Posts Tagged ‘Photography’
Two years ago, at the start of my wet plate collodion path, I set myself a project to document state of bankrupt companies. Imagine the moment when the last worker at the last shift, turned the lights out. The moment when it became dead silent.
Now when I’m looking back at my videos (LINK) even blind would see the progress I’ve made. Nevertheless I love imperfection on my plates, so my plates don’t compete with flawlessness of film. This plate that is published under is about as perfect as I want it to be.
Last Thursday I went back to photograph Novoles company and Marcos Núñez Cid was recording a video about my project. He made a true masterpiece. I’m sure you will enjoy it.
Let me highlight that this project is getting quite some attention. First I had a beautiful exhibition in Gallery Photon, Ljubljana, Slovenia, then it was published in DOC! Photomagazine, issue #21, from pages 140-169 and in May, it will be featured in one of the UK’s leading photography magazines. The project was chosen to be presented on a group touring show under organization of European Month of Photography, so if I understood it correctly it will travel across Europe. Last but not least, I also sended this images to Slovenian Photography of the Year competition and the project did not pass even the first round of selection of 30 artists! If that’s not an achievement, then I don’t know what is!
Markele Zid made this video about our daily life in Studio Pelikan. It’s a job, somebody’s got to do it… :-)
We’re working on a website too. You must come to see this gem from our cultural heritage! It’s part of Museum of Recent History Celje and it’s located on Razlagova ulica 5, Celje, Slovenia, EU. The studio is open for public and I do make public portraiture sessions, but I’m not in the studio every day, so please send an email of inquiry to address tajnistvo(at)mnzc.si and then we’ll find a term.
Do you remember my project Great Depression? I’ve start working on it in December 2012 (LINK) and I had exhibition in October 2013 (link) Yesterday I continued to work on the project. I was in meat factory MIP D.D. (in bankruptcy process). I really wanted to document this factory, because it’ll bring a new dimension to my picture series. Images are showing a disassembly line of a living beings and it the context of my Great Depression photography project, it could be interpreted as a disassembly line not for cattle and pigs, but for humans. Say no more. Images are images and every possible interpretation is a valid one.
I think I’ll go one more time to the slaughterhouse and make few more images…
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!
Carbon print process is considered as the king of all printing processes ever invented. It has the highest tonality dynamic range and on top of that it’s permanent. It does not require developing or fixing. Just washing away unhardened gelatin. I will not go into details, WIKI is much more reliable source than me. What I will tell you is that at GEH museum I was inspecting carbon from year 1870 and they were still spectacular. Paper yellowed, but the print itself was in perfect condition (link). What I will tell you that most people practice carbon print from a film negative or from a digital negative, but the best medium is a collodion negative. It’s a perfect match.The best way of recording light (tonality and resolution wise) with the best way to print a negative.
As I’ve said only yesterday I’ve started preparing my tissue (a temporary support sheet coated with a layer of gelatin mixed with a pigment) and you must know one thing. Materials vary a lot. Like I couldn’t get sumi ink, so I bought black ink. It says Indian ink in English and under is a german translation: Chinesische Tusche. Chinese or Indian, who knows. The density of pigment in the tissue is very important. As we were warned on the workshop that the quantities written in a manual are just starting point. You have to make tests to see how materials are working in the constellation that happens to be in a darkroom.
So that explained I didn’t had high hopes that I’ll make something good. But in fact I’ve made my best print I ever printed! I’ve done tests and made a print that was not as contrasty as I’ve judged it could be. I had only one more sensitized tissue left, so I’ve looked first negative that was needed 3 minutes of exposure, checked the second redeveloped super contrasty negative and decided that I’ll try it out with 9 minutes. The exposure and the density of the negative were perfect for the tissue I’ve prepared, so here is the result. I’m super proud on it.
Now I have a treasure of knowledge in my hands. Thanks to Miša Keskenović I’ve learn wet plate collodion positive, thanks to Mark Osterman I’ve learned also wet plate collodion negative, salt, albumen and carbon printing and Jeroen de Wijs taught me how to do dry collodion negative. So now I feel like my hands are golden. With the knowledge I can and will move mountains! Ha! Topshit does happen, I tell you!
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!!!