Posts Tagged ‘photographer’
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.
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
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.
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!
My dear readers,
I wasn’t blogging last month since an avalanche of obligations was collapsing on me from all sides. So chronological order:
19. April 2013, Group exhibition Materialnost in Kibla Portal, Maribor, Slovenia. I was presented there with one huge print that works really good! Exhibition is open until 15th of September 2013.
Then Mladina magazine issued a special issue and I had to make 24 portraits of renown Slovenian opinion leaders. I was tempted to do it in wet plate collodion technique or at least on film, but under the time constraints I decided to go for digital and furthermore to find a visual concept that would be feasible in any location and would produce the same kind of portraits. I wanted to make studio portraits although I knew I will not have a studio. But since I graduated at FAMU, Prague’s Academy of Fine Arts and that also means I’ve earned a PhD in improvisation, so I resorted to improvisation. I’ve made a set up that I could apply anywhere and I could transport it on a bicycle. I wanted to get uniform kind of portraits either it would be taken in offices or outdoor location. I’m attaching the most wild behind the scene location The issue looks fantastic and I received compliments by editors, because they are aware how much I needed to bend my back backwards to pull this out. Technically I was using Nikon D3, Nikkor 105mm macro lens, one Nikon Speedlight 900, a firefly softbox and two reflectors.
Chronologically looking then I had solo exhibition opening in Krka Gallery. I’ve blog about that already. LINK. By the way, today is the last day that you can see the show.
Then we went to European Collodion weekend in Eindhoven, Nederland. The event was great, organized by Alex Timmermans. The concept was that we gather and make some plates together and hang around. We were about 37 artists from countries like UK, France, Belgium, Germany. Even Gerald Figal, President of Collodion Bastard association came from USA, although if you ask him, he will claim that he arrived from Tenesse. Also East side of Iron curtain was well represented by artists from Bulgaria, Slovakia, Czech, Poland and of course Slovenia. I’m sure I missed some country, but you get the idea, pretty good group of creatives.
I learned a lot of small, but super important things. Like Kal Khogali showed me how is he redeveloping wet plate collodion negative and his method is much better then mine. Furthermore he used his gold toner to tone the salt print and I loved the effect. I would never buy a toner that cost 70 EUR if I would not see the effect that it makes. I showed him my little tricks, that I’ve mentioned on my blog already. Oh, the best thing that I’ve learned from Kal is how to seal a tent Eskimo Quickfish 3 to be 100% light proof. I will make a video about that. It’s simple and super efficient!
At European Collodion Weekend I tried to organize a Harlem Shake video, but people were not up for it, so I’ve made this video
I went to Holland with Grega Cokan and we drove about 2500km (both ways). When I got home I got a commission from Mladina and had to go next day to Vienna (444km x2) and a week later I drove to Poland 980km and few days later to Novi Sad, Serbia 800km and then home 600km. I had another exhibition in Poland and another in Serbia, but more about that in the following post. Before going to Poland I had to finish photoediting for Global monthly magazine and also preparing everything for exhibitions. And in that week I got also two commercial jobs to be executed that week and since I was not only exhausted physically, but also financially, I had to do that as well. I’ve made great stuff though, I’ll publish it later.
Last month and a half was the most intense time in my career and I wasn’t sure if I will pull everything off. Actually I was just trying to keep my nose above water and not be suffocated by the avalanche of everything. To make things worse I didn’t had time for sport (running doesn’t count) because of all obligations that I had, but yesterday I’ve played in-line hockey for two hours. I’m not yet friend with hockey stick and puck doesn’t like me very much, but nevertheless I feel like million EUR! Full of oxygen. And I’ve done it! I pull everything off with a success! There is nothing better then a victory in a month long battle! More about it already tomorrow.
PS: The making of a group photo:
I’m still working hard on Wet Plate Collodion process, but negative on glass, not positive – an ambrotype. Two days ago I gave myself a challenging task. To do a nice wetplate negative in challenging conditions. I set up my darkroom tent in a park near my house, choose one motif, two view cameras and devote eight hours to make a good ambrotype and a good negative. It’s still winter in this corner of the world (Slovenia,EU), so I mixed my chemicals for -1⁰C temperature, but in my tent there was + 5C, so developing was quite demanding. Nevertheless it was a good day. Very good!
Print for sale. Size 30x40cm, FomaBrom baryt paper, toned with sodium sulfide and sellenium toners. Bidding auction on ebay. [/caption] Today I’ve printed the wet plate negative, format 5×7″, on a classic gelatine photographic paper. I was doing tests what combination of paper, exposure and toning works best. I decided to go for split toning with sodium sulfide for highlights and selenium toner for shadows. The toning increases stability of silver, so it will remain like this for at least a century. This print was done on FomaBrom fiber based paper, size 30x40cm (12×16″). All process were done by museum archival standards. I’m selling this print on ebay – LINK. Still learning how this ebay works, so I’m opening a bidding auction. This goes for the first print in edition of 12. Rock and Roll!
Finally I have a good and solid headrest for my wetplate portraits. I was looking for a headrest and in USA they costs about 600 USD + shipping + customs. I tried to use a microphone stand and that’s useless since it’s not solid enough. Some time ago I was doing a portrait of a traditional blacksmith Miha Krištof from Maribor, Slovenia and I knew he was able to make a good headrest. It’s really good, solid and it looks slick! I payed 300 EUR, which is not cheap, but when I saw the result I was very happy. It’s an excellent investment! I’ve made this videolog to show it to you. If you want to order it as well, I can give you a contact, his wife speaks perfectly German and his apprentice speaks English as well. On the click HERE you can download patents for Head Rest from 19th Century that were gathered by Miša Keskenović. With this plans and pictures of my head rest you can find a local craftsman and order it locally.
The strangest thing happened with my wet plate collodion chemicals. On Wednesday I’ve made the portrait of Nana Milčinski without a problem and the very next day I couldn’t make a decent picture. It took me more then a week to figure out what went wrong and I’ve burned lots of nerves. I’m not going to go into chemical details, but I’m happy I’ve solved the problem. Luckily if a wet plate gets all dirty and full of stains, you can call it an art and you get away with it. You can see the stains and fog that is appearing on some pictures. I’m happy that I’ve resolved the problem/s and on the end of the day I’ve learned a lot. Really a lot. I’m finally at the stage that when a problem occurs I can systematically find it and resolve it.
The worst thing was that this problems were occurring when I had to do a demonstration of a wet plate collodion technique on two photo-fairs in Maribor and in Zagreb. Very stressful! Oh… I’ve bought a tent Eskimo QuickFish 3 and now I have a mobile darkroom. It’s very good, although joints are not strong enough so I’ve asked my friend to reinforce them. BUt it’s a joy to work in it. I set it up in 40 seconds!
Photo: Goran Katić
In few days, that’s 29. October 2012 there will be an opening of a group exhibition in Kulturni dom in Gorizia in Italy. I’ll exhibit my Wet Plate Collodion portraits and some large format portraits. This weekend, that passed, before the opening in Gorizia, I’ve exhibited some of the pictures on a folk celebration that happened in a village where I grew up, in Straža pri Novem mestu. Every year villagers gather to revive a folk tradition of pealing corn and so we made the exhibition for the night. A jolly evening indeed. HERE is a report from a local TV, Vaš kanal.
Today, 16th of September 2012 is the 90th birthday of Božena Pelikan, the youngest daughter of famous photographer Josip Pelikan. As a homage to famous Pelikan family and a humble gratitude to the photographical heritage of Pelikan family, I’ve made portraits of Mrs. Pelikan. I used Vageeswari 10×12″ camera with sheet film of 8×10″ and a lens Voigtlander Heliar 300mm, f/4,5. For Wet Plate Collodion portraits I used a Plaubel 5×7″ camera and I’ve made some quick takes also with Mamiya C330, format 6×6.
With Museum of Recent History Celje, we’re discussing projects that we might do together and I’m all excited since potentials are enormous! The studio is without a doubt one of the best preserved luxurious glass photographic ateliers in Europe with original equipment used by the famous Slovene photographer Josip Pelikan (1885–1977). More about it on the links bellow.
Museum of Recent History Celje / Josip Pelikan Photographic Studio
Panoramic view of Josip Pelikan Photographic Studio, Slovenia Landmarks by Boštjan Burger
Josip Pelikan’s photographies in the digital archive, DLib.si – Digital Library of Slovenia