What would you do with a computer you used 20 years ago? Most of us would take it to a recycling center, perhaps feel a bit emotional about ditching it, and that’s about it. But Iranian photographer Alireza Rostami had other plans for his old, broken computer. He dismantled it and turned it into a working large format camera.
While it was once the only way you could really shoot a photo, wet plate photography went off almost into the realm of complete non-existence just a few years ago. Lately, though, it seems to be making something of a comeback. Much of the hardware isn’t as easy to get as it once was, although it seems to be more popular again now than it has been for a very long time.
One problem to be overcome with wet plate, though, is actually loading the plates into a large format camera. You typically can’t just use a regular sheet film holder. At least, not without alteration. In this video, photographer Markus Hofstätter shows us how he modifies his 8×10 film holders for the wet plate process.
This visit was for a portrait shooting on a collodion wet plate and we did also a short wet plate workshop. After the videos from Mathieu and myself, you can see all the pictures and read more about the shootings
Austrian photographer Markus Hofstätter has published plenty of interesting wet plate projects. In his latest project, he brings together large format wet plates and stereo 3D photos. This was Markus’ most time-consuming project so far. It took him working six months to finish it, the first three just modifying his camera so it can take stereographic images. But judging from the results – it was well worth it.
Normally I create photographs. This time, however, the final product is a video where you can follow the change of crystals/salts from the collodion wet plate process.
I have started this project because at my workshops I am often asked what happens when developing, fixing or sensitizing the plates. Of course, I have often tried to explain it, but a picture is worth a thousand words. That’s why this video was made.
Should you switch from APS-C to full-frame? Or perhaps shoot large format? Does it matter? What will it change? Ah, so many questions. In this video, Jay P. Morgan and Kenneth Meryl have decided to test four sensor sizes side by side and give you the answers. They shot with a large format, a full-frame, an APS-C and a micro 4/3 camera. Here you can compare the images side-by-side and see for yourself how much of a difference there is.
Intrepid, the creators of the wooden 4×5 large format camera have now announced their new 4×5 enlarger. It mounts to the top of a tripod and is designed to be used in conjunction with the 4×5 large format camera you already own. This brings the cost down to a ridiculous £119 (~$155). It launched on Kickstarter yesterday and it’s already 300% funded.
The other day, I posted on here about The Standard 4×5 large format 3D printed camera. I was a little sceptical about The Standard at first until I saw that the project files would be released into the open source world upon completion of the campaign and deliveries to backers.
I love that large format seems to be coming back in fashion. I really do. In the last couple of years we’ve seen some great new large format cameras come into existence, like the Intrepid, and the Chroma – the latter of which we saw in person at The Photography Show.
Now we have a new one, The Standard 4×5, which is made from 3D printed parts. It’s is being billed as a DIY 4×5 large format camera that you can build yourself – which is a really awesome idea. It’s being funded through Kickstarter, and the prices aren’t that bad, either (even though the early birds have already sold out).
When it comes to the discussion fo bokeh, we often hear of the “benefits of full frame”. There are many comparisons out there all over the web, extolling the virtues of a larger sensor, and how a full frame mirrorless or DSLR is the “ultimate”. It’s really not, though, if that’s your goal, which this video from photographer Bill Lawson sets out to prove.
In this side-by-side shootout, he compares a Nikon D7000 DX body, along with a Nikon D700 full frame DSLR and 4×5 large format. He uses 50mm, 85mm and 300mm lenses to achieve a similar field of view with each of the different cameras, and gets to work.