Archive for the ‘Mladina’ Category
Klemen Slakonja is an actor and rising star of TV show business in Slovenia. Few weeks ago I had to make his portrait, but it was raining. I decided to do the portrait in wet plate collodion just the same. Under rain, no sweat! OK, it was just sprinkling rain, but on the end of the shoot I was all wet. I got used to that, actually. Wet wet plate photographer, why not! I arrived half an hour before the shoot, mix the developer and prepare first plate. We exposed it, but when I wanted to develop it I knock the glass beaker off the table and it crashed in front of us.
Klemen was kind enough to wait that I’ve mixed the developer again, but I didn’t filter it, i didn’t had time for that. Plate was fogged so his face wasn’t recognizable. I’ve repeat the portrait with the same camera, Linhof lens and I was exposing normal B&W film. At home I scanned the collodion plate, scanned the film negative and photoshoped that his face was recognizable. Lucky for me, I know all sorts of photography, so if I’m forced to, I use every possible tool to deliver a good portrait to a reader of Mladina weekly magazine. After all the stress, the picture looked fantastic in the printed magazine and it’s one of my favorites.
Perhaps you might wonder why have I portray Klemen as a cowboy. Let me quote Andy Warhol: “I don’t know.”
PS: In less then two hours an auction for my salt print is finishing on ebay. LINK.
Today is an important day in my career. After almost eight years I finished my regular collaboration with Mladina weekly. I mean I will still be doing a cover here and there and some special issue, but the collaboration on weekly basis has ended. The main reason is that my work for Mladina involves travel expenses from my home to Ljubljana and back and when I started the job as photoeditor in year 2006, fuel was half the price. I resigned the desk job in 2011 (if I remember correctly. Maybe was 2010?) to work and earn my living as an active photographer. At the time I was desperate to recalibrate my career to go back to photography. I mean have I study photography in Prague, Italy, UK and payed for it a fortune, just to sit behind computer and edit images that I knew I could have done better? It was fun to ride the camera, but the travel expenses grew whereas photojournalistic salary is much lower then editor’s, so at the peak of recession I’ve realized it’s just not worth the money anymore.
That’s one out of the three reasons.
Second one is that I got in love with photography again, processes that were practiced in 19th Century, Wet Plate Collodion and Salt printing process to highlight just two. Intimately I feel this is the path that I need to take, but with day job in Ljubljana I just couldn’t find enough time to pursue the path.
Third reason was fear. I feared that I will finish my career at Mladina in some car accident. In 7,5 years on the road I avoided many accidents and witnessed many many more. Although I’m safe driver in about 18 years as a driver I had only one accident and even that wasn’t my fault! But still I was afraid this was destined to me. Now I finished the job and I’m so happy that I was wrong about that.
What’s next? The bad news is that I’ve jumped out of the plane without a parachute. I have no safe employee in my sight, that’s for sure. The good news is that I think I know how to fly. Well at least I should know! If who, then I should be the one to know how to earn a living from photography! I have many business ideas! One is about to be tested in 6h 26m 27s (Jun 27, 2013 15:25:38 PDT)! On ebay I’m auctioning a print. When I put this print on auction I didn’t know that week later I will finish this chapter of my life and it’s very symbolic that it’s ending today!
And now to the image above. Zora Stančič is very successful Slovenian artist recognized widely and she’s expressing herself mostly trough graphic arts. When I look back to my first creative portrait in Mladina weekly, that was Melita Zajc in year 2006, I look back with a content on the path I’ve taken and the work I’ve done.
Tomorrow’s a new day! I so much look forward!
PS: How much gay can a step test be? ha, ha…
Two weeks ago I was commissioned by Mladina weekly to do the portrait of a writer Irvine Welsh, a Scottish novelist, playwright and short story writer. He is recognised for his novel Trainspotting. For the whole interview a termin of 30 minutes was reserved, which with other words mean, not time for photographer. I’ve stole 30 seconds for the portrait in the chair, before the interview and the rest was shot during interview. I used medium twin-lens camera Mamiya C330 and EFKE 100 film (I should use ISO 400, I know…). I’ve done also portraits on digital camera, just as a back-up, but those portraits were so boring, I’ll not waste Internet’s space with them. The concept of those portraits was the following. I took a straight normal portrait, I took all classic portraits that are usually done during interviews, then I said OK, let’s make few portraits that will smell like Trainspotting. What do you think?
Yesterday I had an exhibition opening of my creative portraits in Inštitut Jožef Stefan. With curator Tatjana Pregl Kobe, we decided to exhibit my portraits from 2006/07 on ground floor and on first floor my portraits from 2012/13. For Mladina weekly I’m making every week at least one creative portrait of a creative person and although I love making this work, it’s no easy walk, I tell you! I remember that many times I woke up in the middle of the night, because I didn’t have the concept how to do a portrait later the day. Or I was dreaming about it. Nevertheless it’s such a nice feeling to view back on your work and you know it was worth the pain, sweat and stress. And most importantly it’s still worth to continue. Last year I switched my style of portrait photography from vibrant color playful portraits (LINK) to collodion portraits (LINK). I had a feeling that I had to move on. The fact that everybody liked my wicked humor and saturated colors, was just another reason to reinvent my style before going stale. And the change was not easy or comfortable whereas discrete! From digital camera with studio lights (link to the making of video) to old view camera on a tripod and with darkroom. Also the layout of the rubric changed completely. In year 2006 the portrait was published on about 1/3 of a page and now the rubric is published as a spread with a serious text about the person being portrayed. HERE is the link from national TV.
What am I trying to say. Two things. I’m proud on this body of work. And I feel an urge that I want some more of photography. I’m really obsessed! I feel very clearly that I’m on tipping point of my career. I crossed the point of no return.
What has changed? I will not describe my feelings, just actions and then you’ll get the picture.
1) Last week I quit my job as a photojournalist. I will still do gladly portraits for my Mladina weekly magazine, but I can not afford to waste my life on news photographs that have expiry date faster then diaria! I really lost all my interest in politics. Totally. Gone…
2) Revival of skylight Studio Pelikan is one the things I feel so connected with. I feel that although we’re running on no-budget and making small tiny steps, the direction is correct and we just need to continue
3) I’m receiving a huge support in my quest in Alternative photography from all sides. From different continents even!
4) I’m taking part of the workshop of Klavdij Sluban and although I participates at workshops of really famous photographers like Saudek, Oliviero Toscani, Ralph Gibson, Martin Parr, Stephen Gill, Paul Graham, Joel Peter Witkin, Duane Michals, and who knows who have I forgot, Klavdij Sluban is the best mentor. Perhaps I’m taking part in his workshop in a particular moment of my life, but he opened many windows to me and my photography! He does magic. I sensed how he is doing it. I can’t do it yet on his level, but I understood the principle, I mapped the path I need to take. Don’t believe me? You will see the results in few months.
5) Invitation for exhibitions are raining! First one opened yesterday. Next one is in my town of Novo mesto in April. In May I have an exhibition in Krakow / Poland and then in Novi Sad / Serbia. In November I’m having a solo show in the best photography gallery in Ljubljana / Slovenia and also our workshop group under Klavdij Sluban will exhibit in Novo mesto / Slovenia.
6) I’m selling prints. I know, I know, I’m selling it in very unorthodox way, for a small price, but I don’t care. I’m worker, an artist, but I’m definitely not a salles man. I prefer to get 50 EUR now, then 5000EUR when I’ll be a retired old fart!
Last but not least, let me tell you an anecdote. I felt like this before. It was after I’ve done all the exams at London College of Printing and I was chatting with my mentor. I’ve told him how I feel so strongly that my life will change dramatically. I’ve described his how I have all this knowledge that I’ve gained and now it’s the moment when I will confront it with real life, hitting it hard, like a tsunami. Literally few hours later my girlfriend called me and told me she is pregnant
In Friday’s issue of Mladina weekly there will be an article about my portraits and I’ve made this self-portrait today with the help of my wife Alenka Peterlin. The inspiration for the portrait was a couple. First I’ve heard many times, that in wetplate technique I look like a native American, second inspiration was to include an element of exploration and third was that it should look raw.
That’s my aim in photography to explore, search and learn. I know I’m doing it in primitive, raw way, but that’s exactly me, having a hell of a good time. Photography is for me what for some people religion is. A mean to become a better man, to transcend boundaries that were set, to change the world. I hope this (blind) faith is captured in the image
Technical side: It was pretty cold, like -2C and to work at this temperature I’m using a normal developer, I’m just developing longer. Usually about 30-35seconds. I extend also sensibilisation of a plate from usual 3 minutes to 5 minutes. And that all there is. Sometimes I add two drops of nitric acid in 100ml of developer, but that’s not so important at working bellow 0C. It was a lot of light so the exposure was 3sec, f/11. This portrait was taken with Kodak Folding Brownie 3A from year about 1905.
I couldn’t have done the portrait without my lovely wife Alenka Peterlin, she is also a photographer. Thank you
You can see this and many other of my creative portraits on the exhibition in the gallery of Institut Jozef Stefan. Opening Monday 18.2.2013 at 18.00.
Last week I was commissioned to do a portrait of painters duo White Ice Cream. I’ve done a fantastic portrait of them two years ago and I was reluctant to do another portrait, but a commission is a commission and they are great blocks, so I was very excited to see what we will as their portrait. We were talking and we agreed that we will repeat the brick pattern from their cloths that were an art piece. We tried to make a snowman, but in Ljubljana there was no snow anymore so we went to Krvavec mountain, but snow there was too dry, too frozen, so we made this sort of characters. My idea was that they should go full monty and with one hand cover their “pride” and in the other hand they would hold an ice cream, but they were not up for it. We had a good laugh once again
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Peter Movrin is one of the most prosperous and highly rewarded young fashion designer. On HIS SITE it states: “Peter Movrin creates dark knight inspired menswear – long laser cut leather coats, paired with silk underskirts, grey tone raw leather pieces and accessorised with knitted head pieces and balaclavas in a modern attack on medieval attire.”
Mladina weekly assigned me to make his portrait and when I saw his site and video attached bellow, I knew wet plate collodion technique is destined for his portrait. We made the portrait is his shop in downtown of Ljubljana. I’ve illuminated him with Balcar Source 6400 studio flashes, which can be used as a synonym of light burst (6400Ws) that can compare with a nuclear explosion. I’ve scan the plate, then I scratched it with a brush paper and hold it above a flame, so the glass plate broke. Then I scanned it again and in Lightroom I added an effect of vigneting and the result is here! I hope you like it. Gregor Cokan was assisting me.
When I made this portrait I thought this is it! I will use Wet Plate technique and combine it with every tool there is either that’s analog or digital. Wet Plate photographers are often limiting them selves only to the tools that were available in 19th Century even to that extent that they don’t want to scan a plate because they scrutiny it or something like. I disagree. I consider 19th Century photographers a wizards of their own time. They were building their own equipment, mixing their own chemicals and mastering aesthetics of new media. I consider them as intellectuals that were open to wide range of knowledge and were not limiting them selves and this paradigm I like. I thought I figure all out for my next creative portraits! The conceptual and aesthetic approach, chemical part of this technology, illumination and so on.
BUT! (there is a but in every decision isn’t). But yesterday I was trying to make another portrait for next issue of Mladina, but it didn’t work. I mean I’ve made tests and everything was fine, but then people were late and there was no ambient light anymore. I had to make a set up with flashes and I tried to do their portrait without a tests, but in a rush, wet-plate does not work. After one hour I admitted my defeat and was forced to make a digital portrait.
I came to another personal resolution. I will use this technique only if I will have a clear concept and not trying to use it for every portrait in Mladina weekly magazine. It’s just to stressful, not to mention that I need an hour of pre-preparation before the shoot and even then it’s not certain that it’ll work. I mean I have a strong portfolio with my digital portraits, so no worries about the quality.
Peter Movrin’s fashion:
Aleksij Kobal is one of my favourite Slovenian painters and I was very happy to portray him again. Two years ago I portrayed him behind a large glass window (link). We discussed about possible scenarios for the portrait and he suggested to take me to his favorite place on the suburb of Ljubljana. In his work he’s applying modernistic urban architecture that are creating his dreamscape, so I wanted to catch this feeling in my portrait of him. After the main portrait I’ve made few more shots with my Mamiya C330. I like them just as much, if not more. I love the last frame. The rectangular it resembles so much to the monolith from 2001: A Space Odyssey. Not to mention this diffused northern light after sun set. Eternal beauty.