cbroome194
New Member
I am a second-generation photographer who grew up in a studio and darkroom environment. I vividly remember the emergence of "natural color" (color film) as a medium for our images. Our specialization was in portraiture, with wedding photography running a close second, special events, and commercial photography.
We handled all our lab work and eventually offered those services commercially, operating two Noritsu One Hour Labs and a professional lab. As a result, I spent a lot of time working with chemicals and emulsion-based mediums.
I learned camera technique and portraiture on a 10A Century Studio Camera equipped with various split backs and eventually a roll film back. I remember how exciting it was to move into roll film photography and the absolute wonder of our first Hasselblad. Hasselblad was always our go-to camera for anything outside the Studio and we eventually gave up the Studio Camera for Mamiya RB 67’s. I use the plural when referring to the 67s as we wore out numerous bodies and 180 lenses. We never wore out a Hasselblad.
Always looking to improve my photography and lab credentials, I attended many seminars, state and national conventions, Winona School of Professional Photography, and belonged to national and state photography organizations. We also had a close working relationship with Eastman Kodak, Russell Chemicals, and Fujifilm. Needless to say, our conversion to digital photography was a radical endeavor.
We handled all our lab work and eventually offered those services commercially, operating two Noritsu One Hour Labs and a professional lab. As a result, I spent a lot of time working with chemicals and emulsion-based mediums.
I learned camera technique and portraiture on a 10A Century Studio Camera equipped with various split backs and eventually a roll film back. I remember how exciting it was to move into roll film photography and the absolute wonder of our first Hasselblad. Hasselblad was always our go-to camera for anything outside the Studio and we eventually gave up the Studio Camera for Mamiya RB 67’s. I use the plural when referring to the 67s as we wore out numerous bodies and 180 lenses. We never wore out a Hasselblad.
Always looking to improve my photography and lab credentials, I attended many seminars, state and national conventions, Winona School of Professional Photography, and belonged to national and state photography organizations. We also had a close working relationship with Eastman Kodak, Russell Chemicals, and Fujifilm. Needless to say, our conversion to digital photography was a radical endeavor.
