Posts Tagged ‘Photography’
Astrid asked me if I could take a picture of fantastic vintage studio backgrounds that were using Josip Pelikan, so after I got a permission from the museum I’m publishing them on my blog. On Flickr you can download a hires file of the image, just click all sizes. Vintage backgrounds are dated about 1930′s. The skylight studio was built in 1898 and bought by Josip Pelikan in 1922. Nowadays Josip Pelikan Photographic Studio is a branch of the Celje Museum of Recent History. If you going to use the files to make your own vintage look studio background, just leave a note in the back that it was done on the basis of backgrounds from Josip Pelikan Studio, Celje, Slovenia, EU. A lot of people from MNZC museum worked hard to renovate the skylight studio and we owe them at least a credit. THX.
I’ve been thinking. My friend ordered a painted movie poster from India and if you know a painter’s service like that, share the info and good luck! Perhaps we can make a group order and get a discount. Just a thought…
Yesterday I was portraying in the studio and I’ve made this plate. Also a colleague photojournalist Andraž Purg came by and made a portrait of me.
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.
Benjamin saw my videos on youtube and decided to learn wet plate collodion process so he drove from Switzerland for an individual workshop with me. It was great three days. We were doing basic wet plate collodion ambrotypes, wet plate collodion negatives, salt printing and then for fun we were doing also collodion transfer to paper and to his sketch book cover. Mark Osterman from George Eastman House museum explained that the name for this transfers is actually Pannotype. We were mixing and testing different collodions, silver baths with different pH, different developers, changing exposure with development times. The result of that kind of workshop torture is a surprising finding that a plate that was illuminated by 30% less could look brighter if developed with less developer in a perfect way.
My way of teaching is to use one motif and keep on photographing it focusing on one aspect of the process. Most demanding part of the workshop was wet plate negative. I’ve mixed new negative collodion, raised pH of silverbath to 4.9pH and with this I raised sensibility of collodion process, so I could make a portrait of Benjamin in wet plate collodion negative with f/11, t=4s. I portrayed him outdoor in shadow. Then we redeveloped the negative and we’ve made a salt print from it. Fun weekend!
If you want to know more about my workshops click on the LINK to my site. Let me just add that with my workshop you get also Mark Osterman’s Collodion manual. I was thinking to write my own instructions (just like everyone else who have 5 min of free time ), but I’ve decided I’ll rather buy bunch of the best collodion manuals and include them in my workshop offer.
This weekend a colleague Jeroen de Wijs visited me. He is a collodion photographer from Holland with outstanding knowledge and experience in collodion photography. He was learning collodion photography from Mark Osterman and France Scully Osterman at group and individual workshops. We’ve visited Studio Pelikan and today he thought me how to do dry preserved collodion negative. This process is much more complicated than ambrotype and tintype so not many people knows it and even less practice it. The major advantage is that dry collodion plates can be prepared at home and they need to be exposed and processed in about month or two time. The disadvantage is that plates have very low sensibility for light. Like the plate that I’m publishing was exposed for 75 minutes at a cloudy day at aperture f/11. OK, I was using very old, four months old collodion negative, that it could be considered as a dead collodion, but if I would use young collodion, it would still take about 15 minutes. Dry plate collodion was the medium that made it possible to photograph interiors of churches and other buildings, with exposure times for a whole day. As you probably guessed the dry collodion plates process is suitable for landscape photography, not for portraits. At the end of the day I’ve made a salt print from the negative and I call it a very good day
PS: In two weeks I’m going to Rochester to George Eastman House for a carbon printing workshop. So exciting!!!
I have a new website, redesigned with new logo and everything. Tomato Košir, one of the best Slovenian graphic designers designed the logo and helped me with other elements. Yesterday I’ve wrote new version of my fictional biography. I love it! Please click on the image for the link or at www.borutpeterlin.com
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
My last post was about my commision in Switzerland. I’ve shot many plates and when I’ve came back I was sunning the bath for a day (bright sunny day), filtering, etc, but I was still not getting that super sharp shining silver on my plates. With usage of silver-nitrate bath, alcohol, ether, iodides, organic particles and other stuff they dissolve in the bath and you can not get them entirely out with barely sunning.
Common practice is that silver-bath is regularly sunned and boiled only once or twice a year. That goes for ambrotypes, that’s positives. Whereas wet plate collodion negative technique reveals all dirty secrets of silverbath (not to mention photographer’s secrets) and if you want to get a good negative frequent boiling is necessary. Major enemy of wet plate negative is excess of iodides in silverbath and the syndrome of that are white dots in negative or black dots in positive. Or to quote Mark Osterman: “free iodides” cause pinholes in collodion images.”
So what I’m trying to say is that I very often boil my silverbath for usage in wet plate negative, but I also fall in love in the quality of ambrotypes that are produced after freshly boiled and cleaned silver-bath.
How is it done? You can find this technique in The NEW Scully & Osterman Collodion Manual. I can explain you how I am doing it, but I must warn you that I’m Slavic origin and not Germanic or even Anglo-Saxon origin, so if you can use an advice about cleanness from a Slav, then you must be pretty desperate…
Add one small table spoon of baking soda in about one liter of AgNO3 solution. At this stage the pH should be about 6-7pH. I must warn you that boiling silver-nitrate with Sodium bicarbonate (baking soda) will look like the end of your wetplate career, but that’s how it should look. To be clear, the silver-nitrate in the picture above looked perfectly clear before boiling, but since I’ve sensitized about 30 plates format 10×12″ (cca. 2.25 square meters) I knew it’s full of iodides, alcohol, ether and dissolved organic matter. Only when I started boiling it with soda all the feces came out…
A friend asked me the other day how to raise pH in silver-bath after you added few drops of nitric acid. This is the best way. On FB a colleague Michael Koerner wrote a comment: “Plus the sodion bicarbonate (NaHCO3) will (when acidified with nitric acid) turn to carbonic acid (H2CO3), which will over a short time turn to water (H2O) and carbon dioxide (CO2) – bubbles away.”
After boiling you need to add water, filter it, sunn it, filter it, measure gravity of AgNO3, add nitric acid so the pH is back to 4 and you’re finished! Your silver-nitrate bath is reseted. You must know that silverbath like that will be more aggressive then your usual silver-bath, so it’s good to shorten sensibilisation time. I shortened to 2:15 minutes at room temperature. Mark Osterman is highlighting that sensibilization process is judged visually and not measured by time. I think I know what he means, but I need to confirm with him that I truly understand this part of the process, next time when I will see the master. I’m planning to join his workshop of Carbon Printing in Rochester in November. So exciting!
To sum up. I love to reset my silverbath, because then I’m getting best results. Boiling does take toll. I loose about 13.722% of my silverbath solution due to filtering. After boiling I filter the solution about 4 times through double coffee filters. Personally I find it worth the effort, but in wetplate process everyone have their own way of doing things and I’m not saying this method is better than any other. It works for me and that’s the true beauty of this hand-made images. You do it your own way! Ha!
PS: I’ve changed the title of this blog. Before it was Photography Down the Rabbit Hole, but the title Topshit Photography blog is way better. Topshit happens!
PPS: TOmorrow I’m going back to Switzerland to do some more work. Obviously they think the work that I’ve done is worth the money, so more work is waiting for me. Topshit happens!
PPPS: Relevant links:
- http://collodion.org/ Scully & Osterman Studio
- http://collodion-art.blogspot.com/2011/07/silver-bath-maintenance.html (Alex Timmermans)
- My first post about boiling and sorting pH of silver-bath LINK
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…