The Alternative Journal of Medium and Large Format Photography VOLUME 1, ISSUE 4, BUILD 2

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SOAPBOX: A Brotherhood of Photographers HOT MODS: MP4 with Technika-style lensboards 4-SQUARE: Tim Myers STUDENT WORK: The Royal College of Art REVIEW: Shen-Hao HZX 45IIA CENTERFOLD: Mike Stacey VOLUME 1, ISSUE 4, BUILD 1 FEATURE: Sandy King: Carbon Prints CUSTOMIZE: A Homebrew 6x17 Camera www.nancyscans.com INTERVIEW: Robert Kresa www.nancyscans.net NEWS: New Stuff 800.604.1199 COLLECTIBLES: Rolleiflex TLR PROJECT: Working Class PARTING SHOT: Guggenheim, Bilbao

Cover Photo: MAGNACHRO M VOL 1, ISSUE 4 “Retrato” — Cuba, La Habana ©2007 Leonardo Régnier WWW.MAGNACHROM.CO M About MAGNAchrom: Advertising with MAGNAchrom: How to Print MAGNAchrom on your inkjet printer: MAGNAchrom is an advertiser- MAGNAchrom offers advertisers a supported, hybrid magazine choice of four ad sizes based on the Unlike the first three issues of MAGNA- published bi-monthy, six times A4 paper format oriented horizon- chrom which were produced with a per year. It is available for free tally. horizontal page format, this issue inaugurates a new vertical page to registered users by download- Artwork should be supplied either as size of 8 1/2” x 11”. This format will ing from our website at www. RGB EPS or RGB PDF or RGB TIFF facilitate delivering MAGNAchrom to magnachrom.com. (flattened, no layers) TIFF format @ you in alternate media such as print- 300dpi using the dimensions indicat- on-demand and CD-ROM. Addition- You are encouraged to download ed below. We do not offer scanning it, save it to your harddisk and ally, we have decided to output the nor ad layout services at this time. PDF version in side-by-side format print it on your printer. How- Do not send CMYK “color separated” of 11” x 17” simplifying the viewing ever, you may not resell it, nor files. We reserve the right to refuse of panoramic spreads. The upshot put a copy of any issue on any any advertisement that we deem in- of this change is that you can only network where it would be ac- consistent with our target audience. print individual spreads on your cessible by someone browsing Full Page inkjet printer. the internet. Additionally, you 7 1/2” x 10” text area (190.5mm x We suggest the following print set- may not translate it, nor create 254mm) tings: derivative versions of any of the $900 US interior of magazine, non- MAGNAchrom v1.4 articles, photographs, illustra- cover (bleed: $100 US extra) 1. Use a paper size of 11” x 17” tions nor of the issue in part or $1200 US inside/outside covers 2. Print at 100% full bleed (if your t the heart of all photography is an urge in its entirety. Doing so will make (full bleed included) printer supports this) us very mad. And trust us, you 3/4 Square to express our deepest personal feelings don’t want that. Instead, you 3. Print at high-resolution on glossy 45p0 x 45p0 (190.5mm x 190.5mm) or photo glossy paper may place a link to the MAGNA- $675 US chrom website and let people — to reveal our inner, hidden selves, download it for themselves. 2/3 Page Vertical 29p6 x 60p (124mm x 254mm) The full Terms of use can be $600 US to unlock the artist. Those of us who found at www.magnachrom. 1/2 Page Vertical become photographers are never satisfied with just com/MClegal.php 21p9 x 60p0 (92mm x 254mm) A This issue and all the content in $450 US it is © 2007 MAGNAchrom LLC. 1/2 Horizontal looking at someone else’s expression of something All rights reserved. 45p0 x 29p3 (190.5mm x 124mm) $450 US EDITOR/PUBLISHER: that is dear to us. We must produce our own images, J Michael Sullivan 1/3 Page Square 29p6 wide x 29p3 tall (125mm x instead of buying postcards and photo books. We CHIEF TECHNOLOGY OFFICER: 124mm) Bob Kuszewski $300 US seek to make our own statements of individuality. ADVISORY BOARD: 1/3 Page Vertical Banefsheh Etehmam, Lance 14p0 x 60p0 (59mm x 254mm) Keimig, Liz Haywood-Sullivan $300 US — Galen Rowell LEGAL COUNCIL: 1/4 Horizontal Alesia Flemming, Esq. 45p0 x 13p9 (190.5mm x 59mm) $225 US WEBSITE: magnachromagnon www.magnachrom.com 1/4 Vertical 21p9 x 29p3 (92mm x 124mm) ADVERTISING: $225 US www.magnachrom.com/MCad- To inquire about current ad rates vertising.php and specials, please send email to: PORTFOLIO PROPOSALS: [email protected] www.magnachrom.com/Contribu- torRegistration.php KUDOS & CRITICISM: [email protected]

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M [THE SOAPBOX] An International Brotherhood of Photographers PHOTOGRAPHER'S MACHINIST Products • World’s Best Lenscaps here is a whole world of photogra- the younger generatiion hasn’t completely aban- In summary, we are all in this together. And • Original Spanner Wrenches Going digital, • New Copal Shutters but still need phy out there and we at MAGNA- doned the quiet dignity that larger formats offer. we can and should draw inspiration from each • Extension/Recession Tubes compatibility? chrom aim to show it to you. In this While many schools and workshops have elimi- other. The fact that professionals have largely • Custom Threaded Adapters Give us a call! Tissue, we are pleased to feature the artwork nated their traditional processes, there are a few abandoned traditional processes in favor of • Slip-On Adapters • Focusing Mounts of ten international artists from all over the that continue to encourage their students learn those that offer quick turn-around should not • Mounting Flanges globe. What is encouraging is to discover to master all media and techniques. dissuade anyone from continuing to use classic • Retaining Rings how popular medium and large format And then there are those who are not satis- cameras to produce their art. On the contrary, • Lens Boards and Adapters • Unique Bracketry photography remains in this global village fied with “out of the box” solutions and are will- you are in good company as evidenced by the of ours. In fact, if this issue is any indica- ing to experiment with and advance the knowl- many people who have embraced our beloved Services • Barrel Lens Adapted to Shutters tion, “big” cameras are the prefered way edge of uncommon (and sometimes archaic) big cameras and have found new uses for them. • Prototyping and Design Shop with which advanced amateurs and dedi- photographic processes. Equally fearless are • Shutter Repairs and Clear, Lubricate, cated art photographers continue to create those who carry on the proud tradition of build- his issue of MAGNAchrom marks a and Adjustments their art. ing or modifying their own equipment in order major turning point for us. As you may • Lens Board Mountings • 35mm Conversions Equally important, there exists a com- to better produce and discover their inner art. Thave noticed, the format of the maga- mon thread shared by all photographic art- And while it is true that the real artist is zine has now changed to a standard vertical size. www.skgrimes.com tel: 401-762-0857 fax: 401-762-0847 ists worldwide. Specifically, that photog- constantly taking risks, it is equally important This is to better facilitate alternate media deliv- raphers everywhere are baring their souls to realize that no man is an island — we all are ery in the future (such as CD-ROM, print-on- — either deliberately or inadvertantly— building upon and extending the work, experi- demand, and others) as well as make it easier for with their imagery. For some, it takes the ence, and vision of others. advertisers to work with us. We also took the form of literally placing themselves in their Taken together, these are healthy signs that time to listen to you and incorporate some of your artwork. For others, it is the lonely vigil not only is medium and large format photogra- (many) design suggestions. We hope you like of focusing on and uncovering the beauty phy alive and well, but that perhaps that it is ac- our new direction and look forward to providing and joy in this crazy world we live in. Still tually undergoing a quiet revolution worldwide you the best articles on medium and large for- others discover joy in using and restoring as advanced amateurs and dedicated artists push mat photography anywhere in the whole world. older equipment — and producing stun- the bounderies of convention and offer an alter- ning art to boot (see our cover for such an native to the less-than-satisfying “pop” art that J Michael Sullivan example). It is also heartening to know that now permeates our world.

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MAGNACHRO M VOL 1, ISSUEphoto taken 4with BetterLight scanning back on Technikardan 45S in pano mode WWW.MAGNACHROM.CO M CONTRIBUTORS v 1.4

J Michael Sullivan Mike Stacey Leonardo Régnier Christian Holmgaard Robert Kresa Cristina Mian & Marco Frigerio USA. Boston-based J Mi- AUSTRALIA. The land- BRAZIL. I started photogra- DENMARK. Christian Holm- POLAND. In 1991 Mr. ITALY. Cristina Mian (born 1967) and Marco Frigerio (born chael Sullivan has been writ- scape around us is an amaz- phy more than 25 years ago. gaard lives in Aalborg, Den- Kresa worked as a runner in 1966), are a husband and wife team. They work exclusively with ing about scanning, design, ing place. Viewing it in the Since then I have worked lots mark. He is a trained stain- a then newly-founded weekly large format cameras, both 4x5 (10x12 cm) and 8x10 (20x25 and digital photography for hours before dawn or after of different types of equip- less steel blacksmith and magazine, which unfortu- cm). Trained in the fields of poetry and painting they soon nearly 18 years. His first digi- sunset can enable the capture ment and many different studies production engineer- nately did not exist for long discovered photography and it was the beginning of a consum- tal scans were made in 1989 of aspects that normally es- kinds of film. Today almost ing at a local university. He on the market. It was there ing passion. Now they’re totally devoted to this art form. Their using Photoshop v1.0. He is cape us all of my work is B&W film has had some recent profes- that he used a darkroom in works have been exhibited in Italy and Europe, and their pas- the author of one of the first Most images I take are photography, and for this I sional experience with both his free time where he learned sionate images have been published in major national maga- layperson’s book on flatbed the result of numerous trips prefer Ilford films (both Hp- fashion and architectural pho- photography by developing zines. scanning How to Make Your to the same location in order 5 and Delta Pro). When I tography. negatives and making prints Scanner a Great Design & to realize a certain quality of shoot color, I prefer Fuji Su- His passion for pho- of the photos which he took Sandy King Production Tool which was light or form. The image cap- peria 200, or Fuji Astia 100 tography began a few years while running around the ture process using large format published by North Light (chrome). ago while living in Australia. city. USA/MEXICO. Sandy King is a photographer and photo camera gear is a contemplative I used to develop my He was on holiday in north Five years later he start- historian. He has published several scholarly books on Spanish Books in 1994 and reprinted and exacting form of photog- own B&W films with a Queensland in the town ed to take pictures for fe- Pictorialism, including as a second edition two years raphy where a single shot can El impresionismo fotogáfico en España: Durst-equipped darkroom, of Cairns, home of land- male/youth magazines where later in 1996. take 15 minutes to set up the Una historia de la estética y la técnia de la fotografía pictorilaista but these days as I search for scape photographers Peter some of his articles were Formerly a Contributing camera, compose the image on and Schmidt de las Heras: Fotografías 1944-1960. more professional images I Lik, Peter Jarver and Ric J. published. Next, he worked Editor at HOW Magazine, the ground glass, measure the Sandy is also a landscape photographer who works primar- hire someone do it for me. I Steininger. After visiting the for the Polish newspapers, he also has extensive experi- light and finally trip the shut- ily with large format and ultra large format cameras and prints don’t like digital cameras very galleries representing these where he was able to express ence lecturing at MacWorld ter. However the results, when with alternative processes, including carbon, kallitype and Plat- much (at least for B&W - artists he was hooked. When himself creatively for two and The Seybold Seminars everything goes right, are un- inum/Palladium. - for me the result is not the he got back to Melbourne he years. During that period he throughout the 1990s. surpassed by other camera He is the author of a book on carbon printing, The Book of same) nor digital photo ma- purchased a Canon EOS- took pictures of politicians As editor and publisher techniques. Carbon and Carbro, and has conducted numerous workshops in nipulations (truth be told, 5 (35mm film) camera to- and their press conferences, of MAGNAchrom he feels I live in the Blue Moun- the US and abroad on carbon printing. I sometimes try my hand, gether with a Canon 24- street holes that needed fix- nothing rocks more than a tains of New South Wales and but only for fun). As for my 85mm zoom. With this kit ing, concerts and many other BIG camera. Mr. Sullivan has draw much inspiration from Tim Myers equipment, I use three cam- he undertook a motorcycle things that one can see in the been shooting professionally my immediate environment eras: - Rolleiflex TLR, with trip around Australia for 3 pages of any daily magazine. UNITED KINGDOM. Born in the North-West of England with medium and large for- although the images I seek a Xenar lens (75mm, f:3.5) - months of outback riding. He does not remember the in 1973, Tim initially studied chemistry while at university be- mat equipment since the late could be found within any Nikon FE, with a Nikkor MF Unfortunately, the results main reason why he quit that fore deciding on a career in the computer industry. Tim was 1970s and owns a bunch of landscape; coastal, mountain- 50mm f:1.4 - Nikon F80, were not to his liking. job — perhaps because of big cameras. ous or desert. The search for introduced to photography at a young age by his father, and is with a Sigma AF 28-200mm After consulting with laziness, weariness or simply photographic depictions that now devoting more time to his art. Tim is a devoted film shoot- f:3.5 - 5.6, and a Sigma AF various camera gurus he the awareness of lack of sat- cannot be described through er, using both a Bronica SQ-Ai and an Ebony SW45. 17-35mm f:3.5 -- 4.5. learned that the photogra- isfaction from what he was the use of natural language is “I’d like to think my images are inspirational; maybe as an Recently I had two solo phers he admired were using doing at the time. As a result, the motivation for my passion introduction to a landscape as yet unknown, or a reminder of an exhibitions of my photos: medium format 6x17 cam- he changed course and began in photography. area once visited and loved. The use of light to illustrate a strong one in 2002 and other in eras that delivered resolution to take pictures of people and He currently splits his form or shape is very important to me.” 2005 (both in Curitiba where and detail beyond anything things he liked. time between his job as a com- I live). This year I will have he was likely able to purchase. At present, he works for a puting engineer and his pho- another two with the Sve- Being the inventor that he is, press-photo agency, where he tographic projects, which have tosila Group of Contempo- he decided instead to build daily browses through thou- turned towards scenics and rary Photography -- a small his own 6x17 camera which sands of photos. Every day nature, with a special interest group of whom I’m member. he has been using success- he sees the victims of bomb in portraying the vanishing This group is formed of Bul- fully for two years. explosions, prominent people traces of past human activity garian, Brazilian, and Turk- shaking hands, sad and cheer- in rural areas. ish photographers (we are 39 ful events which take place all members all told). These two over the world, and of course, exhibitions will take place lo- Paris Hilton who is primarily cally here in my town as well doing shopping. as in Sofia, Bulgaria.

1.4MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M Submit your work to 4-Square! 4-Square: Tim Myers 4-square is a new, regular article in MAGNAchrom that will feature four medium format, square pho- Four, square, medium-format photographs tographs of one of our registered users. The images must be shot by Tim Myers of The Wirral in Northwest England, one of our registered users. with a medium-format camera and rollfilm and must be square. You can see more of Tim’s work at www.timmyersphoto.com Large format film cropped square will be disqualified.

To be considered, send email to [email protected] with the information shown below. If chosen, you will need to supply four photographs sized to 2250 x 2250 pixels in RGB JPG (high quality) format. Images should not have any borders. FTP information will be supplied to those that win. If you are not chosen, please submit again for the next issue — there is no limit to the number of times you can submit. Winners however must wait one Call for Entries year before submitting again.

We are looking for new talent to showcase in MAGNAchrom. Medium format. Large format. About you:

Custom processes. Tips & techniques. Your vision. Your Name There are many ways to contribute. ______Your MC email There are many ways we can work together. ______Your Website ______Send email to [email protected] For each of four square images:

Title ______Camera ______Rollfilm ______Exposure ______Lens ______Year taken ______Location ______Link to photo ______

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 12 13

4-SQUARE: TIM MYERS Sunrise at the Buchaille Saltburn-by-the-Sea

Camera: Bronica SQ-Ai Camera: Bronica SQ-Ai Lens: 50mm f/3.5 S Lens: 80mm f/2.8 PS Film: Fujichrome Velvia Film: Fujichrome Velvia Location: Buchaille Etive Mor, Rannoch Moor, Scotland Location: Cleveland Coast, North Yorkshire, England Filtration: Lee 0.6 ND Grad Soft Taken: 2004 Taken: 2004

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 14 15

4-SQUARE: TIM MYERS Storm At Sea The Navel Stone

Camera: Bronica SQ-Ai Camera: Bronica SQ-Ai Lens: 150mm f/3.5 S Lens: 110mm f/4.5PS 1:1 Macro Film: Fujichrome Velvia Film: Fujichrome Velvia Location: Meols, North Wirral Coast, England Location: Corrie, Isle Of Arran, Scotland Filtration: Lee 0.9ND Grad inverted - top in line with horizon Filtration: Lee 81A Taken: 2006 Taken: 2005

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M [HOT MODS] MP4 with Technika-style lensboards

olaroid copy cameras are plentiful on the used market today (especially true on eBay). If you do a lot of copying of flat artwork, then it makes great practi- Pcal sense to pick up one of these rugged specialty cameras and put it to use. The only trouble is, the MP4 requires a pro- prietary, round, plastic bayonet-like mount for mounting its lenses and these can be hard to find. Further, the standard available lenses offered are limited to 135mm, 127mm, 105mm, 75mm, 50mm, 35mm, and 17mm Tominon-branded op- tics, which are adequate for Polaroid materials in terms of sharpness, but clearly not the sharpest lenses available. Not only was I looking for sharper lenses in a variety of longer focal lengths, but as I was plan- ning on doing all copy work with a BetterLight digital scanning back, there would be no need for a shutter. As such, I could be free to use pretty much any barrel-mounted lens I wanted — including extra-sharp enlarger-style lenses. So I picked up a bunch of bargain-priced Rodenstock Rodagons off of eBay and hired S.K. Grimes to mount the lenses on Technika-style lens boards. This way, I could also use the same lenses on my Linhof Technikardan (together with the Better- Light scanning back) if I ever so desired. All that was left to do was to modify the front standard of the Polaroid to accept a the technika- style lensboards. As shown in the photo at right, Adam and his team manufactured a custom aluminum adapter and mounted it in place of the Polaroid bayonet mount. The mod was fairly simple to implement and has resulted in a modular copy camera that delivers very sharp scans of artwork, and can continue to use all other Polaroid MP4 accessories. The best of both worlds if you ask me!

16 MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 17 [HOT MODS] Continued The modified Polaroid MP4 camera was mounted onto a custom aluminum arm that itself was mounted onto a motor- Photographers have had ized animation stand from the 1940s. a long tradition of having to invent things to get the job done — everything from having to create their own films and papers to fabricating their own bellows, film holders and even homemade cameras. There is nothing better than taking an old, neglected piece of equipment and repurpos- ing it to do new duty.

1 2 3 4 5 The following Rodenstock enlarging lenses were mounted by S.K. Grimes onto Technika-style boards for this project (shown left to right) 1. Rodenstock Rodagon 150mm 2. Rodenstock Rodagon 180mm 3. Rodenstock Rodagon 210mm 4. Rodenstock Rodagon 240mm 5. Rodenstock Rodagon 300mm

18 MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 19 Up & Coming: Student Work

Continuing our series of important and of thousands of others, but rest assured, they have influential photography schools around shaped the way we live our lives today. With all MAGNAchrom 2007 the world, in this issue of MAGNA- this talent there’s no wonder that, even in this ad size and rates chrom we focus on London and in highly competitive climate, the College continues particular, the student work com- to attract the very best of the best art and design 2/3 Page Vertical ing out of The Royal College of Art. graduates from all over the world. Graduates become leaders in the creative in- 29p6 x 60p (124mm x 254mm) he Royal College of Art is the world’s dustries, an area whose economic rise in the UK only wholly postgraduate univer- has been explosive (with an 8% growth rate, more $600 US sity of art and design, specialising in than double its nearest rival). That 8% also relates for more information, contact: teaching and research and offering to the share the creative industries have in the UK [email protected] Tthe degrees of MA, MPhil and PhD across the economy — employing more than one in 20 of its disciplines of fine art, applied art, design, commu- workers. nications and humani- ties. There are over 900 Graduates of the Royal College of masters and doctoral students Art are at the forefront of Britain’s and more than a hundred pro- creative industries and their impres- fessionals interacting with them sive achievements demonstrate the — including scholars, leading practitioners of art and design standing and respect the Royal Col- and innumerable specialists, lege of Art commands from patrons advisors and distinguished visi- all over the world. tors. A host of past Royal College — Tony Blair, Prime Minister of Art students have gone on to affect our everyday lives, by designing the clothes In London alone, over half a million people are we wear, the exhibitions we visit, the cars we drive employed in the creative industries, contributing and household items we buy. over £21 billion to the London economy. That’s At the heart of this success lies the Royal Col- why the Mayor and the London Development Au- lege of Art, which demonstrates daily that it is at thority have identified the creative industries as a the cutting edge of developments in art, design and priority sector for the capital — they are essential communications. Past students who have become to the success of this very modern economy. household names include: James Dyson, Rid- ley Scott, David Adjaye, Zandra Rhodes, Philip A Collaborative Approach Treacy, Tracey Emin, Thomas Heatherwick and Structured into six schools, the Royal College of David Hockney. We might not know the names Art undertakes a wide range of postgraduate ac- MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 21 ROYAL COLLEGE of ART

tivities: from painting to product design, from ar- Royal College of Art chitecture to curating, from ceramics to graphics. Kensington Gore London SW7 2EU Currently they operate 20 postgraduate courses. The consistently high standard and originality of the RCA graduate’s work is the product of a diverse and concentrated community with the common denominators of talent, individuality, deter- mination to break new ground and enthusiasm for working alongside equally committed contem- poraries in other disciplines. Established in 1968, the Photography De- partment at the RCA is led by Professor Olivier Richon and currently has 39 Masters and 9 research students. The department aims to provide a critical and he following ten pages illustrate the work of educational environment in which students can five students currently develop as artists with photography at the core enrolled at The Royal of their practice. The photographic practices that TCollege of Art. In keeping with the target audience of MAGNAchrom, the students bring to the department range from all images were taken with either studio-based constructed images to documentary medium or large format equipment. interpretations of our cultural and social envi- We think you will agree that these are young artists to keep our eyes ronment. The students’ work is therefore diverse open for in the future. and linked by an interest in questions of meaning, spectatorship and representation. Alumni of the course include: Tom Hunter, Boyd Webb, Calum Colvin, Yve Lomax, Alison Jackson, Bob Carlos Clarke and Peter Kennard. The Royal College of Art has been achieving these aims through the quality of its teaching and research and through its successful collaboration with industry for over 150 years. For further information about the RCA and how to apply to study visit www.rca.ac.uk. To view further work by the Photography students visit www.rca-photography.org. The RCA Photography students annual degree show will be open to the public from 15-28 June, free admission.

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 23 ROYALROEL PAREDAENS COLLEGE, BELGIUM of ART

One of a series One of a series Human scapes: Around the corner: Created in 2004-2005 Created in 2005-2006 None of my pictures have a title None of my pictures have a title

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 25 ROYALPATRICIA CHAN COLLEGE, IRELAND of ART

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 27 ROYALMARCO BOHR COLLEGE, GERMANY of ART

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 29 ROYALANNALISA SONZOGNI COLLEGE, ITALY of ART

y project is about landscape and perception and of the intrinsic sense of places and Series of 7 photographs: Stereo Type C prints, 70 x 90 cm the urban nocturnal view, which individual human stories. 2005 has been a focal point of my in- Photography selects and reinterprets the ur- terests since my early works. The ban landscape, taking on emotion, conveying a Mnocturnal view of the city is a moment of deep sort of metaphysical image of places, outside time intimacy. and space. Modern and historical architecture, buildings, My work is not about a traditional description dark windows, empty streets, lowered blinds turn of landscapes, but is intended to be an interior vi- into an image, at night, that is different from the sion of places. one we usually associate with a given place. The absence of chaotic traffic and human presence, except the intimate, discreet presence of the few lights that are still on, cause a heightening of

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 31 ROYALGERD HASLER COLLEGE, A U S T R I A of ART

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 33 34 35

Shen-Hao[REVIEW] HZX 45IIA

n a world full of expensive large format the HZX is very fast setup -- as a test I was able equipment it can be shocking to see just to pull it out of a backpack, unfold it, attached how good the so-called, low-end of the it to a tripod, attach a lens, and focus to infinity spectrum is. One such camera is the in well under a minute. Not too shabby. IShen-Hao HZX 45II from China. The camera is clearly designed to easily ac- Some people have called the Shen-Hao a comodate lenses from 75mm to 300mm while “poor man’s” Ebony — and there is some truth providing generous movements without requir- to that. Where the Ebony uses ebony and Tita- ing one to jump through hoops to make it all nium the Shen-Hao uses teak and brass/stain- work. That being said, because the rear stan- less steel. However, the Shen-Hao is far from an dard can be moved forward (unlike most tech- entry-level camera. With abundant movements nical cameras) you can certainly add a 58mm even the most qualified professional will find and likely 47mm long as you have a proper that this camera offers few compromises. In the recessed lensboard. With such short lenses, hands of a seasoned user, this camera can pretty movements will be minimal but you won’t have much do anything that any other field camera to worry about dropping the front to clear the can do, and then some. field of view. Likewise, if you have a telephoto- It has been written elsewhere that a limita- style lens, this will allow you to use a 360mm tion of the HZX is that it offers only 12” of bel- lens without a problem even with just 12” of lows draw. However, as shown on the following bellows draw. A 500mm telephoto “can” be used pages, if you own the right lenses and acces- if you have it mounted onto a lensboard exten- sories, you can actually use lenses from 58mm sion tube (as shown later in the review). Of through 500mm — which if you think of it, is course, it is all academic: if the goal is to have an incredible capability in a wooden field cam- the lightest field system possible, you certainly era. Even with this limitation, this still remains would want to limit the number of lenses a serious 4x5 field camera. WHile not the light- in your pack. I suspect that most people est, nor the most rigid, Shen-Hao as chosen a will use this camera with a two or three middle ground that most people will find nearly lens system such as: 75mm + 120mm + optimal — namely a reasonably light camera 210mm which would give you not only a with reasonably rigid performance and plenty of lightweight package, but the ability to capture movements. Perhaps one of the best features of pretty much anything while out in the field.

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 36 37 The back accepts both Graflok an a 500mm lens be used with the Shen- and normal 4x5 sheet film hold- Hao? The answer is a qualified yes, as- 75mm suming that you own a Nikkor 500 T lens ers including Fidelity, Polaroid, Rodenstock Grandagon N C (or other equivalent telephoto-style lens) to- Fuji QuickLoad, Kodak Ready- with recessed lensboard gether with an extension tube. Set up in this Note: offers about 10mm Load, and BetterLight backs. The rise/fall with the standard standard gridded groundglass is bellows, approx 25mm with the optional bag bellows quite good and works very well with most lenses — however, you might want to consider a fresnel if you primarily use wide-angle lenses. There are marks on the groundglass for 6x7, 6x8, and 6x12 formats. The groundglass 120mm frame (which is made of teak Schneider Super Symmar HM Note: with the bellows exten- wood) is attached to the body sion available, this lens is with two leaf springs. These of- 1:1 macro capable fer adequate tension to hold all standard holders. Releasing the groundglass is also simple: two manner, with default extensions, the Shen-Hao pins hold the groundglass frame can just focus at infinity. However, with the rear extended as shown below, you can actually fo- to the leaf springs and are easily cus as close as 12 meters (approx 36 ft). Truth disengaged to allow attachment be told, things are a bit shaky with this setup of Graflok accessories such as roll- (note the deflection in the bed extension shown in the photos), but with proper damping and film backs. The Graflok slides are 210mm Rodenstock Sironar N a strong tripod, you should be able to capture simple and glide easily. The only lovely telephoto images with this camera. think not obvious to me was how to protect the groundglass during transport. Without the optional folding viewing hood to protect the groundglass you will have to fashion your own sort of protec- tion if you do not own one. Not sure what I would do in this case — perhaps I would fashion a piece 360mm of foamcore to fit snuggly in the Nikkor 360 T ED groundglass well. Of course, this (telephoto lens) is a common problem endemic to all view cameras. There is nothing worse than traveling far and wide for your photography only to dis- 500mm CONTINUED ON PAGE 40 Nikkor 500 T ED with extension tube

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 38 39 Likes Shen-Hao HZX 45IIA Specifications  Lightweight and very portable  Good looking with plenty of handsome details Front Movements Shen-Hao Accessories Rise 37mm  Bag bellows  Well made and easy to use Fall 32mm  Roll film holder  Generous movements with acceptible rigidity  Folding viewing hood Total Rise + Fall 69mm  Inexpensive, offering eceptional value  Reflex viewer Shift none  Comfortable leather strap  Compendium shade Swing 17°  Mamiya RB film adapter  Rear standard can move forward enabling wide angle lenses Base Tilt 90° forwards, 40° backwards  Recessed lensboard  Film back easily re-oriented from vertical to horizontal Axis Tilt (not obvious) 90° forwards, 90° backwards  Standard synthetic bellows may be all you ever need. Optional wide-angle bag bellows Rear Movements Available from Rise 45mm ShenHao Professional Cameras www.shen-hao.com Dislikes Fall none Shanghai, China  No bubble levels on front standard or base Total Rise + Fall 45mm Badger Graphic Sales  No front swing detents Shift 45mm www.badgergraphic.com  Some sloppiness while adjusting rear shift and swing Swing 20° Wisconsin USA  Base Tilt 90° forwards, 40° backwards Robert White No accessory shoe www.robertwhite.co.uk  Front axis tilt not as rigid (nor easy to use) as other movements Axis Tilt 10° forwards, 10° backwards Dorset, UK  Some sagging at full extension Foto-Arte Other www.foto-arte.co.uk Weight 2200g London, UK ow. I wasn’t sure what to expect when I was sent Dimensions (closed) 170 x 170 x 95 mm the Shen-Hao. I feared that I had been spoiled by Material Teak + black-coated brass my lifelong use of Linhof equipment and that I + stainless steel rear base would be too critical of “the new kid on the block”. Lensboard type Technika-style 96mm x 99mm WInstead I found that I instantly liked the camera and found it intui- Maximum Extension 360mm tive and easy to use. In short, I don’t think anyone can go wrong purchasing a Shen-Hao HZX — it is a great large format field camera. Minimum Extension 50mm In fact, I’m seriously considering picking one up for myself! Back Compatibility Graflok & traditional film holders

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 40 SHEN-HAO HZX REVIEW (CONTINUED)

cover a broken groundglass once you get there. PHOTOGRAPHIC WORKSHOPS 2007 What I really like is the overall simplicity of the camera. There are three types of controls: knobs orkshop list- USA EUROPE that lock the rise/fall and base tilts of both the front ings are free to Complete Photographic  Dealing with the sitter’s Ireland: Mayo and Donegal and rear standards, Knobs also control the focus. A individual art- Process for Black and White: discomfort September 22 to October2, set of four levers enable the front base swings and ists and men- from the camera to the fine  Helping sitters to pose 2007 front standard lock. And finally, the rear shift and Wtors. To be included in this or print. May 13-18 2007 qnd naturally Contact Lance Keimig: Sep 30 - Oct 5, 2007. Contact [email protected]  Dealing with one’s own swings are controlled by a single lever. With a few any future issue of MAGNA- Bruce Barnbaum: www.barn- nervousness This year, my Ireland photo minutes orientation, all controls can be understood baum.com chrom, send email to editor@ tour will include 3 days and even to the novice user.  Learning to read and use magnachrom.com and we’ll be Jackson Hole Wyoming, non-verbal communication nights in County Donegal, as All told, here is a camera that you can place an sure to place your announce- expressive B/W photography to enhance the portrait well as a week in County Mayo. order online and when it arrives, simply attach your ment in the very next issue. from the field to the finished process This trip will provide opportu- photograph, integrating pho- nities for both day and night  Developing and honing a favorite lenses mounted to Technika-style lens- Note: announcements of work- tographic intuition, expressive photography (the full moon sense of timing with the forms, spectacular field sites, occurs on September 26). boards and head out to the great ourdoors with the shops for full-time schools and shutter knowledge that you have a large format compan- other professional institutions and hands-on printing to en- September is one of the best hance all the skills and tech-  Learning to assess and use times to travel to Ireland, the ion with few compromises. Clearly the Shen-Hao are not free but can be inserted niques required to produce natural lighting summer crowds are gone, and HZX represents one of the best values on the mar- for a fee. fine B/W photographs. August  Methodically building a the weather is usually some ket today. Given that MAGNAchrom 23-27, 2007. Contact Jackson pleasing composition of the best of the year. Please Hole Art Association: www.ar- join me on this exciting adven- Setting up the camera is simple: unlatch the  Making the sitting into a is a journal that is dedicated to tassociation.org collaboration ture to the North and West of main latch, open up the back, then raise the front Ireland. $2795US medium and large format pho- Shore Acres, the “Point Lobos  Choosing the sitter’s ap- standard, followed by sliding the front standard to tography, we will give preference of Oregon” and the Oregon propriate clothing A Photographic and Cul- the front, lock it, then attach your lens, and focus. to those workshops that actively Coast provide the field loca-  Posing groups tural Adventure to Skye That’s it. To close up the camera, you need to un- tions for this workshop by Don This workshop will include and Orkney encourage students to use medi- Kirby and Stu Levy. Sep 7-11, June 23 to July 5, 2007 lock all latches and knobs first, then push the front readings, lively discussion, um and/or large format equip- 2007. $550US. Contact Don at camera work and an on-loca- Contact Lance Keimig: standard all the way to the back, drop the front to ment. To the extent that you don@donkirbyphotography. tion demonstration of an en- [email protected] com the base, followed by the rear. Finally snap the latch can mention that in your listing vironmental portrait using Po- Highlights: Photograph and and tighten all exposed knobs (be sure to do the will assist us and our readers The Photographic Portrait laroid materials, during which explore the diverse landscape With Martha Casanave Casanave and participants will of the Isle of Skye. Endless latter as otherwise the camera might come apart greatly. methodically design a portrait summer evenings on Orkney, June 22-24 2007 Tuition during transportation). from scratch. with it’s perpetual twilight and $225US plus $20US lab fee megalithic sites. Accommoda- To round out the family, Shen-Hao also offers Open to 10 students Visit Mart’s website at www.marthacasanave.com tions on Skye in a mountain other view cameras with similar features in 5x7, Who would dispute the state- lodge and a Victorian manor 8x10 and 4x10 formats. Given the cost of the HZX ment that having your picture house on Orkney. Excellent is under $700 US from Badger Graphic Sales, it is taken is an unnatural act? This Scottish meals and local sea- workshop works with, through food. Maximum of 12 partici- no wonder that many people are purchasing this and around this reality rather pants. $2595US camera as a second camera to compliment their in- than trying to deny it. The vestment in other brands of heavier, more expensive goals of this practical, nuts and bolts workshop are to as- bodies. However, there would be nothing wrong at sist participants in: all if one were to make this their primary camera!

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M CENTERFOLD

y immediate environment is the taken with my Horseman 4x5, 6x17 back and SUBMIT YOUR WORK TO CENTERFOLD! Blue Mountains, 100km West of Nikkor 90mm lens. It’s a small waterfall inside a Centerfold is a new, regular feature If chosen, you will need to supply a About you: of MAGNAchrom that will showcase single image sized fit inside the fol- Your Name ______Sydney. Once a 3000m plateau, deep canyon and is definitely a favourite spot, as one panoramic photograph printed lowing pixel box: 5250 wide x 2625 Your MC email ______the Blue Mountains have been are all the other slot canyons to be found through- large, in a double-wide spread. You tall pixels in RGB JPG (high quality) Your Website ______must be a registered user of MAG- format. Images should not have any Describe your panorama: Mheavily weathered by wind and water. Deep valleys, out the Blue Mountains. The cyan water colour is NAchrom as well as a member of borders. Title ______www.panorama-gallery.com. rock pagodas, ancient tree ferns, temperate rain for- a feature of these canyons as is the highly polished FTP information will be supplied to Camera ______ests, slot canyons and sandstone pinnacles are the burgundy sandstone; a result of centuries of con- To be considered, send an email those that win. If you are not cho- Film or back ______to [email protected] with sen, please submit again for the next Exposure ______main attractions. It’s an ancient land and this “pri- tinous water action. the information at right, and a para- issue — there is no limit to the num- Lens ______graph (or two) describing the photo- ber of times you can submit. Winners Year taken ______mal” aspect is one I like to try and capture. Mike Stacey graph, technique, and/or your artistic however must wait one year before Location ______The photo shown here, “Pool of Gems”, was www.mikestacey.com vision. submitting again. Link to photo ______

42 MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 43 45 Continuing last issue’s in-depth article Photographers’ on carbon printing by Sandy King, here Formulary we present seven of his works produced Do you ever feel like your using the techniques mentioned in the printing blind? article. All prints shown here were pho- 19th Century Workshops Summer 2007 tographed in the contrasty, dry light of For all your fine art Mexico and Spain. photographic chemistry and alternative processes.

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1-800-922-5255 Gallery Interior Oaxaca City, Mexico, 2005 12”x17” carbon print

SANDY KING: CARBON PRINTS CARBON KING: SANDY 5X7 negative

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 46 47

View of Cuenca Cuenca, Spain, 2006 SANDY KING: CARBON PRINTS 7”x17” carbon print Original: 7”x17” carbo print

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MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 48 49 5X7 negative 5X7 negative 12”x17” carbon print 12”x17” carbon pring Oaxaca City, Mexico, 2005 Mexico, Oaxaca City, 2005 Mexico, Oaxaca City, House of Cortes Museum Interor

SANDY KING: CARBON PRINTS MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M

50 51 5x7 negative 5X7” negative 12”x17” carbon print 12”x17” carbon print Oaxaca City, Mexico, 2005 Mexico, Oaxaca City, Oaxaca City, Mexico, 2006 Mexico, Oaxaca City, Chapel at the Camino Real Rejas

5X7 negative 12”x17” carbon print Near Oaxaca City, Mexico, 2004 Mexico, Near Oaxaca City,

MC Cuilapan de Guerrero SANDY KING: CARBON PRINTS MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M A Homebrew 6x17 Camera

By Christian Holmgaard

During development of my custom 6x17 camera I studied the old folding cameras of the 1920s from Agfa and Kodak which were basically nothing more than a simple roll film back with a bellows and lens. Of course, there were no electronics involved either — just a lens with built-in shutter and a lever to wind the film, so simple! This simplicity formed the basis of my design so I sat down did some calculations to get the dimensions right and started drawing. I knew I wanted the 6x17 format and that I also wanted a camera that could take a beating. Stainless steel was chosen over aluminium or regular steel because I didn’t want to paint the camera and I wanted to use it in the field under every possible weather condition. I also wanted to be able to lug it around without worrying about it — just chuck it in a bag and hit the road. In hindsight, this was a fortuitous decision as I have not had a problem using it for more than two years now. The camera has received doses of saltwater spray, it has been dropped on rocks, and generally abused in the various ways photographers invent. Such a reliable camera has been my constant companion whenever and wherever I travel. In the workshop I first cut the pieces I needed out from sheet metal with a laser cutter. I then used a bench press to bend in all the edges to get the basic box shape. The individual pieces were carefully welded together (good thing I knew what I was doing!). I found a couple of stainless steel latches from a cabinet we made at the workshop to serve as the locking mechanism for the back. A milling machine was used to make the front standard and the focusing rail. Camerabellows.com made the bellows for me after I had given up attempting to make one my self (it’s a lot harder to make one than one would think). The bellows was glued onto the camera with epoxy. To finish the back I added a piece of high density foam and on top of that a piece of cardboard was attached to apply a bit of pressure to keep the film flat. Experimenting with finding the right thickness of foam took some time and ruined a lot of film but eventually I figured it out.

52 WWW.MAGNACHROM.CO M MAGNACHRO M VOL 1, ISSUE 4 53 A Homebrew 6x17 Camera (continued) When I first mounted the back it wasn’t lens and try it out. and have enjoyed many hours using it. All told, light tight so I added an extra frame around When I first got it out in the field the learn- I find it to be a comfortable and very reliable the housing by welding on a 20mm wide by 1mm ing curve was steep. My only previous medium camera. It has been used with varying degrees thick slice of stainless steel for the back to sit format experience — besides trying out the of success. Most of the problems I have had in. This took a bit of hammering to get a tight antique Agfa — was with a Bronica 645 which can be attributed to operator error but in the fit. I had for 6 months, so it took a bit of trial and end it has forced me to slow down and take The film winder came from one of the afore- error to obtain good results with my new inven- more care. As a result I have also become more mentioned 1920 cameras. All I did was take it tion. consistent with producing good shots. The out, measure it carefully, and drill a hole of the I was also interested in trying some other camera can be hard to use with the 150mm appropriate size in the housing. I installed the focal lengths so I made an extension rail for and 210mm lenses as camera vibration is a winder with a bit of epoxy instead of screws. longer lenses. It is similar to the standard rail problem. With such long lenses a tripod under The same procedure was used to mount the and bolts underneath. Since the camera uses the rail helps immeasurably. If I were to do it accessory shoe. a bellows, adapting to these longer lenses was again I would definitely stiffen the rail system For a finder, I found a Richo GR 21mm find- easy. The retractable bellows is also a great considerably. er (from a 35mm camera) that matches my feature for travel especially compared to Fuji While this camera is nowhere near the qual- 90mm Schneider Super Angulon almost per- and Linhof designs where each lens is mounted ity of a Linhof or Fuji, it is capable of deliver- fectly. I also added a ground glass for critical to a bulky (and expensive) lens cone. ing great shots. For a first attempt I am very focus. All there was left to do was to add a I finished the camera about two years ago pleased with it.

54 MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 55 [INTERVIEW] Robert Kresa

Robert Kresa lives in photography schools. All my Warsaw Poland. At 23 knowledge I have gained ob- years old he is a consum- serving other photographers, mate romantic, choosing studying photos and reading to see a peaceful world books. In 1991 I was a runner through sensitive eyes, for a weekly magazine, similar to with a talent for captur- the current Time Magazine. In ing the ordinary lives of my free time I used to visit the people never far from a photo section, where I spoke to touch of the ironic. This photo reporters and spend time interview took place over in the darkroom. several weeks via email. MC: Who has inspired you the most when it comes to influ- MAGNAchrom: How old were encing your photography? (it you when you first picked up a doesn’t have to be another pho- camera? What camera was it? tographer, it could be a painter Robert Kresa: The first cam- for example) era- the Russian SMIENA- was RK: I adore street photography bought by me in 1983. Next — Magnum, Henri Cartier- year, I purchased Lubitel 6x6 Bresson, Elliott Erwitt, Rob- TLR. At that time, Poland was ert Doisneau, Alfred Stieglitz, undergoing happy socialism, as Weegee — these are in the a consequence any better equip- scope of my interest. The last ment, especially for a child, one I adore particularly for his wasn’t taken into consideration. uncommon devotion. Jeanloup Anyway, none of the camer- Sieff for all pictures that have as served me for a long time. nothing in common with fash- Within a year, out of childhood ion. Helmut Newton for the curiosity, I dismantled them. In fact that he took pictures of 1991 I bought a Russian ZE- women outside a studio. Lately, NIT and ever since then I have I have been enchanted with the been dealing with photography fisherman’s life that was Frank seriously. Meadow Sutcliffe’s pictures. Neil Folberg’s “Celestial Nights” MC: Have you ever taken any were genuinely breathtaking to formal photography classes or me. I admire the uncommon schooling? Ken Kelsch’s pictures from ‘The RK: I have never attended any Addiction’ by Abel Ferrara mov-

56 MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 57 ie, I regard Rembrandt Van Rijn as the first photo MC: Is anyone in your family artistic? and having spat on the table stated that the real The photo, not its description. I cannot imagine reporter in the history of photography, while I ad- RK: No, I am the only one. photography was only that on a glass plate. After one could do something like that at will. However, mire Van Gogh for the color and passion that is the meeting with Cartier-Bresson Polish photo re- responding to your question it wouldn’t be good rare nowadays. I adore Leonardo DaVinci for the MC: I am a big fan of Eastern European graphic porters started to mass purchase the Russian copy manners not to mention two galleries. In “Yours man in the square. design and writing. I find it stimulating intellec- of Leica, the Zorka. That was the inspiration! Gallery” there are often exhibitions of foreign au- tually, graphically powerful, with subtle political thors, some of whom are quite popular. Some time MC: Do you approach photography formally? overtones — think of the great posters coming MC: You’ve mentioned some favorites who have in- ago, one could see the photos of the previously (meaning, you set defined goals for yourself or out of Warsaw and Prague. Do you feel that the spired you. What about the state of photography mentioned Elliott Erwitt. Polish photographers are your project) or informally? (meaning you just go state of photography in Eastern Europe is simi- in Poland — does there exist a viable community also presented there. Nevertheless, to have a solo out and find things that inspire you) larly intellectual and subtly political? of galleries, buyers, organizations, and media that exhibition there is extremely difficult. For many RK: I don’t like arranging photos. What I care RK: You are right. During Polish socialism you support and promote photography as art? Are there years there existed a gallery near The Polish Artists about most is catching the moments of life which were not allowed to say certain things outright. any “super star” photographers working in Poland Photographers Association, which often presented in specific way attracted my attention. I mean The authors were forced to use associations and right now? Who is collectible these days? its members’ works of art. Just nearby, in the same the interesting moments. However, it isn’t always understatements. It was very visible in the con- RK: I admit that I stay a little bit to the side. I am neighborhood there is its younger sister in which necessary. I appreciate photography concerning temporary science fiction literature. Strangely, all somewhat of a photographic loner, so I don’t know young authors can make suggestions of their po- people. What fascinates and frightens me at the described alien worlds very often resembled in whether I will be able to answer your question fully. tential exhibitions. Moreover, from time to time in same time in case of human photography is time their social organizations gloomy, everyday real- So far I have focused purely on photography, total- lesser galleries and pubs, none of which are neces- passing by. In this particular sort of photography ity. As a consequence, it could be visible in visual ly neglecting the promotion of myself. It has always sarily photographically-oriented, there sometimes it is visible how fragile we are and how little we works of art. A tiny anecdote. In his book, a Pol- seemed to me that you should first have a solid body appear interesting photos. Each year, the photogra- mean as individuals. From the technical side, I like ish photo reporter Jan Kosidowski is describing of work in order to be able to show it to people. As phy auctions are organized and I have the impres- when a picture functions in a separate frame. I am the moment when Henri Cartier-Bresson arrived you know, taking a photo of yet another flower and sion that they are getting more and more popular. intrigued when one particular photo contains cer- in Poland. He met the local photographers at the artificially giving it the whole artistic meaning is to- However, the most expensive photos that have tain history. When it is visible that this is the very cafe and was showing his new toy — a little, dis- tally not for me. It seems to me that there must to been sold so far are Witkacy’s work dating back to moment, when everything before and after stays crete rangefinder Leica. The whole situation was be something going on in a photo. Something that the pre-war period. The situation for contemporary in the sphere of our speculations. Just like in case being observed by an elderly man sitting beside attracts attention, and which causes that a particu- works of art is a little bit worse. of Rembrandt. them. Suddenly, he approached the interlocutors lar picture to stay in our memory for a long time.

58 MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 59 MC: Do you ever shoot color? RK: In case of scanned photos for a computer — those whose des- RK: I use color very rarely. It happens in summer, when it is so tiny is a website — I use Photoshop. However, I always try to limit hot outside that it is difficult to develop film — the lowest water myself to manipulations that I can repeat classically under an en- temperature in the darkroom being 26 degrees. So in the summer larger. I don’t do any inkjet prints. And pictures for enlargement to months I shoot Fuji, both chrome and color negative. be hung on a wall are generated in the traditional darkroom.

MC: There is no question that here in the USA purchasing film and MC: You seem to be moving away from heavy equipment towards processing it commercially is becoming more difficult as more and a lighter camera bag. Presumably, this gives you more freedom to more people switch over to digital. What is the state of film purchas- “capture the moment”. What camera equipment do you shoot with ing and film processing like in Poland these days? Is it getting harder these days? and harder to buy film and have it pro- RK: For six years, I had been using cessed? a Hasselblad system. This camera, RK: I am not very familiar with the together with three lenses of 50, 80, amateur photography situation. So 150mm, an extender and additional far, I haven’t had any special prob- magazines fits in a thin Domke bag. lems with purchasing negative film or Lately, having grown tired of lugging photographic papers. Obviously, not that heavy system, with the intention at every corner of the street, but in a of taking street photos I have bought a handful of bigger shops which special- Mamiya 6 rangefinder without which ize in photography. Of course, I have I never leave home. I have been trying no opportunity to buy things that are to find an 8x10 field camera in Poland. no longer produced any more. For in- So far, in vain. stance, the magnificent Agfa APX25, Ilford SFX or the Time Zero to Pola- MC: Do you ever imagine yourself ob- roid SX-70. taining a digital back for your medium format cameras? If so, do you think MC: Do you do your own darkroom you will continue to shoot film once work? If so, what is your setup like? you go digital? And do you have any special tech- RK: From the financial point of view, niques? it doesn’t make any sense. I don’t take RK: “Darkroom” is too big word for photos professionally and I don’t earn my quick adaptation of a bathroom, a living from that. As a consequence, which means locating the enlarger on the cost would be frightening. Anoth- a washing machine. I dream of my own place with air conditioning er thing is that I hate with regards to digital photography — and where there could always be the temperature of 20 degrees C. The I don’t mean here picture quality — what disturbs me is the de- techniques — classical silver negative and infrequently fibre-based pendence on a computer and the lack of physical materials. Tak- prints. Since I have acquired a scanner I have been doing less printing care of registration, constant copying of the files from the CD ing and I haven’t been using a plastic paper at all. to DVD with the intention of safeguarding oneself against future CD/DVD damage. In the case of analog photography, I can reach MC: Do you manipulate your negatives much? (Either with exten- for the forgotten negative dating back to 20 years ago and without sive burning/dodging or alternate printing techniques or even Pho- any problem make a new print or scan. Moreover, because of the toshop manipulation) success of digital photography many interesting (and admired by

60 MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 61 me) traditional photographic materials are disap- magical techniques can have a positive influence rent professional-level equipment? RK: I don’t know if you can call it holidays. All my pearing from the market. As a result, I am going on overall quality. What we have is very fast cam- RK: No, there is no such a thing in Poland. From free time I spend making photos. Last year I spent to continue to use black and white negatives until eras enabling us make hundreds of pictures, but time to time some companies — lately Sigma time on the Polish seashore. I haven’t decided yet, the last piece available on a store shelf. in the end few of them compare favorably with — have tried to promote themselves in this way, but this year I’d like to visit Amsterdam or Lis- classic photographs. All the endless changes you but who wants Sigma? A few years ago there was bon. It depends on my free time. MC: You make an excellent point, especially with can make in Photoshop — so much of it is only an excellent photo secondhand store in a cellar regards to total cost of ownership. I think right an artificial art. In my opinion, the best times for — http://keek.ovh.org/FTF03.html . One could MC: Do you like to travel by yourself? If in the now, today, unless you are a full-time profes- photographers are gone, and the upcoming years talk there about photography and see the equip- company of a friend, how do they deal with your sional, there is probably no rational justification will be best for photo manufacturers. I should ment in person. All the customers the owner knew focus on photography? for an art photographer to purchase any profes- have been born in the thirties in New York. I very well (happily that included me). So he would RK: It’s difficult to focus on making great pho- sional-level digital equipment from the point of would have seen Miles Davis and Charlie Parker, lend me stuff for the weekends. Unfortunately this tographs with a group of people. For nearby sur- view of “return on investment”. The fact is, most wandered with beatnics in smoky clubs, tried to place no longer exists and buying LF equipment is roundings I typically go alone or with my friend, art photographers do not produce enough unique, save the world with hippies in San Francisco and almost impossible. who mostly does landscapes on slides. As I take hand-made images per year to justify the extreme wore glamorous shirts driving around the city in black and white photographs and look for differ- investment needed. Fortunately, the cost of “tradi- my black Hemi. My impression is that everything MC: What art journals do you read? ent subjects, we don’t disturb each other. For lon- tional” large format and medium format cameras that is worth it in art and culture is long behind RK: I used to buy a B&W magazine. Nowadays I ger trips I take my wife, who is a very patient per- are dropping as professionals get rid of their old us. Or, maybe I’m just getting old? read books and watch albums. son and bears my long stops for taking one shoot analog equipment with stoicism and even helps me carry the tripod. RK: In my opinion, there is no way, that such new MC: Are there firms nearby from which you can MC: Where do you like to travel on holiday?

62 MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 63 MC: What countries would you like to visit (for tography first came onto the art scene, painters their photographic opportunities)? were stuck doing “realism” ad nauseam. With the RK: I’m not interested in exotic regions. Nor the introduction of photography, suddenly there was places where bombs blow — that’s for big photo no reason to do realism any more since the cam- agencies. I like peaceful places. I’d love to explore era could do it “better”. Everyone up and down old America — this from Steinbeck, Faulkner or the art spectrum complained of course, but be- Chandler books. To find images like from Edward hind the scenes a quiet revolution was brewing: Hopper’s paintings. To travel in a freight train the Impressionists, influenced by the pointillistic without a ticket. technology used in photo-lithography were about to burst upon the scene, and painting was never Or to take pictures of the south island of New the same again. Could we be at such a crossroads Zealand. I’m also interested in Japan — the streets today? of Tokyo or other big cities. I have hundreds of RK: Maybe. However, as far as I’m considered I ideas. But time is a problem. When I earn money can’t see any new direction, which would come into I have no time for travels, or I have time but don’t existence by developing and mixing techniques. have money. Another problem is that I’m afraid of Photoshop has made very pretty pictures appear, flying, so getting somewhere far takes more time. but they always remind me of Wojciech Siudmak, I wonder why nobody has followed Phileas Fogg’s Boris Vallejo or even Salvador Dali paintings. Or entire route with a camera yet — the idea is quite Ryszard Horowitz works. Of course it can be I’m interesting to me. not looking good enough.

MC: Where do you see yourself five years in the MC: Do you ever imagine yourself doing other future? kind of art like film or video or combining your RK: A restaurant by the road (Route 66 could be, photography with other media? however I’ve heard it no longer exists — today there is only a modern highway). Sun is shining, RK: I don’t want to mix photography with other I’m eating breakfast, my camera is on the table. media. I like it pure. The only possibility I can Jeep waiting outside. I’m bending over a map think of is music during slideshows, or combining thinking where to go further. I’m not in a hurry. with written word, not necessary documentary. A Nowhere. short story referencing to the picture could be. A movie? Yes. That’s quite intriguing idea. I thought MC: Have you ever considered publishing your about it many times. Perhaps if I meet some en- work in a book? thusiastic people interested in this form of art. RK: I admit you have made a point. That’s my photographic dream. As an aside, at the beginning MC: Does photography represent for you a ro- of the eighties my father’s brother-in-law gave him mantic vision of the world? Do you consider your- a Camus cognac. I remember it being kept closed self romantic? in a cupboard all my childhood. A few years ago MC: If the best is behind us, then why continue to still climb Mount Everest even though it has been RK: I don’t know if one can call it being roman- my parents gave it to me. So, when I publish my shoot? Are you saying that there is nothing new to done many times before. tic. In photography I simply look for something own big format album with something interesting explore? Or are you just being nostalgic for a past you can’t find in today’s television: Peace. A quiet to read, maybe. Then I’ll drink the Camus with that can never be again? MC: Perhaps this era is the beginning of a new meeting with one man, not yelling crowds. That’s my friends and publisher. RK: Yes I’m nostalgic. But You know — people path for photographers. Consider this: when pho- why, as I mentioned before, I’m not interested in

64 MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 65 news photography taken in dangerous areas of the world. To turn the TV on from time to time is enough for me.

MC:66 Can one escape into photography the way one can with a novel? How does the photographer We Y BIG! accomplish that in just one photo? Or must it be with a body of work? RK: In most cases, as time goes by, you can remember only a singular picture. You know, the gun against the Vietnam head... Of course I’m not saying I don’t like a good reportage, but one extraordi- nary photograph always speaks to me better.

MC: What are some of your favorite photographs. — can you tell us a little about them? RK: Here are a few of them (see page at right). Of Fav #1. A lazy afternoon in a small town. No- Fav #2. I simply can’t believe I made such a course these merely represent my own subjective body hurries anywhere. A woman in the win- picture in Warsaw as recently as 2003 and not opinion. dow glancing at her neighbor in the distance. fifty years ago. A woman hiding under her cap, but letting me It is a difficult task for me I admit, as I have a take the picture. Only the dog is looking at me problem talking about my pictures. That’s why I with any interest — it reminds me of a train. don’t think an author should talk about his work, explain what he wanted to say, or what was his message. Photography is to be viewed and not to be talked about, isn’t it? This what it gives the The Alternative viewer more possibilities to interpret. MC: Well, your photos do indeed speak for them- Journal of Medium selves, but having chatted with you, I am even more impressed with your body of work. For those of and Large Format you who wish to see more of Robert’s work, please visit his website at http://keek.ovh.org/. Photography

Fav #3. Do you remember Macbeth? I also Fav #4. A long nocturnal exposure of five min- have something referencing Romeo & Juliet. If I utes and I’m not in any hurry. MC ever make Hamlet I’ll be happy.

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 67 [TOOLKIT] Robert Kresa’s Equipment

Sonnar 150/4 CF Hasselblad 501c with 80mm f2.8 Planar

120 Rollfilm back

Komura 2x Extender Opton Di 50/4 CT* (Distagon)

Sekonic L-508 Domke J-803 Bag

68 MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 69 hat fun to study Sinar cameras Hasselblad 50* series the statistics of our MAIL ORDER readers! We had aW suspicion that certain 16.5% 21.1% models of cameras would Visit our website...... naturally be the most pop- www.badgergraphic.com ular, but seeing the data Linhof Technika series Rolleiflex TLR series provided some real insight into both what our reader’s own and use, and the data 11.4% 16.3% also provides insight into the industry at large. Lee Filter Speed Graphic cameras Mamiya 645 series Sadly we also discovered Linhof a mistake in our data: Ries we incorrectly assumed 9.5% 10.7% that the Sinar users could Gitzo be grouped as one but it Mamiya RB67 series Leica would appear that there Cambo SC series are enough F and P series Domke users out there to warrant 9.5% their own categories. So 7.4% Lightware while in this round Sinar

Lowepro Alpa K.B.Canham STATISTICS “wins” in the LF category, Shen-Hao cameras Yashica Mat cameras you can rest assured that Tenba Rodenstock Tachihara there are likely slightly Gilde Arca-Swiss Leica more Linhof Technika us- 6.5% 9.0% ers out there than either Fuji Ebony Mamiya F or P users. We will sim- Mamiya 7/II series Manfrotto Canon Toho ply have to revist this list Toyo-Field series at a later date to see how Ilford Schneider Fotoman things change (or stay the 5.9% 7.9% Thinktank Fujinon Toyo same). Perhaps it shouldn’t have ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ come as no surprise, but Tachihara cameras Pentax 6x7/67 series We have what your looking for in a the sheer number of TLR users out there is much camera and all the accessories, bigger than we had ever 5.7% 7.4% film, tripods, light meters, lenses, assumed. As you can tell packs, bags. from our cover photo this Mamiya C330 series issue: TLR is alive and Toyo-View series well! Trades Accepted ~ Used Equipment As a side note: if you have 5.7% 6.6% Worldwide Shipping *NOT* given us any camera or accessory informa- Mamiya RZ67 series tion during your registra- Wista cameras tion, it greatly assists us in servicing our target audience better. We would 5.5% 5.2% 1225 Delanglade St really appreciate it if you Kaukauna, Wi 54130 USA simply login and update Arca Swiss F series Bronica SQ series your user data — it only Phone: 800.558.5350 ~ 920.766.9332 takes about two minutes and will make for a better 4.7% 4.7% Fax: 800.818.3081 ~ 920.766.3081 MAGNAchrom magazine! MAGNACHROM READERS’ LARGE FORMAT CAMERAS MAGNACHROM READERS’ MEDIUM FORMAT CAMERAS

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 71 New Stuff NEW 416 MEGAPIXEL SCANNING BACK FROM BETTER LIGHT OPTRIXX/WERKHAUS KALIEDESCOPE

or over 14 years, Better Light, Inc. has produced digital scan- ooking to give a photographic gift to a ning backs for commercial, advertising, art reproduction, in- Hasselblad, Kodak Retina or Zeiss Ikon Fdustrial and scientific photography. Llover? Well look no further than these very cute kaliedescopic cards printed with a pix of one of the three as shown below. Made in Germany, these cards come with a multi-faceted plastic lens that can be placed in front of your camera to provide a lomo-like experience. Or just hang it in your window and let the sun sparkle through it.

Search eBay using “optrixx” and you’ll find them for sale.

At the Photo Marketing Assn. Convention in Las Vegas, March 8-11, Better Light formally announced their newest model which will generate a 794 MB 48-bit RGB file at native resolution. The new Super10K-HS is the largest of six models, a 416 megapixel capture device, that answers the call of museums and similar institutions for larger native file sizes. It has the ability to create a direct digital image at a native resolution of 10,200 x 13,600 pixels — 60% larger than the Super8K-HS. This high resolution allows scanning of originals for output up to 34 x45 inches at 300ppi without stitching or interpolation, and generates a 794 MB 48-bit RGB file size. This new file size capability will be of special interest to those por- tions of the art repro market that deal with large originals, and who demand very fine detail in reproducing line art, text, scrolls, and other subjects where absolute clarity is of maximum importance. Each and every pixel is pure RGB information with NO INTERPOLATION for more accurate color, sharper detail, and less post-processing. See www.betterlight.com for more information.

72 MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 73 by Leonardo Régnier 75

began photographing 25 traditional market again. years ago with an Olym- My camera, a Rolleiflex Emminently Collectible: pus Pen 35 mm camera. MX EVS, was manufactured Rolleiflex Twin Lens Reflex Over the years I have had in 1954, and besides being to- Ithe pleasure of using many dif- tally mechanical (i.e. focus, f- ferent types of cameras, howev- stop, and speed), it doesn’t have er I have always shown a pref- integrated photometer. Which erence for mechanical ones. of course forces me to use a In 2002 I began to be portable light meter. Its lens more proactive in the pho- is a Xenar and the shutter is TLR Rolleiflex tographic marketplace, ac- a Syncro-Compur. Among tively seeking professional the accessories that I use assignments. Today I am with this camera (also of involved with some on-go- the same year) are close-up ing documentary projects filters, color filters, and as well as “fine-art” photog- lens shades. raphy. However, nostalgic Rolleiflex cam- leanings have encouraged eras were produced in me to explore medium for- Germany by the Fran- mat more and more com- ke & Heidecke factory bined with traditional pro- starting from 1929. cessing: B&W professional Franke & Heidecke was films, manual developing, founded in 1920, and the in- and fiber papers. It was only troduction of the TRL in recently in 2005 that I began 1929 was a breakthrough taking photographs with a for the company. The “classic” TLR medium format 6x6cm Rolleiflex TRL — a gift from my wife. was the first modern reflex For some people, to return camera and remains still in to traditional photography in the production today with many im- midst of the of the digital revolution is like taking provements. a big step backward. But I don’t feel this way. I am From the choice of today’s modern films, I pre- of the opinion that the use of such classic equip- fer B&W from both Ilford and Kodak, but I also ment and techniques restores “thoughtfulness” sometimes use Fuji color negative which works back to photography, and I know that I am not very well with the camera. I have also experimented alone in this opinion. Most film and paper manu- with Fuji chrome films. In every situation my old facturers understand that as well, and they are al- Rolleiflex behaves very well and delivers fabulous ready restructuring their production to assist the photographs, giving justice to its well-earned fame.

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M Emminently Collectible: Rolleiflex TLR 76 77

Model: MX EVS, 1954 Lens: Schneider Xenar 75mm F3.5 Viewing lens: Heidosmat 75mm F2.8 Shutter: Synchro Compur 1/500-1s/B MX Special Features:  Exposure value scale (EVS) Rolleiflex TLR Rolleiflex Rolleiflex TLR Rolleiflex  Pictorial exposure scale “At the Museum” — Curitiba, Brazil  Large focusing knob © 2007 Leonardo Régnier  Double exposure capability Camera: Rolleiflex TLR Availability: Lens: Schneider Xenar 75mm f:3.5 Readily found on eBay Film: Ilford Delta Pro 400

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M “Blues” — São Luís, Brazil © 2006 Leonardo Régnier Camera: Rolleiflex TLR 78 Lens: Schneider Xenar 75mm f:3.5 79 Film: Fuji Astia RAP 100 Rolleiflex TLR Rolleiflex Rolleiflex TLR Rolleiflex

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M “Somewhere in Time” – Piraí do Sul, Brazil Accessories for Rolleiflex TLR © 2005 Leonardo Régnier (better keep your eyes open!) 80 Camera: Rolleiflex TLR 81 Lens: Schneider Xenar 75mm f:3.5 Film: Kodak Tri-X Pan 400 Rolleiphot: “T” meter kit: Aperture for DOF preview and a Lightmeter kit for the Rolleiflex device to determine exposure E, T, Wide and Tele models. A similar kit was available for the Filters and lens hood: coupled meter of the F model. Comes in push-on and bayonet (I-IV), in single or multiple cases Rolleiflash: Flash for the use of flash bulbs. Rolleilux: Lenshood combined with a sele- Tropic case: nium lightmeter.The meter part A fully sealed and floating metal can be folded inside the hood protecting case with deccisant cartridge Rolleiflex TLR Rolleiflex Rolleiflex TLR Rolleiflex Focal length converters: Duonar: 2x Stereo slide: Magnar: 4x A sliding adapter that enables Mutar: 0.7x WA or 1.5x Tele taking two pictures from different point of view that can Penta Prism finder: be used to create 3D stereo Penta-prism finder for unre- images versed viewing. Can be used on camera models with re- Panorama adapter: movable viewing hood Adapter enables camera to rotate 360 degree and make Binocular focusing hood: a sequence of pictures that An add-on leather hood “Airport” – São Paulo, Brazil can be stitched into a pan- that magnifies the focus- orama © 2006 Leonardo Régnier ing screen and keeps out stray Camera: Rolleiflex TLR light. Can be used on most Rolleimot: Lens: Schneider Xenar 75mm f:3.5 models Electronic remote release and Film: Kodak Tri-X Pan 400 automatic film transport Rolleimeter: Add-on rangefinder. Can be Rolleikin: used on Rolleiflex models with Adapter set that enables the sport finder and fixed waist level use of 35mm film finder Plate film adapter: Rolleigrid: Special back and film holder that allows the Fresnel lens to put on top of the focusing screen use of glass-plate negatives. An optional fo- to brighten up the corners. Can be used on cusing screen enables parallax free framing models with fixed hood with accessory holder 70mm filmback: Projector attachment: on-factory accessory made by Flash Foto Ser- Turns any Rollei TLR with removable hood to a vice, Paris simple slide projector

MC MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 83 Working Class

The 8x10 photographs of Cristina Mian & Marco Frigerio

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 85 orking Class is a part of our ies, in one world to interact with our subjects in a We prefer that everyone series about the consequences way that this interaction became for us —both on viewing these photographs find for Italy’s economic structure a personal as well as on a photographic level — a his/her own personal meaning since China was accepted into means of continuous personal discovery, pushing for the “disappearing” figures. Wthe WTO. Many Italian factories, especially in our research into unexpected and unknown ter- Our original intention was that the textile sector, are rapidly transferring their ritories. This is why we decided to put ourselves they symbolize the fact that we production to the Chinese, resulting in massive in our Working Class images. And our interest are “crossed” by those places, economic changes to both the landscape as well for performance art and body art played an im- but also that we were passing as workers. portant role, since we became interested in these through them, like a kind of The body of work is currently composed of artistic disciplines it was clear for us that we had mutual absorption in a mutual four chapters: Invisible workers, Ideographs, The the expressive need to “translate” their influences modification/interaction. We Dragon invasion, and Working Class. But Work- in our photography. In other words, they had to also liked the fact that those dis- ing class in particular represented for us a way be part of our creative processes. appearing figures are as if they for exploring new photographic territories and From a visual point of view we were influenced were coming from nowhere, past expanding the boundar- by our devoted or present or future, and going ies of our way of compos- passion for Fran- nowhere, or just disappearing ing and thinking of our The greatest art cis Bacon’s paint- into those places, into memo- photography. In fact for ings. In many of ries, into the glass and steel... the very first time we de- always returns his works, partic- Cristina is not present in any cided to put ourselves into ularly around the of the photos as at the time she the frame, to become part you to the main contorted was pregnant, and it seemed to of the composition, and figure(s), there us much too “obvious” to por- to use our presence, our vulnerability of the are often other tray a pregnant woman, as there body, as a form of interac- figures that he are too many strict meanings tion with the ambience we human situation. called “Observ- connected with maternity and were capturing. ers” or “Witness- birth. For the other chapters — Francis Bacon es” (for example, You can see more of Marco & in our series, we’ve always a man with a hat, Christina’s work by visiting their photographed in a Dus- or a photogra- website: www.cristinamian.com. seldorf school-like way — very objective and very pher, or whatever). This kind of visual and concep- depictic. However, at a certain point in research- tual reference deeply influenced the way we posed From a technical point of view, ing Working Class, we realized that this was not or acted inside our composition. For example, the all the “Working class” series was sufficient anymore, as we felt the need of a more way we manipulated or used some objects (like a photographed with an 8x10 view subjective point-of-view: A photography in which newspaper). That is not to say that everything was camera (either Calumet C1 Green not only our thoughts, our emotions, our visions, planned. On the contrary, improvisation was our Monster or Sinar F2), using Vel- were clearly expressed, but in which we had the way of choosing how to pose and what to do. But via 50 and Velvia 100F transpar- possibility to “risk” ourselves. We wanted to be it was a kind of improvisation deeply informed by ency film. modified by what we felt and saw in the places the influences from performing art, body art and we were in. To experience directly the feel on our Bacon, and that which we had “accumulated” over skin, the smells, the memories, the emotions, and the years. And it was this rich history which at CRISTINA MIAN e MARCO FRIGERIO the lives connected with those places. that in that particular moment exploded in a new We also wanted to experiment with our bod- and more personal form. MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 87 CRISTINA MIAN e MARCO FRIGERIO

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M 89

MC CRISTINA MIAN e MARCO FRIGERIO

MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M [Parting Shot] Guggenheim, Bilbao

While on a consulting gig in Bilbao Spain for two weeks a few years ago, I was hoping to Location: Bilbao, Spain find some time to pho- Camera: Mamiya 7II tograph this splendid city. Early one morning Lens: 50mm I captured the ubiqui- Film: Kodak Portra 400NC tous Guggenheim Mu- seum in all its glory. Size: 18”x22.5” Next Issue #5: J Michael Sullivan Night Photography

MAGNAchrom 2007 ad size and rates

1/3 Page Square

29p6 wide x 29p3 tall (125mm x 124mm)

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MAGNACHRO M VOL 1, ISSUE 4 WWW.MAGNACHROM.CO M Insight from our Readers Thank you. I have downloaded the first 3 issues to my hard drive, and I have already had a chance to go through the first issue, which I found VERY impressive, not only in terms of content, but also layout, organization, and visual appeal. While I am 100% film oriented, I can understand and- ap preciate the digital articles too, which I also found to be very informative. 1.4 Regards - Dwane Jackett

I just wanted to say again thanks for the great opportunity to show my work, and also to let you know that indeed the third issue of MAGNAchrom is just outstanding. I expect it to become a main reference in the world of MF/LF photography. Congrats on such a great publication, Oscar Reina

First Impressions are great, this is just the web resource I’ve been waiting for. Its very hard to get any large format writing over here, virtually impossible to get copies of “View Camera”, so something that combines large and medium format together on the web is fantastic. Regards, Paul Blacknell

Brilliant! Absolutely brilliant! I have become an avid subscrib- er to your superbly crafted & beautifully designed magazine. Well done & carry on the great work.

Recently I bought the book on the Pakistan Karakoram by BUILD 1.4.2 Shiro Shirahata. All of his truly incredible images were taken using a 4x5 Linhof Super Technika V & Fujichrome Profes-  fixed hyperlinks sional RFP 50D. I was simply blown away by the razor sharpness & color rendition of large format photography. I realize too that I just have to learn this medium. The magazine you have produced has come at the right time! With the twain I hope to enter this realm of what is really true photography. Congratulations & thank you very much. Dilip Talekar

MAGNACHRO M VOL 1, ISSUE 4