Hedrich-Blessing again

[Kirk Gittings]

Yearly update.....see two years ago here.... http://www.largeformatphotography.in...drich+Blessing

I took my architectural photography class at the Art Institute of Chicago to Hedrich-Blessing again this year. If you are unaware, Hedrich-Blessing is an architectural photography firm in Chicago that goes back to the 20's. They have 8 full time photographers that travel the world and with probably twice that number in support staff. Almost anyone who put together a list of the top ten APs in this country would include 4-6 of these guys. I have been taking my class there for the last 8 years. They are real gentlemen, very sharing and thorough going professionals. They are at the very top echelon of their field and the bell weather of where the field is going as they are very conservative technically and do not follow fads. I really appreciate the time they take out of their busy schedules to talk to my students.

FWIW

They are still shooting 70-80% film, Kodak EPN and Fuji 160 Pro S. Digital is Phase One backs and Canons. They are not thrilled by the digital cameras/lenses available for use right now for AP. All film is scanned. In their new building (a superb fascility built specifically for them), there are no wet darkrooms at all, just Imacon scanners and inkjet printers. They have grave concerns about the future of the films and Polaroid they depend on and as a result are following industry developments closely.

Advice to my students from the managing partner.........(if you knew these guys you would know what a radical statement this is for them)........"I wouldn't spend much time learning traditional film based architectural photography techniques."

[PViapiano]

I understand that that is a radical statement from them, however, any artist needs to be grounded in the fundamentals of his/her chosen craft, art or profession.

Standing on the shoulders of giants is the best way to move forward and have credibility in the world.

I know your post was intended to show their statement more as a "doubt" that film will always be available in the future, rather than a film vs digital thing...interesting nevertheless...thanks for posting!

[davidb]

Keep in mind they are using and talking about color film.

[Kirk Gittings]

A bit more.

As might be expected, there is a bit of a divide between the experience of the assistants and photographers. Allot of experimenting is being done by the assistants with digital which is being watched by the senior photographers, who don't like "the look" of digital, but are amazed at some of the obvious potential.

Scanning of color negatives is opening up the workflow a bit as much of the color correction is being shifted to the scan.

[Kirk Gittings]

Keep in mind they are using and talking about color film.

I'm not sure what this means? Are you referring to film availability? They are, of course, commercial photographers whose clients overwhelmingly require color. The worry about the potential loss of Polaroid is as great as their favorite trans films. They seemed to have some inside knowledge related to the future of Polaroid which was causing some real worries.....Like me they are primarily strobe lighting guys and Polaroid is crucial to this lighting method.

[Gordon Moat]

Some Fuji representatives I spoke with recently suggested that they would be interested in larger volume Instant Film sales in North America. Fuji license the technology from Polaroid. While FP100C is not exactly like type 690, it is better colour rendition than Polaroid 669. The big downside for some will be that they are more interested in pack films, meaning a cropped view from 4x5.

I use to have some inside Polaroid connections, but it has been a few years. When the new owners purchased what was left, they were more interested in the brand name. However, just over a year ago they upgraded the environmental qualification status of most of their plants. So they are modernized enough to continue production, but only as long as that business is profitable.

I would hope Fuji would entirely fill any gap left in Polaroid production, but I don't think they would produce individual sheets, only pack films. It also sounds like a planning issue for photographers. We might expect current films to last at least a year until their expiration dates (or longer). So how far ahead (in years) should someone plan to change equipment?

Ciao!

Gordon Moat
A G Studio

[Henry Ambrose]

Thanks for telling us about your visit, Kirk.

I'm worried about Polaroid too. I'd be in a bad way without Type 54. If it does go away I sure hope Fuji makes a similar product that matches 160S. Otherwise my big camera won't be of much use.

[Brian Ellis]

Interesting post, thanks Kirk. It sounds like HB is still doing very well despite what I gather is the fall-off in business/profits for many areas of professional photography. Is 8 about the same number of photographers as they've had in the past?

[Frank R]

I have one of Hedrich-Blessing's 4x5 enlargers in my basement. I put a $100 bid on it on a lark, not expecting to win the bid. It turned out I was the only bidder. When I went to pick it up (this was last summer) I found the sellers were a Chicago architectural photography firm. Very nice people, even gave me some extra chemicals. I had no clue they were such a famous firm. I just visited their website; I recognize some of their famous photos.

This was the most foolish thing I ever purchased on Ebay, since I live in Dearborn, Michigan. I had to drive four hours each way to retrieve it. I spent another $100 on gas. I made it into a worthwhile trip though, by taking a side trip to tour Frank LLoyd Wright's Robie House.

The enlarger is a Super Chromega D. It came with all three lenses too.

[Gene McCluney]

The allusion to Polaroid difficulties expressed above concerns me also, as about 80% of my studio output is color transparencies, shot under strobes, and I absolutely need polaroid for accurate exposure testing. I shoot 4x5 sheet polaroid materials, and use color, but I could get by (in exposure and composition testing) with b/w polaroid.. if that is the only thing available in the future. All the variables of bellows extension, different lenses of different ages, etc., makes transparency shooting a potential crap-shoot if no accurate testing is available.