For the longest time my vision was to shoot the mixer like a product – white background, studio lighting, the works. For more interest I chose to use the glass block window in my dining room. It offered a second light source to the natural window light, back lighting the blender. Moreover, it offered a more structured grid pattern to juxtapose the curves of the mixer.

Photo shoot setup for Gilchrist No. 22

Equipment:

• Mamiya RZ67 ProII with Mamiya SEKOR-Z 110mm f2.8
• Ilford Delta 400; exposure compensation +1 at the meter; 2 sec exposures @ f8 / f5.6
• Tripod, double shutter release and bellows set to 110

Development:

• Pushed 1 stop with Ilford Ilfotech DD-X 1:4 using 4-6 inversions at the top of every minute
• Stop bath for 30sec
• Five minute fix using Ilford Rapid Fixer 1:4
• Water wash for 5 minutes
• Ilfotol rinse for 5 minutes
• Hang dry after film squeegee
• Cut in pairs and sleeves using lint free gloves

Scanning:

• Nikon 9000 ED
• NikonScan
• Scan Science wet scan

Seven of the ten shots were worth further review. About half needed considerable touch up to remove air bubbles caught by the fluid and film.

Lesson 1: Do not develop and then scan immediately. The film is not as flat as it should be causing the edges of the film to lift and air to form pockets.

Lesson 2: Slight surface tension, by applying tape to the edges of the glass and holder, can correct the introduction of bubbles.

The thin grip tape that lines the sides of the Nikon negative holder began the wrinkle, likely due to the slight overflow of Lumina from the mount. From what I can tell this did not have any effect on the scan, possibly do to the ability to focus the scanner. Regardless, the ripples seemed minimal and depressed with the weight of the glass mount.

Once the final scans were complete I imported them into Adobe Lightroom 2 as my digital negatives, performed basic adjustments and then edited the visual defects (dust, bubbles etc) in Adobe Photoshop. Adobe Lightroom 2 offers spot removal, but slows with the number of spots and does not do nearly as good a job as the healing brush in Photoshop. Finally, back in Lightroom to add the final polish.

As a test, I ordered 8×10 inch glossy prints on Fujicolor Crystal Archive paper. The images were exported as JPEG, highest quality, 300ppi and sent to myPhotopipe.com to get printed on their Noritsu or Chromira printers. The results were striking – the quality was  superb and clearly much larger prints could be made with minimal quality loss. Another excellent activity for a follow-on post.

As a teenager I would run around with my black Olympus OM-2n wishing that one day I would find myself with a Mamiya. It was what I saw in magazines and my medium-format camera experience went from a Yashicamat TLR to a Rolliflex TLR – a story all of its own. I had nice equipment, so the Mamiya was not an obsession, more of a dream. I love Lamborghini cars and one day I will have one. For now, it is a dream.

My first few shots with the RZ were using the Polaroid back. Polaroid had announced earlier in the year that it would stop manufacturing instant film, which was fine, I loved the results from Fujifilm even better. In the first weeks, I ran through a few packs of expired Polacolor and started to realize two very important things. First, I needed a better tripod. The Mamiya RZ is heavy and my little tripod was not up for the task. Second, I needed a light meter. Using the digital camera to do meter readings was cumbersome at best and I was still often left compensating for the film characteristics. I knew I needed these things, but I waited to make sure.

Lesson: If you can afford it, do not wait, just get what you need. It moves the conversation away from the gear and into the art of making images. The catch is in knowing what you need.

This is how it all began. The dream unleashed the sleeping giant which has compelled me to share my journey on the hybrid photography jet-stream. I know I am not alone, and yet we are scattered in our sharing.