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Contributed by Ole Tjugen
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Wednesday, 07 December 2005 |
In late September, LF and ULF users from all over gathered in a remote village in Norway for a long weekend of LF photography.
It all started with a light comment - "maybe we should meet up somewhere" between myself and another Norwegian LF'er. Maybe it would have ended there, if that comment hadn't been made in English, on an international forum? Anyway the reaction was immediate, and we realised that this was going to turn into an international event - so we'd better start planning!
Choosing a place in Norway for photography is not easy. Choosing a place for photography in late autumn is a little easier, as it eliminates the darkest places (most of the north), the wettest places (most of the west coast), and the coldest places (most of the inland). I finally chose Loen for several reasons: It's near enough to the coast to have a mild climate. It's inland enough to have a drier climate than the coast, and it's far enough south that the light (if any) would be good. The area also has some of the most dramatic landscape of anywhere on the planet.
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Last Updated ( Saturday, 10 December 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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Monday, 05 December 2005 |
Carl Weese,
USA
Carl Weese is one of the world's leading authorities on ULF photography and Platinum printing. He works in 7x17 and 12x20, to produce lovely images that he prints in platinum.
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Last Updated ( Tuesday, 06 December 2005 )
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Written by Patrick Jan Van Hove
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Wednesday, 30 November 2005 |
The first days of the new Mamut have been great, the response has been incredible. Last week, I've had more that 500 visitors on the new website, from all over the globe. And I found that rather surprising. I was under the impression, from various forums, that the ULF and alternative processes movement was mainly a north american thing, but I've received just as many visits from Europe than from the US, and perhaps even more...
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Last Updated ( Wednesday, 30 November 2005 )
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Written by Patrick Jan Van Hove
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Wednesday, 23 November 2005 |
One of the challenges of ULF is finding lenses with proper coverage. The fact that many of the lenses used in ULF are not originally designed for photography means that their specifications as given by the original lens maker do not necessairly apply to the photographic world, such as Process lenses, for which the "wide-angle" designation doesn't mean the same as for lens marketed for photography.
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Last Updated ( Sunday, 27 November 2005 )
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Written by Patrick Jan Van Hove
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Monday, 07 November 2005 |
Polaroid Book
In 2004 Polaroid celebrated it's 50th anniversary, and this book celebrates those five decades with 287 images from 224 artists, all out of the Polaroid collection...
Once again Taschen offers a beautiful book at an affordable price. And they even manage to present it in a very original way. When you buy the book it's sealed in a gray plastic package that will be very familiar to anyone who ever used Polaroid film. Even the fonts on the package look like a polaroid film pack.
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Last Updated ( Tuesday, 06 December 2005 )
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Contributed by Deniz Merdanogullari
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Thursday, 17 November 2005 |
 
Lois Connor - Landscapes of the Far East
Lois Connor, USA born photographer. This book features amazing photos from her far East trip to China,
Japan, Nepal with her 7x17” panoramic camera. She works with panoramic- banquet cameras of 7x17, 8x20
and 12x20 size. Many of the photographs are vertical, which is pretty impressive considering the size
and the format of the cameras she is working with.
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Last Updated ( Friday, 18 November 2005 )
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Written by Patrick Jan Van Hove
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Tuesday, 28 June 2005 |
Introduction
(Please note that this is my personnal view of ULF photography, your vision
could, and should be different, this is the main reason why I created this
page, to see the different sides of ULF.)
First, lets start with the obvious question : What is ULF ?
Ultra-Large format photography, at least by my definition, is photography
using any camera producing a negative larger than 8 x 10 inches. This includes
both classic and modern cameras, and various formats, from the almost small
7x17 panoramic and the 11x14 portrait cameras to the huge 20x24 polaroid cameras. |
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Last Updated ( Sunday, 27 November 2005 )
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Wednesday, 22 June 2005 |
By Carl Weese (http://www.carlweese.com)
A version of this article first appeared in Photo Techniques magazine.
During photography’s first century, there was no mystery why
photographers often worked with enormous cameras. If you wanted a big photograph,
you needed to use a big camera. All early processes relied either on direct
use of the material exposed in the camera or on a print exposed in contact with
the negative. If Timothy O’Sullivan, William Henry Jackson, Francis Frith or
the other great 19th century photographers wanted to bring back views of the
American West or the Mysterious Orient in the form of 18 by 22 inch prints,
they had to carry and use “Mammoth Plate” 18x22 cameras. They also had to travel
with a full darkroom for preparation of the wet-plate negatives. The enlarger,
the piece of equipment most central to twentieth century darkrooms, was still
in the future. Before enlarging could become the standard method of photographic
printing, papers had to become sensitive enough to expose by projected light. |
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Last Updated ( Thursday, 23 June 2005 )
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