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Contributed by Philippe Berger
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Friday, 25 November 2005 |
Pourquoi utiliser le procédé au charbon transfert ?
Ce procédé n'est pas simple à réaliser. En effet, il faut fabriquer soi même son papier mixtionné. La manipulation est très précise parfois difficile et souvent aléatoire. Par contre, le procédé au Charbon donne une qualité d’image supérieure au bromure argentique et égale au platine. On peut de plus choisir la couleur de la pigmentation.
Finalement, on est libre de réaliser son image sur des supports aussi différents que le papier, le polyester, le plexiglas, le verre, l’aluminium et bien d’autres, ce qui permet une grande liberté d’interprétation de l’image. En fait, on peut aller jusqu'à utiliser la pellicule de gélatine appelée “Peau de Charbon” seule, puisque qu'elle peut être séparée de son support et exposée telle quelle en toute liberté.
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Last Updated ( Sunday, 27 November 2005 )
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Written by Patrick Jan Van Hove
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Saturday, 19 November 2005 |
Mamut: Hi William, thank you for talking to us. Let's start with an
easy one: How did you get involved with ULF photography?
W.C.: I began the Japanese garden project with a 35mm camera and immediately recognized that it was the wrong tool for the job. Although, at the time, I wasn’t quite sure what I was after I had this desire to go under the surface features of the gardens. I had hundreds if not thousands of combined impressions of the gardens that demanded great detail and fidelity. I began working with a 4x5 which made the clarity of the surface features much more evident. |
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Last Updated ( Saturday, 10 December 2005 )
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Written by Patrick Jan Van Hove
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Tuesday, 28 June 2005 |
Staying in touch with the past,
Mamut : Some of your work is done with a Mammoth Plate camera, can you tell us a
little more about the camera you are using and how you came to have it ?
First, as to the large camera. I do not know if you are aware of my reputation as America's premier
vintage wooden camera restorer. I did this for 8 years and achieved a national reputation with a 3
year waiting period for my work. I also became an expert in not only vintage cameras but lenses as
well. I wrote an article for View Camera Magazine on lenses for large cameras in the late 90's.
( This article is on my website ).
As a result of this, I was contacted by someone on the internet
regarding his wanting to sell a large camera and that he was told I was the guy to talk with too
find out what it was worth. This was the camera I eventually came to own as I told him there are
maybe a half dozen people in the country crazy enough to handle it, I being one of them. However,
it had not been used in decades, had no film holders, lenses or a tripod big enough to handle it.
It also desperately needed restoration. |
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Last Updated ( Saturday, 19 November 2005 )
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Tuesday, 28 June 2005 |
The lady behind the big camera
An interview with Elsa Dorfman
Elsa Dorfman is celebrating this year her 25 years of work with the Polaroid 20x24 camera, which she is renting from
Polaroid in her Cambridge studio. In those years she has
produced an impressive body of work, an amazing celebration of life, a passionate look on humanity.
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Written by Patrick Jan Van Hove
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Tuesday, 28 June 2005 |
 Letter to the editor,
An interview with Brooks Jensen, Editor of LensWork Magazine
LensWork
Magazine is a
rare exception in the photography publication world. It's
an advertisement-free bimonthly magazine devoted to the creative
process, to photographers and the images they make, rather than
equipment reviews and discussion about the latest digital camera.
Brooks Jensen is the co-founder of the magazine and he publishes a quasi-daily blog on the lenswork website
, devoted to various issues of creative photography. We spoke to him about his vision of photography.
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Last Updated ( Wednesday, 16 November 2005 )
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