I’ve always been a bit of a fan of alternative processes. For better or worse, the connection one has to the finished product is like no other form of photography. When I decided to get into dry plate, the first steep was finding a good camera for the process.
After a bit of looking I found a Calumet C1, and matched it with a Kodak Etkar 12” lens. This is the most expensive film camera I’ve ever bought, but I don’t regret it for a second. The C1 isn’t exactly beautiful, utilitarian is the best way to describe, but I love working with its standards, and the huge bellows it has is supper helpful. The history it has is an added bonus, I love the fact that it’s nearly the same setup Yousuf Karsh used, as well as how the local government used to own it.
So far, I’ve just been trying to figure out the process so I can head out to the field. As expected, it hasn’t exactly been completely smooth. I’ve ended up with more blank sheets of glass than I want to admit, but I’m getting there. My end goal is to document Detroiters out in their landscape, but for now I’m having fun using it in the studio.
Thanks Hamish for this series and all you do with 35mmc.