Posts Tagged ‘artist’
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.
huh, last week was busy so I need to catch up. Sunday I’ve returned from USA where at George Eastman House I took part of a workshop of Carbon Print process under mentorship of Mark Osterman and Nick Brandreth. The workshop was three days but I spend the whole week in Rochester to study their collection of prints, their collection of historical and their library. That was the most exciting week ever! Where to begin, where to begin…
Well, look at images and read the captions and hopefully some passion will get through.
With the project I’m trying to document the state of bankrupt companies with emphasis on the things that workers left behind. I’m known as a portrait photographer and although this time there are no people on my images, the human presence is very evident. I hope you will enjoy the video and hope to see you at the opening!
Dearest readers, one more thing. This is the 1000th blog post on my blog! I’ve been blogging since September 2006 and here we are at the 1000th post! A lot of things changed in this time and I’m happy I was blogging about it. I was thinking hard how to mark this anniversary. Due to the occasion, let’s call this week an artist to artist week. If you send me something that you’ve done I’ll send you back something that I’ve done. It’ll probably be a gelatin print, but who knows… If you make a good marmalade, I’ll exchange a print for a jar of marmalade. Or for whatever, just please keep in mind that the offer stands only for a week, so if you are really up for “Creation 4 Creation” deal, please send me before 7th of October 2013 on the address Cviblje 40, 8350 Dolenjske Toplice, Slovenia, EU. And don’t forget to write your address
Last week it was a topshit week. Sasha Huber and Petri Saarikko are my dear friends from Fabrica / Benetton times. Sasha was invited to prepare an exhibition in Eisenwerk – Frauenfeld. I’ll talk more about the exhibition after the opening, but I can say that an important part of the exhibition will include also ambrotypes. Sasha commissioned me to make ambrotype portraits illustrating a certain aspect of her work. We were really working hard and I think we’ve done great work. Here are few plates that I’ve done as a test.
The theme for this post is actually how inspired I got in those short days that we worked together and we lived art. We discussed so many projects. Petri, for instance, founded Kallio Kunsthalle, gallery of contemporary art in Helsinki. He presented me all the exhibitions he curated, concepts, views, tools, impressions, etc… We shared our views on art that we do, that others do, contemporary art that inspire us, old projects, trends, currents and our plans for the future. Oh, very sprackling conversation/s…
On Sunday we went to Fotomuseum Winterthur where we saw an exhibition by Lewis Hine. I’ve met there with a fellow wetplater Peter Michels and on Moday I drove also to Nurnberg to visit another wetplater Peter Kunz. It was really cool to see his amazing studio! And you know where’s located? In former facility of Quelle factory. I promised to come back and do some plates for my exhibition Great Depression 1912-13. Peter has really amazing studio with topshit equipment. I’m attaching some behind the scene images.
On the way back I left Switzerland at 10am came to Nurnberg at 15.00 hang around with peter for couple of hours and at 19.00 I took my drive back home (690km) and arrived at 6:30 am. Altogether there and back I drove 1950 km. I drove whole night back inspired of all the art I consumed, shared and created…
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!
This is a photograph made with the process invented in 1839, called salt print process. The print is made from contact copy of a wet plate collodion glass negative. Size of the print is 40x50cm or 16×20″. The size of the image is 25x30cm or 10×12″. The print was toned in gold chloride toner and has a beeswax finish. The paper used is Fabriano Satinato 210gr, 50% of cotton.
Print is a limited edition of 12 copies. The print no:1 I’ve put it on ebay (LINK) and starting a week long auction starting at 0.99 USD.
PS: Print was sold for US $182.50. Thank you!
First of all I apologize for absence from my blog. SO many things is going on, I always want to write what happened in Poland and Serbia first. I decided to write as it happens. Today is a milestone in my career. I know, another one you might say, but hey, they are for free, why not! Seriously, I’ve made a giant leap in salt printing. Yesterday I’ve made a great wet plate collodion negative, 8×10″ format in very difficult circumstances. First test was foggy, my tent was leaking too much light. I solved that and my first negative was underexposed, second one was correctly exposed, but wind shook my camera during exposure. Then rain started and I start to pack in my tent. After 15 minutes it stopped and also wind stopped blowing, so I unpacked my things and made the third plate. It was close to perfect with few annoying developing marks.
For the forth plate sun started to shine and I’ve made an estimation how much should I cut the exposure. The fourth plate was p.e.r.f.e.c.t. Well, when I was developing the negative, I was disappointed, because whites exploded in 10s. My first reflexion was to cut the developing time, but then I remembered what Mark Osterman is saying, to focus on blacks, to keep void in the negative and observe appearance of fog in dark areas. I was developing for 90 seconds although I could go on for another minute, but I didn’t want to risk of getting fog. I had all the information on the negative and I was intending to redevelop it anyhow. Redevelopment is a process of building the density of a negative after it is fixed. Yes, it’s true sorcery, but it works. Salt print is very low contrasty medium so you need to build up super contrasty and dense negative to make a good salt print.
Few days ago I’ve received a shipment from ArtCraft, I’ve bought 1gr of gold chloride so I’ve made gold toner. And long and behold, here is the result. I’m amazed with dynamic range of the salt print. Take a look, there are details in the brightest and in the darkest part of the print. Tomorrow I’ll make more prints and wax them. I’m so excited, with this technique so many opportunities are opening!
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?