Large Format Photography Australia

I keep getting stunned by the imagination and vision of images that populate this site. And at times I feel like organising an appointment to see the pictures even if it includes a flight to Sydney or Melbourne and a (budget) hotel room for the duration. Air travel is cheap these days and it is comm...

What a striking and enigmatic picture! What is it, platinotype, gelatin-silver, electronic file?

I know that the print is where the final output is and the masters would do all kinds of things with their negs to get what they wanted from it. I do some/very little editing of my negatives at the moment but always feel if I go too far from the actual negative itself, I'm breaking some unspoken ru...

Cheers Maris for the checklist t'was very kind of you - if you dont mind me asking.. have you exhibited in Brisbane before? If so which gallery and how was it? In Brisbane? I hung my work at Imagery Gallery in Melbourne Street and Grey street and the Photographer's Gallery in George Street. At Imag...

Good luck with the exhibition. It's not like print night at the camera club but a potentially prestigious event that can put your names on the map. Here's a checklist I've used to mount exhibitions for myself and other people: Get the right gallery...accessible location, parking nearby, enough wall-...

Glasses and Pears
Gelatin-silver photograph on Fomabrom Variant111 FB VC, image area 24.7cm X 19.5cm, from a Fomapan 200 negative exposed in a Tachihara 8x10 camera with a 400mm single meniscus lens set at f11

Rather than having to eat all that icecream just to get the 1 litre tubs consider using a MOD 54 Sheet Film Processing Insert in a Paterson 3 reel tank. It's supposed to enable 6 sheets of of 4x5 to be processed using 1 litre quantities of chemistry. The only darkness needed is a changing bag. I've ...

Incredible image! :) You'd have to be pretty happy when you developed that negative! You're not wrong! I knew the exposure was ok but not being able to previsualise the result was the cause of some high anxiety. And I didn't want a re-shoot. Lugging an 8x10 to the bottom of these falls is attended ...

I reckon don't be bullied by those skylights. Option one:let them blow out to pure white. The eye/mind tends to accept lightsources as undetailed luminous things. The part you don't want to lose is a full scale of tonal separations for all those delicious details in the workshop. Or.... Skylights ca...

Keep them coming! I want to see more of the Railway Workshop and Boat Workshop series particularly those dramatic sculptural, textural, tonal close-ups. Old tools like old cameras are sometimes improved by the marks of sympathetic use.