Archive for the ‘Alternative photography process’ Category
Two years ago, at the start of my wet plate collodion path, I set myself a project to document state of bankrupt companies. Imagine the moment when the last worker at the last shift, turned the lights out. The moment when it became dead silent.
Now when I’m looking back at my videos (LINK) even blind would see the progress I’ve made. Nevertheless I love imperfection on my plates, so my plates don’t compete with flawlessness of film. This plate that is published under is about as perfect as I want it to be.
Last Thursday I went back to photograph Novoles company and Marcos Núñez Cid was recording a video about my project. He made a true masterpiece. I’m sure you will enjoy it.
Let me highlight that this project is getting quite some attention. First I had a beautiful exhibition in Gallery Photon, Ljubljana, Slovenia, then it was published in DOC! Photomagazine, issue #21, from pages 140-169 and in May, it will be featured in one of the UK’s leading photography magazines. The project was chosen to be presented on a group touring show under organization of European Month of Photography, so if I understood it correctly it will travel across Europe. Last but not least, I also sended this images to Slovenian Photography of the Year competition and the project did not pass even the first round of selection of 30 artists! If that’s not an achievement, then I don’t know what is!
In yesterday’s issue of Delo, the most important Slovenian daily newspaper, a huge article was published about the project of reviving skylight Studio Pelikan. It was a joy to see again Jure Eržen, a colleague photojournalist and of course he made fantastic pics of me working. He is one of the best if not the best Slovenian photojournalist. Saša Bojc made a lovely article and by luck also Božena Pelikan joined us. She is 91 years old youngest daughter of Josip Pelikan and you can imagine her contribution to the article was very interesting indeed.
On this blog I’m publishing the negative I’ve done that day. It’s digitally inverted wet plate collodion negative, format 10×12″, that’s 25x30cm. I had big problems with dust, but I’ll retouch the negative before I’ll make a carbon print out of it. I’m learning how to retouch a wetplate collodion negative and with the help of Mark Osterman, I’m on a good path. More about that later. For now, just a quick note, if you missed the article.
If you are in Vermont, USA, you can see one of my salt prints that was chosen for the exhibition of handmade photographs. It’s exhibited in Vermont Center for Photography. These images are done by Terri Cappucci. THANK YOU!!
Markele Zid made this video about our daily life in Studio Pelikan. It’s a job, somebody’s got to do it… :-)
We’re working on a website too. You must come to see this gem from our cultural heritage! It’s part of Museum of Recent History Celje and it’s located on Razlagova ulica 5, Celje, Slovenia, EU. The studio is open for public and I do make public portraiture sessions, but I’m not in the studio every day, so please send an email of inquiry to address tajnistvo(at)mnzc.si and then we’ll find a term.
On Thursday a student came to my studio to make a wet plate collodion negative and a salt print. Although we were working for four hours I barely made one decent wet plate collodion negative and a gelatine print. After she left I’ve did trough maintenance of my silverbath although it was something more then a week after I’ve boiled it. Today I finished with all the procedure and decided to make some tests. First I photographed neighbor’s beautiful cottage. It’s a perfect motif, because it has deep red shadows and bright highlights. Why simple if we can push it, right? As you can see I first made a step test, to establish correct exposure. Step test goes, 5s, 10s, 20s, 40s at aperture f/16. My silverbath have pH of 5.5 so it’s pretty fast. If you don’t know, high pH is suitable only for wet plate negative, for positive you need to lower it to about 3-4pH. on Ebay I bought spot meter so I did Ansel Adams zone system. I measured the dynamic range of light and did a step test. On the picture you see EV numbers. Where the number is, there was measured. Roof, shadow, bush, treetops… Of course collodion is very sensitive to blue and UV and it’s not sensitive for red and orange. Also it’s very low sensible to green, so the lightmeter readings aren’t reliable, but it’s an estimate.
I decided for 20 second exposure, where blacks were transparent, empty. You don’t want to have blacks that are gray and whites that are gray as well! I’ve been blogging about contrast and density manipulation before (LINK). The second plate was a perfect negative. The scan did not capture full tonal range and missed most of highlights in trees, since I didn’t waste time with HDR scanning, but on the negative you can see perfectly tree tops.
Encouraged I decided to make a 10×12″ negative of a tree that I was photographing last few days. The tree is few hundred meters away from my home, so I set up the camera and went home for a plateholder. When I came back my daughters climbed the tree and I took this image. I just measured light in the black and it was 8 EV, so I exposed 30 seconds at f/5.5. Tomorrow or day after I’ll make a carbon print from the negative. Markele is also making a video. It’ll be fun.
THis weekend I went to Pula to put down my exhibition. We’re planning to make a week long wet plate workshop at Croatian seaside. Dates aren’t fixed yet, but it’ll be in the beginning of June. Interested?
more then a year ago, I’ve ordered a headrest from a master blacksmith, Miha Krištof and he made an astonishing product. In the post from December 2012, I even published links of the bleuprints that I gave to the blacksmith with intention that everybody can take this blue print to a local craftsman and order a headrest. I was receiving several requests if I can order one more headrest, but the blacksmith was clear that if I want to make a new order, I need to order four at the same time. It happened that few months ago I did received three orders at about the same time and I did order four more headrests. So for now, I’m selling one headrest and gathering orders for more headrests. After I submit the order, it takes about a month time that blacksmith finishes his masterpiece. So the price for the headrest is 500 EUR, free shipping. If you’re interested to become a keeper of one of this sturdy headrest for a century or so, please send me a private mail on email@example.com
I’m also coming to European Collodion Weekend so I can bring you one. Or two. Month of May is not that far and remember that it takes a month to make it.
Few weeks ago I participated at a group exhibition Flower Power in Kallio Kunsthalle in Helsinki. The director and founder of the gallery is Petri Saarikko with whom we were working together at Fabrica, the research center of communication of United Colors of Benetton. We were there in years 2000/01. I’ve made this short video about the documentation of the exhibition. I hope you will like it. The gallery is known for it’s non-mainstream exhibitions and it’s alternative representations of artwork. I’m saying they are post-postmodern gallery.
In fact I had two exhibition. Beside the one in the kunsthalle, the second was more candid. Petri printed my Great Depression pictures and we pin them on their pinboard and put them the window of Elokolo. Elokolo is an organisation that among other things also offers support to people who became unemployed. In the morning when they are offering free meal, they invited me to give a speech about my work, highlighting Great Depression project.
I had a lovely time in Helsinki. I met Tarmo, the main wet plate president from Estonia. In Helsinki we did a crash course on wet plate negative and salt printing. I tell you, wet plate negative is going to be the new topshit thing! Tintypes are so tenties…
The video and about the show photographs done by Markele Zid
Last few weeks too much stuff happened. But let me share them on my blog chronologically. On 13th of February I’ve opened a solo show in Slovenian Association Club in Pula, Croatia and it will be open for a month time. On the show I’m exhibiting 39 pieces of my series Family Album. With resources that I had, I was using different kinds of frames, so I conceived the show in a dynamic manner. Different walls, different frames, different emotions,…Yesterday I’ve made a great self-portrait with my daughters. Do you know the story of Janus? Wiki: In ancient Roman religion and myth, Janus (Latin: Ianus, pronounced [ˈiaː.nus]) is the god of beginnings and transitions, thence also of gates, doors, passages, endings and time.
Ciao ragazzi, I’ve listed a new print on EBAY, starting as an auction of US $0.99.
The story about this print is:
Beside 19th century photography processes I love contemporary art just as well. By Wikipedia the definition of contemporary art begins with a sentence: Contemporary art is art produced at the present period in time.
I am not an art historian, but I think that’s nonsense! If I create the same kind of images that were made 100 years ago, how can that be a contemporary art work? By my definition contemporary art has nothing to do with the current time that was created but with the attitude to create something that wasn’t done before. Contemporary art (by my personal understanding) is taking reference from art history but involving in the concept contemporary issues and by doing that the artist get across a certain personal view, a certain personal message. Because contemporary art is always a sort of an experiment, that is why contemporary art is so experimental, so unique and without one leading concept or aesthetic.
And this is my artistic credo in creating this photograph. Most of the story is told in the movie. In the movie I’m making a reference to the book Looking at Photographs by Szarkowski. I want to add that in 1995 I’ve seen an exhibition of Andreas Gursky in Georges Pompidou Center, Paris and one of the most impressive images was a huge picture of running shoes. I can’t find the image on Internet, but let me describe that visually the Gursky’s image was looking like a perfect product shot printed as a C-Type print size about 2×3 meters. I didn’t like the image at the time and to be honest I’m not fan of his work even now, but that does not mean I can’t learn something from his work.
The point of Gursky’s running shoes is basically the same as mine. I know, you’re seeing that kind of shoes every day, but look again! In the contrast to Gursky, my running shoes are really mine and I did run many hundred of kilometers with them and wore them out totally. My feet are imprinted in the shoes and so are thoughts… The first lesson I draw from Gursky’s work is that the trivial object can look extraordinary if presented in such a way.
The second visual reference is the book One Third by Klaus Pichler. I bought it at Anzenberger Gallery bookshop. The book is fantastisch! The little visual element that I needed for my image was the elevated object on black canvas.
The carbon print is made from wet plate collodion negative and it’s a part of a limited edition of 12 prints. I’ll donate one to George Eastman House, where I’ve learned this beautiful technique and I’ll donate one print with the running shoes to the SONS Museum for the collection of shoes by artists. But the copy number one goes to ebay as an auction starting from US 0.99$.
With the work I’m making an artistic statement about our consumer society, about how public relation image is cherished more then the real thing or a real person itself.
Because readers of my blog share with me a passion toward technical solutions of these antiquarian techniques I feel obligated to write about that as well. I was using Vageeswari 10×12″ camera with Voigtlander Heliar 300mm lens, closed down to f/32. I’ve illuminated the shoes with four flash heads of joined power 7000Ws and to achieve good density I had to flash 54 times. Wet plate collodion negative loves flash light, but as a lazy medium needs a lot of light! I was developing the negative for 3 minutes.
For carbon print I was using Indian Ink as a pigment and for temporary support of carbon tissue I was using the back side of cibachrome paper. You can see brown emulsion of the paper in the video. For final support I’ve used fixed out gelatin paper.
On the end let me thank Marcos Núñez Cid, my assistant from Spain for making this wonderful video.
PS: By the way, that’s already second print from the project. You can see the post about the first salt print that was sold to China for something more than US $300 (with shipping).
During carbon transfer printing process a carbon image is transferred from a temporary support sheet coated with a layer of gelatin mixed with a pigment to a final support with the help of weight. Borut Peterlin claims that there is still a room for digital photography in the future as a deadweight during carbon process. More about his views tomorrow, 7th of February 2014, B5 time. Where? Here, on your favourite topshit photography blog!