Posts Tagged ‘Arts’
OK, let’s start with the new member of my family. Please read captions of my images, this post will be more in telegraphic style.
I bought a petzval lens! Gasc & Charconnet Paris Vintage lens is less known and less expensive than Dallmeyer or Hermagis but it’s in the same quality range. Made in years around 1860′s. So now I’m playing around, see what the baby have to offer. Please read the captions and you’ll see what images are done with the lens. Most of them.
I’m so much in love with carbon prints! it’s amazing! I love it.
Dry Preserved Collodion Negatives
As much as I love the idea of not carrying all the chemistry and a darkroom around, the dry collodion is not a shortcut. You spend ten times as much time to process one plate. Just developing of a single plate that I’ve shot today it took me literally an hour! That being said, it’s very useful tool to have in my assortiment of expression.
PS: That chopped down tree was cut by a beaver. It’s amazing, that this animals that are almost extinct are living literally in downtown of Dolenjske Toplice! Look carefully the last image, you’ll see that the beaver chewed whole trunk! So cool!
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.
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…
As you can imagine this wet plate process is not cheap and as a professional photographer I need and want to make a living with wet plate collodion process. I’m presenting two commercial projects in which I find great potential and as always want to share with you.
In collaboration with Gallery Fotografija from Ljubljana I was assigned to make a business gift for Riko company. I photographed Škrabčeva domačija museum in wet plate collodion glass negative and made salt print, toned with gold chloride. It is awesome and I’ve sold it to Riko. From the print we’ve made an edition of 300 inkjet prints on hahnemuele photorag paper and presented in a folder as you see it. The inkjet printing, the presentation and the folder was designed and made by Luminus company.
Second assignment came from a known Slovenian curator. She hired me to photograph the house of her father in law. I’ve made 5×7″ wet plate collodion ambrotype. An interesting detail is that the house stands in the Puhar street in Ljubljana. Janez Puhar was an inventor who invented photography on glass in year 1843. Unfortunately nobody replicated the porcess after his death. Anyway the gift was a total success.
If you want to hire me to make on-location photograph of you or your house or do whatever in wet plate collodion process, I charge 150 EUR for the first plate and next plates are 30 EUR each. Email me for inquiry.
Now, after I quit my long-term job as a photojournalist, I’m raising stakes on my art career. I have the best possible education a photographer could wish, I’ve graduated at Prague’s FAMU Academy, was working with Oliviero Toscani in Fabrica (UC of Benetton) and did my postgraduate studies at London College of Printing. On top of that I’ve took workshops with Martin Parr, Duane Michals, Steven Gill, Francesco Zizola, George Georgiou, Vanessa Winship, Joel Peter Witkin, Paul Graham, Pep Bonet, Paul Lowe, Klavdij Sluban and many others.
On top of that I was living together with nowadays stars of contemporary photography. My roommate was James Mollison at Fabrica and in my class at LCP 2002/03 was Olivia Arthur (Magnum agency) and Leonie Purchas, last but not least at Colors Magazine I was working also with Oliver Chanarin and Adam Broomberg, to mention just a few.
After my postgraduate studies in London I got my first child and I came back home, build a house and got my second child. It was brilliant decision, to establish family while being young, but I must admit that career wise I got stuck. And when you get stuck in a stuck country like Slovenia, then you feel like an oversized solid shit that can not get through.
Nevertheless this current recession brought me to a liberating thought. All jobs are paid next thing to nothing, so why not get paid next thing to nothing, for something that I’m crazy passionate and addicted to, that’s photography! My idea of photography!
My ideal medium for photography is a book. I love making books. I handmade more then
dozen two dozens books. I decided that I’ll raise a stake on my art career and drop in the party through the back door. I will make a book on my best project Flower Power! Next week I’m getting an advice from Klavdij Sluban on that. The man won European Publishers Award for Photography in 2009, so I’ll get the best guidance I can! In August I’m making a promo video about it. Then I’ll launch it through Kickstarter and by November the book should be on your table!
For those who don’t know the Flower Power project, here’s a short sinopsis. Flower Power series is a personal rebellion against politics and news-photojournalistic-safaris dictated by well oiled public relation machine. In my images I’m instead of glorifying politicians, focusing on plants and degrading politicians on disturbing backgrounds. Here are some recent Flower Power images that I haven’t publish them yet, the best off collection you can see on my site.
May the Flower Power be with me and you!
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!
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!
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!
Two days ago I saw this flooded tree and I knew immediately it will look good on picture, but there was too much water, I couldn’t come near the tree. Yesterday I saw the water level has fallen, but didn’t had time to make the picture and on other hand I knew the flood will be gone by tomorrow, so today I decided to make the picture. Only problem was that I had to work in Ljubljana, to make half a dozen on location portraits for Mladina weekly. OK, I did it with digital camera, but still a lot of work. I decided I have an hour to make the collodion image, no more. I drove to the place, set up the tent, made a test and then also the plate. All that in 42 minutes. I cleaned the set up and head to digital work.