Archive for the ‘Portrait Photography’ Category
The book I’m presenting is a fruit of collaboration at the workshop. I’ve learned hugely by just watching Klavdij going through images, picking one, the other, changing the order, putting it back on the pile and so on. We called it Sluban’s magic, because although sometimes images that were on the table were not impressive at all, but his selection of just say 8 images and juxtapositioning them in certain order, did made a huge difference. You can not understand if you don’t witness it. I’ve been at workshops with many many famous photographers, from Martin Parr, Duane Michals, Joel Peter Witkin and many others, but I haven’t seen anything like it. I knew from our first meeting that all I need to learn at the workshop is to tap on his frequency of thinking and the result is evident here in this book. Mark Osterman gave me a great comment. He loved that I used different camera formats (6×6, 4×5″, 8×10″) and also different processes (b&w film, wet plate collodion – ambrotype and wet plate negative) and I blended them all together in a book almost seamlessly. That’s Sluban’s magic, I tell you!
Dear topshit readers,
I’m awfully proud on the following book I’ve made. I’ve joined an excellent workshop with Klavdij Sluban. Klavdij Sluban is an extraordinary photographer and won so many prestigious photography awards. One of the most important award was certainly European Publishers Award 2009 and this year he was one of the juror for Leica Award 2013. It’s fortunate for us that his parents were Slovenians and although he was born in Paris, he spend his childhood in Slovenia, so he speaks fluently Slovenian (among other half a dozen languages). He made a generous offer to make a whole year lasting workshop and we would meet six weekends across the whole year. His only condition was not to advertise the workshop internationally, but invite only Slovenian photographers. Last week we had an opening of exhibition as the final stage of our workshop.
As I’m describing in the video I was aware that the story about the most beautiful children in the world is not enough. I shaped my concept around my fears and delights of being a parent. When I was a child, ten years old, I burned myself with a gasoline and almost died. When I became a parent I experienced fears for my children and one day I was strucked by a thought, what my parents had to go through at the time of my accident!
The book is on ebay (LINK) if you want a copy. If you want a print as well, I’ve just put two prints on ebay and link is listed below.
A link to the gallery of images on my website.
Here are two book covers I’ve done last month. OK, the philosopher Slavoj Žižek I photographed in 2008 (the blog post), but Danish publisher Samfunds Letteratur recently bought my portrait of Slavoj for the cover of Den nyttige idiot book.
Založba Goga hired me to make a cover of the newest book of rewarded writer Tadej Golob. I had completely open hands. The story is about a recreational boxer that is beaten by life, but he refuse and does not fall. It’s not a book about a champion, it’s a book about a fighter who fights in a ring called everyday life.
My concept for the cover was it has to look raw. Not brutal, but raw. Very raw. I do Muay Thai (Thai Boxing) and I have two pairs of boxing gloves, but mine are modern King boxing gloves, so it took me a while to find one that fited my idea. Of course I’ve done the cover in wet plate collodion technique with an old petzval lens on 4×5″ format to achieve the beautiful rawness.
With the same concept I’ve made the portrait of a writer Tadej Golob.
A week ago the Fotopub Festival finished. I was a founder of the festival in 2001 and was running the show for seven years and today I’m proud to say that the level is so high I gladly enrol as a participant to one of the workshops. This year I enrolled in a workshop with Diana Lui and I was photographing river beaches in wet plate collodion. Heat is a nightmare for wet plate collodion process, but I rethought the process, made few tests and here we go, I was doing wet plate collodion process at 30°C almost business as usual at 20°C.
I’ve made several changes to the process.
1) I lowered the pH of silver nitrate bath from 4pH to 2.3pH by adding few drops of nitric acid into it (about 3 drops per 500ml should be enough, but check yourself)
2) I added more alcohol in my collodion mixture. I have alcohol on the spot and if I see it’s drying too fast I add some more solvent.
3) To my usual developer I added 25% of water and added 5 drops of nitric acid per 100ml of developer. I could add also 5gr of sugar per 100ml, but I didn’t have to.
4) when sensitizing plate in silver bath I reduced the time from 3 minutes to only 2 minutes. Mark Osterman is emphasizing that the sensibilization should be done by observation and not by time, but on the field I observe only the first plate then I do it by time. You can see when a plate is ready for exposure. If you leave it too long in the heat, you will get too much silver on your plate that will become fog during development.
5) I used water as my stop bath, but I’ve added a spoon of table salt to a liter of water. Salt will react with silver and will stop the development process immediately. It’s important to stop development fast if you work without running water and in the heat.
And that’s basically it. If the plate is perfectly exposed it should be developed for 20 seconds. I’ve learned this from Mark Osterman’s manual where he explains in details what does what in the process. I rethought and made lots of tests, wrote him a lot of questions and on the end I came up with results that are satisfying. Last but not least I owe Miša Keskenović lost of gratitude for all the knowledge he shared with me.
Have you seen my video about wet plate collodion at 0°C? HERE is the link. The same logic is behind, only fashion changes. When you understand the process you adjust the process freely to the conditions. Twist and shout the process out!
PS: This will be a supplement to my exhibition on 5.9.2013 in KKC, Dolenjske Toplice, Slovenia.
PPS: All those five steps aren’t probably necessary to deal with heat. Step number 1 makes about 60% of the effect I reckon, but with it you lose at least 2 f stops of sensibility of your wet plate collodion plate.
Sorry for not blogging for a while. You must understand me, I quit my job of photojournalist where I was working for almost 8 years and was working my ass off to provide income elsewhere. And proudly I must say I managed to find a job that is much better paid, so I’m sorted for next 12 months!
Nevertheless I miss weekly portraits assignments so if somebody is interested to be portrayed by my genius in the bottle, just rub my email address.
Few days ago I was playing around with negative wet plate process and I wanted to see if my month old albumen solution got bad and how does it reflect on the plate. It’s important to recognize an error and it’s pattern. Here are two results. I love them both. Not sure if because my daughters are on the pictures or do they have some attraction to you to?
Images that follow are cleaner. I was cleaning my plates with very diluted nitric acid and I doubt that there will be any effect, but it was. I got very clean plates. I also give it a try of Miša Keskenović receipt for a quickclear collodion. Miša started to modify a receipt from Eder and adjust it for quickclear usage. It is based on three salts, NH4I, CdI2 and CdBr2. It’s rich in iodides and very sharp, very contrasty, very thick. Actually it was too thick for this weather, so I got crepe lines. I love it Obviously it’s not forgiving to work with the collodion, but it is rewarding when everything goes well. For more info read the description of an image.
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…
Few days ago I’ve made a portrait of Elvis Halilović.
In his words: “I’m a passionate lensless photographer. For the last seven years, I’ve been photographing using pinhole cameras that I’ve made myself. Through the years, I’ve constructed and used extensively about 40 of them; the largest produced images measuring up to 3 x 4 metres while the smallest could fit inside a person’s mouth. I’m also an industrial designer and a carpenter….”
He designed super slick camera obscuras and made them from wood. They look super cool. He started ONDU Pinhole Cameras project on Kickstarter, aiming for $10.000 USD of backing and three weeks before the end of kickstarter project he has already pledged for $63.000 USD. Check his project and back him. For now, that’s the only way how to get the camera, but he has many worldwide offers for his product.
I’ve done his portrait with his camera, but since I didn’t had a clue what angle of view is, I totally missed the framing. In tomorrows Mladina weekly it’ll be published his collodion portait. At European Collodion Weekend I bought one old brass Petzval lens and check the results. I suggested Elvis that with this cameras also wet plate collodion process could be done, since it uses ordinary 4×5″ film holder. He will lend me one for a ride. Can’t wait!
Month ago I’ve made this portrait, but haven’t published it on my blog. Kaja Avberšek is an illustrator, so I suggested her that I’ll make a wet plate and then she’ll draw on it. Unfortunately I was doing small 4×5″ plates, on the field, so she didn’t draw directly on the plate, but did it on her computer. This is the result. It was published in Mladina weekly and I love how it turned out. Sometimes the publication is an icing on a cake and many times it’s just the opposite, but this time it’s definitely presenting my picture in the best way. Is it a bird? Is it Superman? Or is it topshit?
OK, I’m introducing a new rubric on my blog. It’s a quizzzzzz!!! I’ll be publishing my mistakes I have done with a question what is the cause of the mistake and few days later I’ll publish the answer. Of course if you will not guess it first. Let’s start with an easy one. Here are two plates. Problematic plate has some lines in blacks and in the right bottom corner even collodion lifted off. The other plate has perfect blacks, no peeling problems. What was the cause of those lines on the crappy plate?
Here’s today’s portrait in Josip Pelikan skylight studio. The studio was built in 1898 and Josip Pelikan was working in it from 1920 to his death 1977. Now it’s a part of Museum of Recent History Celje.
On the plate I have some lines from not perfectly cleaned plate. I cleaned it several days ago and I thought it’ll be OK, but after few days, a plate in a box, needs to be cleaned again. I like it as it is but I strive to achieve Quinn’s perfection and then scratch it if I want
Those edges are from albumen coating, because I had that box prepared for wetplate negative. Nevertheless it’s kind of cool, I might use the effect in the future.
Below there is a wet plate collodion negative format 10×12″ (25x30cm), digitally inverted into positive. I wanted that everything would be sharp, so I had an exposure of 15 minutes at aperture f/32. It’s cool one, although I knew at the time that perfect exposure would be 25min, but I was afraid that the plate would get dry. It was quite warm in the studio.
The portrait was done with modified Plaubel Peco 5×7″ camera and Voigtlander Heliar 300mm f/4,5. Exposure 6 seconds, f/4.5
The studio was photographed with Vageeswari 10×12″ camera and same Voigtlander Heliar 300mm f/4,5. Exposure 15 minutes, f/32.
PS: Do you see the difference between collodion negative picture and the digital one? I didn’t notice that while I was developing the plate the keeper of the gallery changed a small detail and I don’t mean my 4×5″ camera. Leave a comment Internet!