Lesson learned, never shoot analog at a digital event.

[C_Remington]

Next year take a wet plate rig complete with suitably painful posing clamps for the long exposure.
Keep the subjects in place until developing is complete, you may need to redo the first shot...

After all it is your art form. Get that lopsided grin working and say softly.."I love those clamps...."

Ha!!!!!

[goamules]

Sounds like the event or the photographer were a mismatch for some reason. The times I've shot film, and especially wetplate, it's always a big hit. Because anyone and everyone can shoot digital, most people love to see old school.

But I suppose there are a few events I wouldn't try to shoot film/wetplate: fast paced things like a fashion show, a NASCAR race, um...something like that. What was this event? Sounds like one where you shoot and are supposed to instantaneously show your shots. Not well suited for film, but I can show a wetplate 6 minutes after I shoot it, probably faster than a kid can upload something.

[Tin Can]

It was an event called http://cimmfest.org/ It is their 5th and busiest year. It may be the last, they really overdid it. They also might be the next South by Southwest. They have the founder of that mess on their board. The prior 4 years, I shot gratis digital, and produced at least 1000 shots in 4 days, each year. I spoiled them. At first I was the only shooter, then they recruited a student army, last year there were kids pushing me out of the way. I assumed they had it well under control, with piles of shooters. I told them I was not going to do what I used to do, but only shoot small quantities of film.

Well, they got too big and never got all the shooters they needed. They were bugging me to show up everywhere, and there was 19 venues, and lots of private VIP parties I was never informed of. They think I am a mind reader...sometimes I am...

I have really bad arthritis and often can barely walk or hold a heavy camera. I made no commitment and told them many times, I was not doing it like before. No assignment, totally freelance.

I skipped the first 2 days, they called and wanted me NOW! I told them Saturday at the main office, I would shoot a little.

They got very demanding, the head guy, one of my best friends, starts ordering to shot piles of shots, I refuse. Then the PR lady gets on me to do it as the she has a lot of VIP's coming. I shoot a little, I pop the flash without film and then I break camp and leave quietly.

I am sure they are cursing me right now at the awards ceremony. I don't care, I told them. I can't physically do it anyway. They screwed up, by not hiring a Pro, or even me, I could have done a lot. I could have got an assistant. Heck, I was advising 3 young female volunteers how to shoot the event. They came to me.

And they have piles of my equipment on loan, I sure hope I get it back.

Spilt milk, I am moving on.

[Tin Can]

OK, now you can poke fun at my lousy images, I only shot 10, I guess, 2 exposed clear negs. 1 looks double exposed and the rest are pretty bad. 2X3 sheet Arista 100 SB28 flash. You can find them on Flickr, if you scroll down you will find my digital shots from 2 years ago at the 3d CIMMFEST.

http://www.flickr.com/photos/36341684@N07/

[RHITMrB]

Sounds like you gave an inch and they tried to take a mile.

Sounds like the event or the photographer were a mismatch for some reason. The times I've shot film, and especially wetplate, it's always a big hit. Because anyone and everyone can shoot digital, most people love to see old school.

But I suppose there are a few events I wouldn't try to shoot film/wetplate: fast paced things like a fashion show, a NASCAR race, um...something like that. What was this event? Sounds like one where you shoot and are supposed to instantaneously show your shots. Not well suited for film, but I can show a wetplate 6 minutes after I shoot it, probably faster than a kid can upload something.

I'd love to shoot NASCAR on LF. For me it'd be more about the goings-on around the race than the race itself, though.

[Tin Can]

I used to enjoy CIMMFEST, but they have pumped up the pressure, while I want to slow down. I enjoy the crowd far more than the main events which are movies and music performances.

My images are harsh as I wanted to simulate straight flash bulb 40's reporter style. I had the SB28 bare full power aimed right at the subjects.

I learned a few things. I just posted a couple images to the main man and he seemed to like them. So far the digital images from the event are worse than mine...imho

Sounds like you gave an inch and they tried to take a mile.


I'd love to shoot NASCAR on LF. For me it'd be more about the goings-on around the race than the race itself, though.

[Colin Robertson]

If you came away with some images which please YOU, then job done.
A (good) few years ago while I was still a student I was asked to cover a social event, where some ancient and venerated member of the dental team got his gold watch. Scouted the location in advance, and knowing it was a 'wall of glass' venue I knew there'd be good light on the day. Shot MF HP5 in a Yashicamat, with a little 35mm as insurance against film or processing failure. Ended up with some nice prints, promptly delivered.
The organisers chose to use a single image, and cropped a wide ambient portrait into a mug-shot. The grain was stupendous.
Next time, go undercover and do your own thing guerilla style.
ps- sounds like a good gig for a TLR- waist level, quiet, allows high level overhead, and in the sweet spot for quality versus convenience.

[Tin Can]

I wasn't trying to be inconspicuous or even successful. I could have pulled out any number of better rigs. I had a great digital camera in my pocket, I refused to use. I was saving that for a Russian invasion. You know, news. The event's director was begging me to shot digital. If he had paid me I would have. I already had loaned them plenty of equipment, I hope I get back. My F5 with the same flash would have produced perfect images. I was trying to have a good time, put on a little show and learn how to use a Press camera. In public. My images are horrible, nonetheless, I prefer them to cell phone images. I prefer them to instagram. My money, my time, my hobby.

If you came away with some images which please YOU, then job done.
A (good) few years ago while I was still a student I was asked to cover a social event, where some ancient and venerated member of the dental team got his gold watch. Scouted the location in advance, and knowing it was a 'wall of glass' venue I knew there'd be good light on the day. Shot MF HP5 in a Yashicamat, with a little 35mm as insurance against film or processing failure. Ended up with some nice prints, promptly delivered.
The organisers chose to use a single image, and cropped a wide ambient portrait into a mug-shot. The grain was stupendous.
Next time, go undercover and do your own thing guerilla style.
ps- sounds like a good gig for a TLR- waist level, quiet, allows high level overhead, and in the sweet spot for quality versus convenience.

[Len Middleton]

But I suppose there are a few events I wouldn't try to shoot film/wetplate: fast paced things like a fashion show, a NASCAR race, um...something like that.

Not wet plate, but have photographed sports car racing hand held with a Technika 45, mostly with 56x72 roll film back, but also 4x5 B&W.

[rdenney]

...I am sure they are cursing me right now at the awards ceremony. I don't care, I told them. I can't physically do it anyway. They screwed up, by not hiring a Pro, or even me, I could have done a lot. I could have got an assistant. Heck, I was advising 3 young female volunteers how to shoot the event. They came to me.

And they have piles of my equipment on loan, I sure hope I get it back.

Spilt milk, I am moving on.

Randy, I have frequently provided advice to younger professionals in my line of work, who seem intent on ruining their lives and marriages over this or that perceived work crisis. "Whatever you give, they will take." Meaning: Only you can set boundaries. When you don't set boundaries, they will work you to death, and then when you do set boundaries, they react as if you are their slave--they wouldn't treat an employee like that, because an employee has some rights and they have many responsibilities as an employer, and volunteers have no such protections (except that they can walk away). Many amateur photographers have learned this lesson. I've learned it several times.

I will still work for free. But I never work without a contract, especially if the client and I are friends (and NEVER for a wedding). One of the terms of the contract is: "I will do my best, but I am receiving no compensation for this activity and owe no responsibility to produce a product. If any circumstances, including my own incompetence, result in not a single picture being delivered, you agree to accept all risk, and you further agree to remain my friend." Not enforceable, of course, but it is a legal document that prevents them from treating me like a professional when I do not desire that responsibility. If they want a professional they can sue (meaning a professional who can afford errors and omissions insurance), then they have to hire one. A few times, they read my contract and decide to hire a pro despite their financial situation. A few times, they laugh as if it is a joke (I assure them that it is not). Most of the time, they sign it, clear-headed. (I never do this work for people who can afford a pro and are just trying to get out of paying--they have already demonstrated an unwillingness to be honest when they complain to me about the price in hopes of persuading me to save them some money, and their signature therefore means nothing.)

One of my mentors--the man who taught me to use a darkroom when I was 15--did a wedding during my brief time with him. He was a retired professional photographer and printer, but still did the occasional work for friends as an amateur. At that wedding, he accidentally nudged the sync control to "M", but he was using a Honeywell Strobonar potato masher flash on his Century Graphic. None of the pictures were usable. The situation that followed created a lasting impression for me.

Rick "whatever you give, they will take" Denney