I must admit that the camera is large, heavy, and slow. But, I also must admit… that's the point, SLOW.
It's Really Big
When I've asked people to sit for a portrait with this camera, I'm often greeted with a gasp when they see the beast. Most people are not expecting to see such a large camera used to make a portrait. Many people have never seen a camera like this, except perhaps in the movies.
So you may ask why I use this camera when I have really great modern tools? The truth is, it's not because I want to make things more complicated, though it does so exponentially. It's because I want to make the experience more meaningful for both myself and the subject.
Slow and Steady
Using an 8x10 forces me to slow down. Working with this camera has a different rhythm. Viewing the subject through the ground glass, which shows the world upside-down and backwards, forces me to pay far more attention to things like composition and focus. Unlike modern cameras, I cannot view the subject through the camera as I photograph. I must be next to the camera when the image is made, communicating with my subject in a much more intimate way. Every movement, the tilt of the lens, focusing with my loupe, the many measurements that must be made, demands patience and attention. And in all this, I must remember the subject. There's no rushing through it.
A Space for Something Different
For me, photography isn't just about capturing an image; it's about the experience of making it. I'm fascinated by the interaction between myself, the camera/process, and the subject. With the 8x10, my subject feels that, too. They sense the weight of the camera, the pause before I open the shutter. They're part of a slower, more deliberate moment. That pause often brings out something deeper in their expression, something more honest.
I have found that there is an interesting space created for the subject as I am 'fiddling' with the camera. In modern photography, photographic attention on the subject is almost 100% of the time, with very little or no downtime for the subject. People can become locked into posing and smiles that are well practiced but not very natural or normal. In my portrait work, when I look away for a moment, I see out the corner of my eye that my subject falls into a natural state, lets down their guard just a bit. I take that opportunity to tell my subject to hold there and I take the photo. With the view camera, the subject is often left alone in quiet, and a breath can be taken. It's hard for a subject to hold the unnatural smile or pose for that long.
Uncertainty as a Tool
This analog process creates opportunities for exploration and discovery that modern advances in digital imaging are quickly eliminating. It's in the imperfections and the uncertainty of the outcome is where the magic lies. Serendipity, I make my own good luck by intentionally putting myself in the way of uncertainty and the possibility of failure.
Of course, I do appreciate modern tools. I use a modern camera every day for my work. For me, the 8x10 and the paper negative process is about sharpening my craft. These old processes remind me that photography is not just about what you see, but also about how you choose to see it and how much care you're willing to put into creating it.
That's why I keep returning to this way of working. Because in slowing down, in accepting imperfection, and focusing on my craft, I find images that feel alive.
These images are from a session I did with a recent high school graduate. Ty has had a long-time dream to be a United States Marine. We did a graduate senior portrait session a month or so before I asked him to sit for it, and I know that with his preparation for boot camp, he would make a great subject for the camera. My plan is to have him back to sit for the camera at the first opportunity when he's back from boot camp.
You can see a gallery of Paper Negative Portraits as well as a description of the process on our website.
