavy weight stock posters. The edge of the signature discolors to a yellow brown, not very good if they are used on limited edition posters.

Is there any magic which will prevent 7X17 film from bowing out in

the middle of the holder if the camera is pointed even a tiny bit in

the downward direction? Lowering the camera closer to the ground to

pick up added subject matter is obvious, however that does change

depth relationships within the photograph. Thanks

Jim, I thought I was the only one who had a Folmer Schwing 7X17. Have several friends with the Korona versions, holders are not interchangable. My camera needed some repairs, Richard Ritter in Vermont @ rrlg4mat@sover.net used to be Fred Picker's camera designer and technican did all my repairs and I'm sure could fabricate something for you if your need is that extensive. Give him a e mail, feel free to reference me if you like. Good Luck, Steve

Todd, For years I owned a Meridian 4X5 Model B. This camera is an English copy of the Linhof Tecknica series. I recently sold it only becuase I realized that I was never going to shoot that small anymore. As a landscape photographer it always servd me well, never a situation I couldn't shoot. Camera has a drop front bed so when shooting wide angle lens the bed did not vignet the lower portion of the neg. I only shot with a 90mm and above, however knowing the camera as I do I am quite certain that 75mm is doable without recessed board. Camera has all the movements, front swing, tilt, geared rise and even shift. Rear standard does rock backward and also pulls out of the camera housing to allow for another 2" of bellows draw. I believe the camera can handle a 12" lens. Camera on the used market goes around $500.00, Model B is a later version which has a 4" square lens board while the Model A is earlier and uses a circular lens board. Great, great camera if your on a budget. Happy hunting. Steve Sherman

I recently attended a workshop with Michael and Paula last month. It was only the second workshop I have ever taken in 20 years. However, between the early eighties and last month I have given scores of workshops myself. What struck me the most was how hard both of them worked. From Friday evening to Sunday evening it was photography and sleep (and not much of the latter either) I was the first to leave each night, well after mid night. They shared their techniques and opinions with a passion. You maynot relish a large camera and the magic of AZO but these two photographers know how to see and they know how to teach others to see. Isn't that what photography is all about.

Looking for information on replacing the bed track and rear standard

supports on Deardorff 8X10 field camera which usually wear out over

time. Who to contact and approximate price of parts would be

appreciated. Thanks,

How easy it is to sit there in front of your computer and write some condesending statement about finding ones own photo opps. I might offer if you are a large format photog and into the landscape then by default you are into the out of doors. Might that be the reason for Gil's interest, I have been all over the southwest with and without LF camera in tow. When you see a place like this and don't have an interest in it you must be a wedding photographer. Why not a have shoot out at Coyotte Buttes and see who comes out on top. No brides allowed. Turn off your computer and go make some photographs. Steve Sherman

Michael,

I regularly photograph in lighting conditions such as you describe. I actually use reciprosity as a tool to gain contrast in certain conditions although not the ones you describe here. I will begin by saying that pre exposing your film will decrease the length of your exposure, there are however draws backs to that trick. I have a reciprosity chart which was given to me by a noted photographer which has never failed me, even where exposures run up to several hours. The basic trick is to move the lower values up on the scale, say to zone 5 or 6 and then to give very gentle and dilute development for a longer period of time. I use HC 110 diluted 1 oz. of the syrup to 128 ozs. of H2O. Development times run between 12 minutes and 22 minutes. Agitate for the first full minute and then only the first 15secs. of each minute there after. What happens is the higher sensitizeds areas exhaust the developer almost instantly while the lower values continue to develop thus closing the contrast difference over time. You will need to place the shadow values you wish to preserve up around zone 5 or 6 because they will fall down the scale of density, however the highlight density will fall as much as 6 o 7 zones. Don't panic, this negative will look awful, almost like it has been sepia toned. But when the negative is printed you will be amazed at the contrast and information contained in the negative. E mail me off line if you would like the reciprosity chart and some beginning development times. This type photography fascinates me as the resulting negative is something that the eye can never see, the film however continues to gain density and information as time goes on. Good luck and stay with it. There are some examples on www.steve-sherman.com if you are interested. Cheers