Making The Traditional Wet Plate Camera

- I made wet plate cameras for quite some time, shipping my handmade cameras all over the world. To see some of my work, visit my website by googling "Guillory Cameras." - This is a very comprehensive book on building a historically-correct bellows camera for plate photography. It takes you through all the basic stages of the base, standards, bellows, plate holder, inserts, etc; and also touches upon other aspects such as folding tailboard, rise/fall, tilt, and swing. 3D diagrams and color photos help you to visualize the process. - The book follows along with the build of a 5"x7" camera. Also included are the critical measurements for cameras from half plate up to 8x10. - I aim this book to the experienced woodworker who is familiar with some traditional joinery. Some of the joinery such as the hand-cut dovetails may be substituted with box joints or finger joints. Mitered spline joints may be used in place of the mortise & tenon joints used in the books. Though aimed at the experienced woodcrafter, I feel that those with limited experience may be able modify the methods and techniques to fit their needs. - Measurements are listed in mm at the bottom of each page and the diagrams are repeated in mm in the rear of the book.

I made wet plate cameras for quite some time, shipping my handmade cameras all over the world. To see some of my work, visit my website by googling "Guillory Cameras."--This is a very comprehensive book on building a historically-correct bellows camera for plate photography. It takes you through all the basic stages of the base, standards, bellows, plate holder, inserts, etc; and also touches upon other aspects such as folding tailboard, rise/fall, tilt, and swing. 3D diagrams and color photos help you to visualize the process.--The book follows along with the build of a 5"x7" camera. Also included are the critical measurements for cameras from half plate up to 8x10.--I aim this book to the experienced woodworker who is familiar with some traditional joinery. Some of the joinery such as the hand-cut dovetails may be substituted with box joints or finger joints. Mitered spline joints may be used in place of the mortise & tenon joints used in the books. Though aimed at the experienced woodcrafter, I feel that those with limited experience may be able modify the methods and techniques to fit their needs.--Measurements are listed in mm at the bottom of each page and the diagrams are repeated in mm in the rear of the book.

- I made wet plate cameras for quite some time, shipping my handmade cameras all over the world. - The sliding box camera is a very early camera design dating back to the daguerreotype era, though it can be used for any of the plate photography methods. The all-wood construction lends it to be a beautiful piece of a working photographic tool. This book covers the entire construction phase. The camera made for the writing of this book is a 5"x7". However, included in the book is a section on measurements & adaptations that explains how to adapt the camera to fit your lens and format size. - I aim this book to the experienced woodworker who is familiar with some traditional joinery. Some of the joinery such as the hand-cut dovetails may be substituted with box joints or finger joints. Mitered spline joints may be used in place of the mortise & tenon joints used in the book. Though aimed at the experienced woodcrafter, I feel that those with limited experience may be able modify the methods and techniques to fit their needs. In the book, I cover all aspects of the camera making process; including lens selection, adapting my measurements for your needs, ground glass, making the acrylic inserts, brass-work, and more. 3D diagrams and color photos help you to visualize the process. - Diagrams within the body of the book are in inches; however, those same diagrams in mm are reprinted in the back of each book. This book on the Sliding Box camera and my other book, "Making the Traditional Wet Plate Camera" (Bellows version) are the only two books written on how to make historically-correct plate cameras.

I made wet plate cameras for quite some time, shipping my handmade cameras all over the world. The sliding box camera is a very early camera design dating back to the daguerreotype era, though it can be used for any of the plate photography methods. The all-wood construction lends it to be a beautiful piece of a working photographic tool. This book covers the entire construction phase. The camera made for the writing of this book is a 5"x7". However, included in the book is a section on measurements & adaptations that explains how to adapt the camera to fit your lens and format size.I aim this book to the experienced woodworker who is familiar with some traditional joinery. Some of the joinery such as the hand-cut dovetails may be substituted with box joints or finger joints. Mitered spline joints may be used in place of the mortise & tenon joints used in the book. Though aimed at the experienced woodcrafter, I feel that those with limited experience may be able modify the methods and techniques to fit their needs. In the book, I cover all aspects of the camera making process; including lens selection, adapting my measurements for your needs, ground glass, making the acrylic inserts, brass-work, and more. 3D diagrams and color photos help you to visualize the process. Diagrams within the body of the book are in inches; however, those same diagrams in mm are reprinted in the back of each book. This book on the Sliding Box camera and my other book, "Making the Traditional Wet Plate Camera" (Bellows version) are the only two books written on how to make historically-correct plate cameras.

Northern Plains Native Americans: A Modern Wet Plate Perspective presents a selection from Balkowitsch's photographic project which aims to capture 1000 wet plate portraits of Native Americans. His photographs highlight the dignity of his subjects, depicting them not as archetypes, but individuals of contemporary identities and historical legacies. This is Volume 2 for the series.

Primitive Photography considers the hand-made photographic process in its entirety, showing the reader how to make box-cameras, lenses, paper negatives and salt prints, using inexpensive tools and materials found in most hardware and art-supply stores. Step-by-step procedures are presented alongside theoretical explanations and historical background. Streamlined calotype procedures are demonstrated, featuring different paper negative processes and overlooked, developing-out printing methods. Primitive Photography combines the simplicity of pinhole photography, the handmade quality of alternative processes, and the precision of large-format. For those seeking alternatives to commercially prepared material as well as digital photography, it provides the instructions for creating the entire photographic process from the ground up. Given its scope and treatment of the photographic process as a whole, this may be the first book of its kind to appear in over a century.

New Dimensions in Photo Processes invites artists in all visual media to discover contemporary approaches to historical techniques. Painters, printmakers, and photographers alike will find value in this practical book, as these processes require little to no knowledge of photography, digital means, or chemistry. Easy to use in a studio or lab, this edition highlights innovative work by internationally respected artists, such as Robert Rauschenberg, Chuck Close, Mike and Doug Starn, and Emmet Gowin. In addition to including new sun-printing techniques, such as salted paper and lumen printing, this book has been updated throughout, from pinhole camera and digital methods of making color separations and contact negatives to making water color pigments photo-sensitive and more. With step-by-step instructions and clear safety precautions, New Dimensions in Photo Processes will teach you how to: Reproduce original photographic art, collages, and drawings on paper, fabric, metal, and other unusual surfaces. Safely mix chemicals and apply antique light-sensitive emulsions by hand. Create imagery in and out of the traditional darkroom and digital studio. Relocate photo imagery and make prints from real objects, photocopies, and pictures from magazines and newspapers, as well as from your digitial files and black and white negatives. Alter black and white photographs, smart phone images, and digital prints.