For my memorial project for my daughter Abby, I use a few different lenses to help me align with and support my project narrative.
I primarily use vintage soft focus lenses because the lens design supports my visual goals and project narrative.
Every lens has a specific purpose and reason for being in my creative toolkit. It doesn’t make the cut if it doesn’t have a specific purpose that I can align with the project narrative.
You can read the complete artist statement or review the summary directly below. It is important to read my artist statement first so you can understand why I have made my choices.
My Soft Focus Lenses for Pictorial Whispers
TT Signature – 9″ (225mm F4), 10.5″ (267mm F4.5), 18″ (450mm F7.5), 24″ (600mm F10)
Verito 8.75″ (222mm F4), 11.5″ (290mm F4)
Hermagis Eidoscope 275mm F4.5, 375mm F4.5
Cooke Series II 13 in. (330mm F4.5)
Dallmeyer 3B Petzval 290mm F3
TTH RVP 12.37 in RVP (314mm F8)
Auzoux & Bauz Petzval 220mm F3 / 440mm F6
Wollaston Meniscus Lenses:
Come with me behind the scenes in the field and my darkroom as I create my latest plates and handmade prints. Whether you are technical and want access to my Darkroom Diary notes and formulas or an art buyer who wants a personal connection with me, I have you covered and am excited to learn more about you.
Why I Use Vintage Soft Focus Lenses
Embracing the Ethereal: My Journey with Vintage Soft Focus Lenses
As an artist deeply rooted in the emotive power of photography, my journey has led me to the embrace of vintage soft focus lenses, a choice that is as much about my artistic vision as it is about my personal narrative. These lenses, with their unique character and timeless charm, have become an indispensable part of my project, a deeply personal exploration of grief and memory following the tragic loss of my daughter, Abby.
Why do I choose vintage soft focus lenses for my work? It’s simple: they capture not just images, but emotions. The soft, dreamlike quality of the images these lenses produce is unparalleled. In each photograph, there’s a delicate dance of light and shadow, a subtle blurring of edges that speaks more to the heart than to the eye. This ethereal quality aligns perfectly with my project’s inspiration from 19th-century Pictorialism, which values emotion and personal expression over precise realism.
The emotional resonance of these images is profound. They evoke a sense of nostalgia, a feeling of connection to something timeless and deep. This is essential for my project, which navigates through the complexities of grief and the beauty of memories. The way these lenses render images mirrors how we recall memories — not always clear or precise, but deeply felt and emotionally charged.
Moreover, using these lenses is a symbolic choice. Grief and memories can often be hazy and indistinct, much like the images captured by these lenses. They visually represent the emotional journey I am depicting — the journey of moving through grief, holding onto memories, and finding solace in the act of creating.
There’s also a creative freedom that comes with using vintage soft focus lenses. Each lens has its own unique character — aberrations, flare, or a distinctive bokeh — that I can creatively exploit to add depth and texture to my photographs. This hands-on, intuitive approach to photography allows me to ‘feel’ the image as I create it, connecting me more deeply with my work.
Importantly, using vintage lenses connects my work to the rich history of photography. It’s a nod to the past, to the pioneers of photographic art, and a way of bridging historical techniques with contemporary artistic expressions. This historical connection adds authenticity and depth to my project, enhancing its emotional impact.
Finally, working with these lenses requires a thoughtful, manual approach. It’s almost a meditative process — a way for me to immerse myself in the moment, reflecting on my feelings and experiences. This approach is not just about creating art; it’s a part of my healing process, a way to navigate through my grief and transform it into something poignant and meaningful.
In conclusion, vintage soft focus lenses are more than just tools for me; they are an extension of my vision and my emotions. They allow me to capture not just what I see, but what I feel, bridging the gap between my inner world and the world I share with my viewers. Through these lenses, I find a voice for my emotions, a way to honor my daughter’s memory, and a path towards healing.
A quick summary of my current lenses that I am using for Abby’s project:
- TT Signature Soft Focus 9″ (225mm F4), 10.5″ (267mm F4.5), 18″ (450mm F7.5), and 24″ (600mm F10)
- Wollensak Verito 8 3/4″ and 11 1/2″ F4 soft focus
- Cooke Series II 13 inch 330mm F4.5 variable soft focus
- Auzoux & Bauz 220mm F3 Petzval (convertible to 440mm F6)
- Dallmeyer 3B 290mm F3 Petzval
- TTH RVP 12.37 inch meniscus 315mm F8
- Dallmeyer Stigmatic Series II No. 2 Triple Convertible (6, 9, 12 inches)
- Derogy Grand Angulaire 180mm F11
- Ross 11.75 inch Rapid Symmetrical F8
Click on any of the lenses to be taken to the detailed information page.
Pictorial Whispers: In Memory of Abby
My current photography project is a deeply personal exploration, born from the profound grief of losing my daughter, Abby, lovingly nicknamed “Peanut.”
In this work, I navigate my sorrow, using 19th-century large format photography as a medium for healing and expression. Drawing inspiration from the ethereal style of Pictorialism, I focus on trees and nature as symbols of strength and emotional solace.
I use the 19th-century collodion dry plate process to make my negatives and use them to make platinum-toned Kallitype contact prints. These hands-on historical techniques deepen my connection with every aspect of my artistic journey. Combined with large format cameras and vintage lenses, these handmade collodion negatives allow me to capture more than mere images; I encapsulate my emotions and memories in each handmade print.
My photographs, rendered in monochrome and enhanced through the Kallitype printing process with platinum toning, are narratives of my inner world. They reflect my journey through grief and serve as a tribute to Abby’s lasting memory.
This collection offers a unique experience, combining emotional depth, historical photographic techniques, and a deeply personal story.
You can read the full project narrative and artist statement.
Dallmeyer 3B 290mm F3 Petzval
As I begin to make my handmade Kallitype prints for Abby’s project with my wet and dry plate collodion negatives created with this incredible historic Dallmeyer 3B Petzval lens, I will post them here.
With whole plate, I get a hint of vignetting with this lens, which I love and use to my creative advantage, and the Petzval bokeh when I have something at portrait distance is unmatched.
Auzoux & Bauz 220mm F3 Petzval
As I begin to make my handmade Kallitype prints for Abby’s project with my wet and dry plate collodion negatives created with this incredible historic Auzoux & Bauz Petzval lens, I will post them here.
This lens shares the same Petzval design as the Dallmeyer, but at different focal lengths, and it is a convertible lens. The primary use is at 220mm F3 and the convertible is 440mm at F6. But it doesn’t stop there. I have experimented with removing and exchanging elements with this lens and have a total of 5 different focal lengths and optical signatures available to me.
Cooke Series II 13 inch F4.5 Variable Soft Focus
As I begin to make my handmade Kallitype prints for Abby’s project with my wet and dry plate collodion negatives created with this incredible historic Cooke Series II soft focus lens, I will post them here.
The Cooke Series II is a legend because it was the first professional quality soft focus lens that started it all. This lens offers no fall-off, edge-to-edge, whether you want tack-sharp images or soft focus. The variable soft focus allows me to dial in the spherical aberration I desire. This lens is unbelievably sharp at infinity, and at portrait distances, it has the smoothest bokeh of any lens I have ever seen.
TTH 12.37 inch RVP F8
As I begin to make my handmade Kallitype prints for Abby’s project with my wet and dry plate collodion negatives created with this incredible historic TTH RVP soft focus lens, I will post them here.
The RVP soft focus lens is rare and unusual. It is small, lightweight, and performs differently than any meniscus-style lens I have ever used. If I can deal with F8 and I want something unique, this is my lens of choice.
Dallmeyer Stigmatic Triple Convertible
As I begin to make my handmade Kallitype prints for Abby’s project with my wet and dry plate collodion negatives created with this incredible historic Dallmeyer Stigmatic triple convertible lens, I will post them here.
This tiny little lens is the original lens on my 1880s Eastman Dry Plate camera (serial number 2). It is a fantastic performer and covers the whole plate format wide open at infinity. I have three lenses in one, 6 inches, 9 inches, and 12 inches, all in the palm of my hand. This lens isn’t a soft focus design, but when I want an uncoated, somewhat sharp image and I need that in a tiny little package, this is the lens for the job. I often backpack with this lens and my 8×10 camera.
Derogy Grand Angulaire 180mm F11
As I begin to make my handmade Kallitype prints for Abby’s project with my wet and dry plate collodion negatives created with this incredible historic Derogy Grand Angulaire 180mm lens, I will post them here.
This is a relatively new lens for me. I bought it to photograph the historic mills of the Ozarks, but I am finding a place for it in my bag for Abbty’s project. I typically shoot this lens wide open, so long as I can tolerate F11 with my Calotype or Collodion negatives.
Ross 11.75 inch Rapid Symmetrical F8
As I begin to make my handmade Kallitype prints for Abby’s project with my wet and dry plate collodion negatives created with this incredible historic Ross 11.75-inch Rapid Symmetrical lens, I will post them here.
Ross was one of the finest lensmakers in the world for a very long time. This 11.75-inch F8 lens was made for the whole plate format. It is small, compact, and easy to carry. I also purchased this for photographing the mills, but I am carrying it with me in my case for Abby’s project now.
Rodenstock Monar 8 inch F3.5
As I begin to make my handmade Kallitype prints for Abby’s project with my wet and dry plate collodion negatives created with this incredible historic Rodenstock Monar lens, I will post them here.
This lens won’t cover the whole plate format at infinity, but that is not a negative for me. If I want a keyhole effect with petzval bokeh, this is the only lens in my lineup to deliver that. I also love using this for closeups (flowers, grasses, etc) because the bokeh at these shorter distances is unique.