Last week I was helping out a friend with his editorial fashion shoot that he shot using Wet Plate Collodian process; by recording it on video.

I used a Red Wing Boom as a camera jib in order to get a few more camera options which is something I've been meaning to try for sometime.

As you can see it was easy to do simply by adding some basic grip equipment that most photographers would usually have on hand in their studios.

I used a: Bogen super clamp, a Manfroto magic arm, a knuckle and a 6" wall plate which I had previously drilled and tapped and attached to my Cannon HD video camera. Although anyone could just as easily use any combination of grip equipment to achieve the same thing rather than spending money on an additional piece of equipment just to perform jib movements.

For those wondering why I didn't just attach the magic arm to the end of the Boom pin by adding another knuckle, that because I use this same combination of grip as a steady cam set up so having a quick release option to from 1 to the other is a nice option.

This setup proved to work extremely well and afforded great stability; and also because the boom was on a rolling stand it allowed me to move around the studio and change elevation in nice smooth motions. A short edit of the video from this shoot will be posted in the coming days.

8x10 LARGE FORMAT INSTANT FILM TO MAKE COMEBACK

First test photos premiere at The Impossible Project Space NYC from August 23 – September 24, 2012

New Impossible 8x10 film goes on sale August 30

Enschede, The Netherlands, 22 August 2012. – Based on previous achievements in analog instant film development, Impossible successfully engineered a new instant film material for 8x10 cameras. “Back in 2009 we preserved the last intact 8x10 Polaroid production machine and transferred it from Waltham in the USA to our factory in the Netherlands. At that time it was uncertain whether it would ever be possible to manufacture a new 8x10 film. Today we are proud to announce the revival of this legendary format with the new PQ 8x10 film”, says Florian Kaps, the founder of Impossible.

Polaroid introduced the 8x10 film in 1973 making high-resolution large format instant photography possible for the first time. The unique size and characteristics of the 8x10 film soon captured the attention of photographers as an artistic medium. During the 1980s it was frequently used for landscape, fine art or advertising-photography, scientific applications as well as high quality proofs. Just like all other types of Polaroid film it was discontinued in the 21st century.

From August 23 – September 24 the Impossible Project Space NYC presents the very first photos taken on test film of the upcoming PQ 8x10 Silver Shade film. This landmark exhibition features work by acclaimed and up and coming photographers Chloe Aftel, Penny Felts-Nannini, Adam Goldberg, Thom Jackson, Tim Mantoani, Alan Marcheselli, Melodie McDaniel, Stefan Milev, Nicholas Misciagna, Rommel Pecson, Bill Phelps and Neal Winter.

The new PQ 8x10 film will go on sale August 30 on www.the-impossible-project.com, in Impossible Project Spaces NYC, Paris, Vienna, Tokyo and at selected worldwide partner stores and dealers. One pack contains 10 photos and costs EUR 169 I 189 USD. PQ 8x10 film is compatible with all 8x10 cameras equipped with a Polaroid film holder, as well as the original Polaroid 8x10 processor.

More...

APE: Tell me why you created the 8×10 digital capture back and how it works?

Mitchell: When I look back, three years ago, it was crazy that I even tried to do this: design and manufacture the world’s largest color capture back, large enough to cover the 8” x 10” format, so that I could continue to shoot like my glass plate-carrying brethren a hundred years ago.

It was a race against the clock, or, specifically, a race to see if my stocks of 8×10 Polaroid would run out before the back was completed. In the early months of investigation most of my evenings were spent on meandering Internet searches. Months more were spent deciphering unintelligible technical papers. The few companies with the right technical expertise were eventually identified, but it was extremely difficult to be taken seriously. The experience felt like working at a call center, making unsolicited calls for storm windows. Eventually, one firm was convinced, and, after over a year of difficult design work, a first prototype was delivered in February 2010. The first production model was delivered about 9 months later.

The Maxback, as it has been named (the Brontoback, Velocicaptor and Back Scratch Fever were rejected), is the largest non-scanning color digital back in the world, with a capture area of over 8×10 inches. The largest commercially available color digital camera backs are about 4.5 x 6cm in size. It attaches without modification to a Sinar, and delivers high quality interim captures in under 30 seconds.

I use the back while I am working. Once I am happy with a photo, I flip off the back and then shoot a couple of sheets. In this way, I have the quality of 8×10 film, and the immediacy of digital capture. Crazy, right?

PLEASE CHECK OUT THE ORIGANAL STORY HERE