Finally, I found my studio camera Century 8A

[Jay DeFehr]

Sandy,

I couldn't agree more about Nadar's portraits. I didn't realize he printed in carbon, but it makes sense. Some of his portraits have the reddish hue I associate with POP; were those carbon as well?

[sanking]

Sandy,

I couldn't agree more about Nadar's portraits. I didn't realize he printed in carbon, but it makes sense. Some of his portraits have the reddish hue I associate with POP; were those carbon as well?

Jay,

The carbon portraits I have seen with my eyes by Nadar were at the Harry Ranson Center at the University of Texas at Austin. They were all very neutral in color.

However, almost certainly he printed with other processes, gold toned albumen for example, and this would have given a reddish tone. Course, making reddish tone carbons would have been no problem at all for Nadar so I don't discount the possibility that he also made those.

I find it pretty amazing that so early in the history of the medium a photographer like Nadar would have done work in several different processes that we marvel at today!

Sandy

[Jay DeFehr]

I find it amazing, too, and inspiring. What he did with slow, ortho plates and available light is beyond impressive, and that's before he even got to the printing part.

[sanking]

Sandy, thanks. I have always been looking for this camera. It has been something like 10 years or so. I guess it is just a progression in an artists life. I have always want to do carbon portraits. I am so glad that I found the process and with your help and Vaughn's help I now have the final piece ( I hope) to my puzzle. I have always felt that the wonderful tonal range of carbon transfer was ideal for portrait work, traditional portrait work. I can't wait to expand my knowledge of carbon portraits. I feel that I am accomplished enough in carbon transfer to proceed. Again, thanks for all of your help and encouragement over the years.

Jim

Jim,

I believe you are on a wonderful journey of discovery (re-discovery). For me the old cameras and the old process make a beautiful marriage and I believe you are going to do great work with the carbon portraits. I hope to see some of your work one day from this marriage!

Sandy

[Jim Fitzgerald]

Sandy, thanks, I have the same feeling. I have some research to conduct and reading to do. I'm looking at as many images as I can find.

[Kimberly Anderson]

So I have a line on the 8x10 version here in Utah. Owned by my mentor to shoot portraits in his north-light studio he ran for many years during the summer.

Any tips? Advice?

[Jim Galli]

So I have a line on the 8x10 version here in Utah. Owned by my mentor to shoot portraits in his north-light studio he ran for many years during the summer.

Any tips? Advice?

GEt it! With lenses.

[Jim Fitzgerald]

Michael, I agree with Jim. get it.

[Hugo Zhang]

Hi Jim,

So this is the camera you were talking about at Tri's garage last time. Can't wait to see it! So you are going to put it on your truck and bring it to our next nude shootout at Matt's house?

Hugo

[Jim Fitzgerald]

Hugo, I don't have to put it on my truck! It is at Matt's house now! I'm going to keep it there for a while until I get my living arrangements changed in a few months.