Julian Pearce undertakes all his “serious” photography with film cameras ranging in size from medium format to large format film cameras, which take images on single sheets of film from 4×5 inches up to 11×14 inches.
The resultant negatives are used to produce prints using traditional darkroom techniques which include silver gelatin printing and 19th century photographic techniques including platinum/palladium prints and albumen prints. He enjoys using the skills required and the apparent magic of the chemical processes involved. Perhaps in response to the dominance of digital in our lives, traditional or analogue processes are experiencing a resurgence and Julian is pleased to play a small part in that resurgence. Julian’s photographs have been exhibited at Pointlight Gallery in Sydney and the Qld Centre for Photography, as well as numerous group exhibitions in both Queensland and inter-state.
Julian will show how to set up and focus a traditional view-camera and use film holders – his 8×10 view camera will be used to illustrate the underlying principles. He will also show how lens rise and fall, and film plane adjustments can be used to control the plane of focus and perspective. And he will chat about why he still uses a view camera for much of his photography when faster and more convenient options are available.4×5 Wista wooden view camera + 135 Rodenstock (2000)
8×10 Wista wooden camera + 360 Nikkor lens (2007)
11×14 Chamonix wooden camera + 450 Nikkor lens (2008)
Mick’s interest in photography began when he was a teenager. In the last 20 years the passion to create images has become an abiding interest. During this time he met others who shared his interest and these friendships provided inspiration, peer review and opened up experiences to a variety of analogue photographic processes.
Mick prefers film cameras and enjoys the tactile experience of processing and printing in a darkroom and the craft of analogue photography.
This has led him away from the use of digital cameras. He believes the digital trend has swamped the medium and taken some of the intimacy out of photography. However, he uses scanning and Photoshop as stepping stones or guides to options for making photos in the darkroom.
Most of Mick’s photography involves the use of medium format cameras. He also uses large format cameras (4×5 and 8×10 inches cameras).
Mick has had solo exhibitions in Brisbane and in Pomona as well as contributing to group exhibitions with his friends.
Mick will discuss the operation of the cameras; loading film, focusing, the need for accessories to make optimal use of the camera. He will discuss the applications that best suit each of the cameras, their strengths and their limitations. He will also discuss why he uses medium format film cameras and why he has not moved to digital cameras.Mamiya 7II with selection of lenses
Twin lens Rolleiflex – 1:1.2 f80mm Carl Zeiss Planar lens (Professional Fashion photographers’ camera)
Hasselblad CM (1978) and selection of lenses (wedding Photographers’ kit)
Graflex Speed Graphic (1959) with Kodak Ektar 127mm f4.7 – Press camera from 1960’s
Peter graduated from San Francisco School of Cinematography in 1982 and School of Holography in 1985. That was the beginning of his life-long love affair with anything involving film.
His Cinematography DOP career highlights can be measured by the awards received, like the Academy of Television and Sciences Emmy nomination for outstanding Cinematography (Survivor), the Gold Award for documentary (Curtain Springs Enduro), or the Dendy Award for Best Documentary (No Problems). Peter loves all things film, be it still or motion picture; he has an outstanding understanding and knowledge of 16mm, 35mm, video and specialised cameras as well as the skill to built and modify cameras, lenses, underwater housings and special rigs. His multidimensional skills were a bonus in working in various genres of the film and motion picture industry, from MTV shows like the Huey Lewis and the News, Eddie Money, Bangles and others, to BBC David Attenborough documentary series or Robson/Jordan Films documentaries.
Whilst usually using some of the best and biggest motion picture cameras, like the Arriflex, Panavision or Bell and Howell, Peter also loves some of the smallest film cameras like the Rollei 35mm film camera. Peter will share with us why this little beauty got his attention.
DAVE THORP AND 12 YEAR OLD JASMINE
Dave Thorp’s camera of choice is Hasselblad 500CM
David’s daughter Jasmine shoots Lomography Diana
We’ll hear from a young budding photographer and her dad; what’s important in Dave’s photography, why he loves his Hasselblad 500CM and why he loves shooting with his talented daughter Jasmine.
ANDREW CROSSAndy Cross began his working life as an optical engineer majoring in applied physics and worked for 26 years in the industry before becoming self employed as a photographer. In the time between he gained a Ba in applied photography at Griffith.
Andy always had an interest in the colour assembly processes for their permanence and rarity which gives them a higher intrinsic value. He uses both large format and his colour separation to make dye transfer prints and tri-colour carbon prints.
Andy Cross is the only photographer in the southern hemisphere printing contemporary work using these processes and one of a handful of people using these processes in the world.
Andys’ works are in collections in countries all over the world. On Sunday, he will present his special and rare Bermphol camera and his Wisner 4×5 camera.
The Wisner 4×5 camera is a wooden folding field view camera that was commissioned to be built in 1989 and taken delivery of in 1990. It is used with modern Rodenstock and Nikon large format lenses and is used in the field mostly. It is far more convenient to use this type of large format camera than the more cumbersome monorail type studio cameras. Much of the work taken with this camera are landscape and urban landscape and architectural images.
The Bermphol camera was purchased in the year 2000 in good working order. But it was necessary to acquire a new set of separation filters, bellows and lens boards in order to make it useable with modern films. This allowed it to be maintained in it’s original condition greatly increasing it’s value. It is presented here in it’s original concourse condition. The purpose of this camera is to enable the production of colour prints or photographs even if colour films were to stop being manufactured. It was possible to obtain colour prints before colour films and papers were invented. Andy will elaborate on how this camera is used to achieve this. The approximate age of this camera substantiated from the paper work supplied with it makes the camera 87 years of age. The Lumiere Brothers who invented the first colour plates known as the Atochrome process was part of the story that made this type of camera obsolete.
In his presentation Andy will cover why he use large format and will discuss the attributes of the Wisner, which many other field cameras do not have. Andy will explain what a colour separation camera is and how it works. Why he has and uses one.
We will also have an audio visual presentation on Dye Transfer Process.
Jaime Dormer knows and used just about every possible camera throughout his photographic career.
On Sunday, Jaime will explain the reasons behind his choice of film cameras, what are the benefits, film he uses, what type of film he uses & why, as well as the many advantages & sometimes disadvantages of using large & medium format film cameras.
Linhof Technorama 617s iii with Schneider Kreuznach 72mm f/5.6 lens
Shen Hao HZX45-IIA Large Format 4″x5″ Field Camera,
c1900 Houghton “Victo Superb Triple Extension” (Postcard Format), and Nikon-W 150mm f/5.6 Lens with Copal-0 Shutter
Calumet Caltar-W 90mm f/8 Lens with Copal-0 Shutter,
Schneider Symmar-S MC 210mm with Copal-1 Shutter,
Fujinon-T 300mm f/8 Lens with Copal-0 Shutter,
4″x5″ Double Darks,
Adaptor Plate 4″x5″ Large Format Camera To Nikon F-Mount.