Event photography with LF

[Steve Smith]

I saw a guy in Kenya 10 years ago, using a homemade 8x10 and photopaper as film. Underneath the camera he did a quick develop and fix in a wooden "dark box". He then got the "negative" photopaper sandwiched with a new photopaper, and held it in broad daylight while counting out loud. After that the sandwich returned to the box and some minutes later he presented a photograph.

Some of them re-photograph the 'negative' by placing it in front of the camera. The cameras I have seen have the chemistry inside.


Steve.

 

[removed account4]

figuring out a way to do this with efke direct positive paper would be easy and fun.
you would just have to have a tub of spent developer ( and fix ) in a developer tent ..
shoot. develop. wash probably less than 5 mins
they could look at the "proof" and come back when all the fix is washed out ..
10-15mins later ...


just find a place to shoot that is not direct light .. not shadowy
efke is pretty contrasty stuff ( like most photo paper ) ... and your exposures
might be in the 1 second range ..

good luck!
john

 

[George Collier]

Go for it - compromise and take half of the money down, just to cover out of pocket. Ditto on the assistant. You'll need one.

 

[keithwms]

Good idea. If it were me, I'd go with a crown graphic and instant film e.g. PA45 back and fp100b/100c. Your profit margin would then be much narrower than it would be with ordinary film, but people really conditioned to see results quickly.

 

[Mats_A]

I would prefer a wooden field camera. Would look more authentic I think.
But the instant film is a nice idea.

r

Mats

 

[Michel Hardy-Vallée]

20 euros is rather cheap if you think about making real, toned fiber prints. Bear in mind that there's the time involved for processing, not just the material. Of course, you have to stay competitive, but don't underestimate your worth: what you're doing, none of the other guys at the show can do!

Also, are you doing contact prints or projection prints? Contacts could be easier, and have more of the old-timey look. A 4x5 contact of a headshot is nice keepsake.

To complete the setup, I would have samples, a nice sign, a printed price list, and a business card with your contact information. You're not just selling prints, you're selling yourself too!

 

[Mats_A]

There have been excellent advices given here. Now I only need to get myself a LF camera. Hopefully this summer still. If not there is always next year.
I really think this could work. Would be nice to try anyhow.

r

Mats

 

[2F/2F]

John's suggestion is the first one that came to my mind as well...but isn't that paper gone? Sure did not last long, did it!?

 

[chris00nj]

Personally, I wouldn't bother with either an 8x10, or FB paper. Just to cumbersome for the event.

This is a one time occasion for all those people visiting the festival. People will be thrilled even if you come up with "just" a wooden 4x5. They have never seen it, and will accept the smaller format readily (as they don't know anything else anyway).

And they will likely be just as happy getting a simple and easy to make small 4x5 RC contact print (possibly sepia toned, that is easy to do), than they will a FB enlargement on 8x10 paper or whatever you envisioned.

And likely still easily pay you the full 25,- bucks IF you manage to deliver it the same day by having an improvised darkroom on site!!

Nothing beats "instant satisfaction"... look at the "d******l" thing!

Other even simpler option would be to use 4x5 Fuji instant film, for even more "instant satisfaction"...

Marco

I agree on the 4x5. Since the "old days" is 50 years ago, not 100 years ago, I think a 4x5 press camera would fit perfectly. Since you don't own anything, I think you also may be able to buy a 4x5 cheaper than a 8x10. Additionally, your margin with 4x5 may be higher: 8x10 film is 5 times as expensive as 4x5.

You also could run the develop in batches at the end of the day. They could come back and pick it up.

However, I probably wouldn't use instant film as it doesn't have an old time feel, although it could solve some of your logistical problems. i've never seen the quality of 4x5 instant film, so it's hard for me to judge. Perhaps offer both?

If its indoors, you would need either a lighting stand or perhaps some flash bulbs.

 

[David A. Goldfarb]

Threads merged.

 

[CBG]

8x10 contacts. Tell 'em that's how Weston made prints. Just charge 25€ for a sitting and one toned print. Have all of the prints toned. Don't give them any other option beyond how many prints to buy. The toned look is arguably authentic for old time portraits. And it looks authentic. A lot of portrait studios had proprietary formulas for toning that never were revealed to outsiders. Make it part of your "schtick".

Always make it a package deal. Keep it simple. Cash at the time of the sitting. Have a few great samples to show so there is no question that your portraits will be wonderful. Have friends model for your sample tests till you have enough really attractive prints to sell the concept. If it's happening at an old time festival, you might be able to play the part with some authentic clothing and an "old time" shop sign (even if made yesterday) ...

Make sure you have a good simple background, reliable light, and a plan for contignecies, so that sun or rain, you are totally ready.

A simple price plan and a simple pitch are important.

25€ for the sitting and one toned print OR for 5€ more:
30€ buys the sitting and two toned prints

and make sure you try for an up-sell with every customer for better sales volume with pricing for more prints like this:
35€ for the sitting and four toned prints
40€ for the sitting and six toned prints
45€ for the sitting and six toned prints etc...

And you must note to the customer that with four or more prints the last 5€ buys two more prints ... that's the hook ... And it will be especially good selling to groups where each person can get a print for him or her self ...

 

[michaelbsc]

This is the problem in a nutshell. Will people wait for a few days to get a "proper" picture? Could be printed on FB, maybe sepia toned. Or will they only bite if they can get the instant gratification of instant film?
Of course, you could have 2 backs and sell both.
Hmmm... maybe I need to start looking for a nice 4x5.

r

Mats

I doubt you can get them to wait. I've actually been researching how to make honest to goodness tintypes - metal plates and all - and try to sell those at events as a "fun" activity.

I live in South Carolina, and there are scores of Civil War reenactments here. I suspect if I can do period correct exposures, folks will at least cover my cost. But that project is months in the making. And that technology isn't 50-60 years ago.

 

[Worker 11811]

Freestyle Photo sells a tintype kit:
http://www.freestylephoto.biz/1832016-Rockland-Colloid-Tintype-Parlor-Kit?sc=24100

The page says one kit will produce five 4x5 plates.

 

[Peter de Groot]

Sorry to drag up an old thread but Mats how did it go? Did you do it and did it work out? I'm am now thinking of doing something like that but with Ilford positive rc paper. Inside and using a paper developer machine. I have to test the paper and I don't have to take into account certain era's.

 

[Maris]

Sorry to drag up an old thread but Mats how did it go? Did you do it and did it work out? I'm am now thinking of doing something like that but with Ilford positive rc paper. Inside and using a paper developer machine. I have to test the paper and I don't have to take into account certain era's.

Peter, Harman Direct Positive RC is a definite possibity.

I use it in the 8x10 format in my own studio and darkroom. From the sitter coming in to the sitter going out with photographs is about 30 minutes including 15 minutes drying time. Usually I have a darkroom helper and all I do is the camera work and banter with the subject until the pictures are delivered. If I have to do the job single handed I take the client into the darkroom so they can see (dark red safelight!) what happens. So far no one has reported being bored by watching their image come up in a tray of developer.

 

[Peter de Groot]

Thanks Maris the timeframe will help me a lot. However I think I can shorten it by using a developing machine from Durst or thermaphot. I can use a darkroom tent or something to load up the machine and to load up the negative holders. But I was thinking for an extra hand.

 

[jscott]

I think it's a good idea. I've been doing something similar in my business (violin shop) for about a year. If a customer buys an instrument they are offered a free photo, taken with a 4x5 Deardorff view camera. The people who go for it usually are girls and women (boys generally decline the offer).

In addition to honing my portrait skills using existing indoor light, it has been positive for my business. A few days later I give them a toned dry-mounted 8x10 fiber print and a few extra RC prints. One print is mounted on the photo board. So customers see their smiling friends and classmates on the board, mounted prominently on the wall by the sales counter.

It's a little different from what you want to do, but I've had a blast and I believe it sets my business apart from others, and also demonstrates a high level of expertise that is today rather uncommon in small retail businesses. And it has led to a small income stream from additional print orders.

photo boad

 

[Ralph Javins]

Peter, Harman Direct Positive RC is a definite possibity.

I use it in the 8x10 format in my own studio and darkroom. From the sitter coming in to the sitter going out with photographs is about 30 minutes including 15 minutes drying time. Usually I have a darkroom helper and all I do is the camera work and banter with the subject until the pictures are delivered. If I have to do the job single handed I take the client into the darkroom so they can see (dark red safelight!) what happens. So far no one has reported being bored by watching their image come up in a tray of developer.

Good morning, Maris;

That is the magic. That is what sets film apart from digital; seeing the image appear when you reach the later stage of development. If more people can actually watch this happen with their own photographs, film will be assured of a long life well into the future.