Archive for the ‘Alternative photography process’ Category
Dear readers of my blog, I’m back! Not that I’ve left anywhere, but I was working really hard to make my workshop happen. I organised a five days workshop, two days working outdoor and three days working indoor. We covered wet plate collodion negatives, albumen printing, salt printing and collodion chloride printing. After that I had another two days of individual workshop on carbon printing. Very intense indeed!
I’ve decided to set up our headquarters in Sitarjeva hiša, a house from 1886 and was abandoned for last 17 years. It did not had a running water or electricity, but with the generous help of Anže Grabeljšek, Sanja Gorišek, Nastja Frey Gorše and municipality of Dolenjske Toplice, we sorted things out! I had many concerns and I had two back up options, but the house with it’s charisma is destined to host more art events! In fact I’m exhibiting new work there, so let me invite you to the exhibition of my panoramas on 27th of August at 7pm.
Expect more topshit events like this! For now I’m going to organise a workshop with a theme: Tribute to Ansel Adams. I’m planning a workshop on analog photography, with medium and large format cameras, for about 8 people. We will do rafting, camping, off roading and developing contact prints. We will explain the zone system, have a talk in the middle of forrest about Adams’s work and legacy… It will be 4th and 5th of September. The price for it is 250 EUR and includes cameras, films, paper, chemistry and food while camping. (Če razumeš slovensko, si avtomatsko zaslužiš konkreten popust) I know it’s short notice, but I have friends who already booked, so only few spaces are available, so we will not wait for you, but don’t worry, I will have more workshops. More topshit workshops is what we need! I will make an official notice in the following days. My email is firstname.lastname@example.org
I’m talking also with Nikon, we might make a photo-safari trip on digital photography during wine picking season. And I’m thinking to organise a collodion new year celebration in some cottage deep in the forrest of Slovenia (or is it properly written Slovakia?!?) What do you think, is it topshit enough idea?
Anyway, please check the images bellow and read captions and remember…
Topshit does happens!
Today was a great day. Months of preparations, planning and hard work calumniated in the introduction of the house of Sitarjeva hiša in a new role. We’ve installed a darkroom, daylight working room, chilling room, a gallery and a dance room!
The house was made in 1887, but it was for last seventeen years abandoned. It does not have running water, electricity or heating. But We will change that. We are changing that! With the generous help of Anže Grabeljšek, Nastja Frey Gorše, Sanja Gorišek and municipality of Dolenjske Toplice, we are reviving the house in the centre of Dolenjske Toplice.
Everything is ready for the beginning of the topshit photography workshop in the centre of the topshit world! Expect more news from the workshop, expect traveling, adventure, weird creatures in castles, driving off road, swimming, rafting, camping, visiting museum collections and foremost making wet plate collodion negatives, salt prints and albumen prints.
Oh… Today we had a visit already! On Sunday I was portraying on the streets of Ljubljana and by pure coincidence I’ve met a journalist from USA, who is researching exactly what I do, traveling, workshops, creativity and adventure. Today she came for a visit and made an interview. I am not kidding you, it’s true! Hey, I’m preaching this all the times, so let me repeat again:
Video Collodion Journal, Vinica, Slovenia, 2.7.2015. This time I didn’t had perfect plates. They were OK, but it could be better so I finished the day in the river :-)
PS: One more space left for Collodion Photo Safari, 29th of Jully – 2nd of August 2015. http://borutpeterlin.com/WORKSHOPS/Advanced—Negative-&-Printing/1/
Tomorrow is a big day. I’m almost finished with my preparations for Vienna Photo Book Festival . I’ve cashed in all my chips and now it’s time to go. I’m going to Vienna with a Land Rover, my old-timer. Today I’ve bought Hi-Lift Jack and I’ve sorted the bed in my Land Rover. As a huge fan of Top Gear, I’m planning to do Topshit Gear Special and I’m planning to record my trip as I do, with emphasis on photography and art. The book Zen and The Art of Motorcycle Maintenance is my inspiration.
I’m not doing this just for the fun of it, but I’m celebrating a new milestone in my photography path. I finally reached the destination after four years of intensive work. Six years or so I’ve seen an exhibition of Sally Mann in London Photographer’s Gallery and I’ve decided there on the spot I want to learn this witchcraft of collodion. It took me more then a year to find Miša Keskenović, who introduced me into the craft and another year to have met Mark Osterman in person. At George Eastman House I’ve seen original albumen prints of Eadweard Muybridge, France Scully Osterman, Mark Osterman and many others. I knew that I want to make a project with it. Albumen print process is in principle very simple process, but if you want to have rich tonality with clear white highlights and deep blacks, it’s very difficult. On top of everything I see my future artwork only in wet plate negative, that is much more difficult to do, then ambrotypes or tintypes.
Practitioners of wet plate collodion process know that the most difficult thing of all is the workflow. It’s one thing to make a good plate (either positive or negative) and it’s completely another thing to be able to do it in whatever situation it is. I bought the Land Rover so I could perfect my workflow and master the process so well that it becomes intuitive and I can focus on the photography itself not thinking on the process.
In the road I’m taking I’m celebrating that. I’m celebrating the past four years of learning and tackling the process and now I feel the process is very natural to me, I’m relaxed and I have plenty of energy to focus on the aesthetic and art. In this road I’m celebrating the fact that I’m making prints that are the best prints I’ve done. I love them so much, I can’t stop looking at them. I know I’ve reached the milestone of learning the craft. Now I can fully focus on my art, on the concepts, on ideas I want to share through the medium of photography.
Here are some random images I’ve done lately. Captioned.
In this video I’m presenting my creative process how am I approaching a motif conceptually and also physically. Wet plate collodion is so slow process that an hour or two of thinking is nothing in comparison how much it takes to make one photograph.
Before I start making an image I always play a devil’s lawyer with myself asking myself annoying questions; Why are you photographing that? Who have done that before you? Are you adding something new and fresh? What would Ansel, Edward, Josef, Sally, Mark & France and others would say if (when) they will look at it? Is it worth it? Don’t you have something better to do?
If I successfully manage to defend a concept, only then I start with preparations for the shoot. And this was the case also with this tree trunk. I’m running every day trough this forrest and I have a long list of trees, valleys and few roots that I need to photograph.
In the video I haven’t talked about technical details, although I did left few educational tips. Like pouring collodion. Please take a look three small details. First when I pour collodion, I tend to make a perfect circle in the middle. That means my plate is levelled and I can pour a lot of collodion on the plate. Then I slowly, very slowly move collodion from edge to edge and on the end I slowly pouring collodion off. Yes, you got it, the key word is do it slowly, no need to hurry. This is the speed I usually do it indoor. Outdoor it’s usually drying faster, but that day was pretty cold and my collodion for negatives has more alcohol solvent then ether solvent ratio, because alcohol opens collodion pores and allow more silver to bind, causing denser negatives. That’s just the opposite that you want for ambrotypes.
Nevertheless the negative that I’ve got was very thin and almost an ambrotype. I’ve done everything correctly, but the day was cloudy and in the forrest there was very diffused light. I’ve exposed the plate correctly, meaning that my blacks didn’t had any information, but although I developed for three minutes, the negative was still very thin, almost ambrotype like. This is what Mark Osterman calls a foundation negative.
The mistake photographers often do is that they add another one or two exposure values and when they develop a plate, the negative looks much better on the first glance. Whites are dense, middle tones are denser, but blacks are gone! If you overexpose a negative, blacks are not empty, but they have information, meaning that blacks aren’t black anymore but they are dark grey! Now, if your blacks aren’t black, you can’t redevelop! Let me explain why.
Redeveloping is a process that is done at home and it’s done after fixing. Let me describe the process in plain language. When you develop a wet plate collodion negative you get three things. Glass plate, collodion layer (a binder) and you have a thin layer of silver on top. This silver is not mixed with collodion, it’s suspended on top of the plate. That is the condition that you can treat the silver with iodine, making it sensitive to light once again and then you apply developer containing fresh silver that will be bound on the foundation silver that is already bounded with collodion. What happens now? Highlights that have a lot of silver in the foundation negative will attract much more silver then middle tones that have less silver then highlights. Blacks do not have any silver and therefore will not attract no additional silver. Redeveloping process is building silver layers and that means that you are gaining contrast and density of a negative. This redeveloping process can be done for very long time and you can build a bullet-proof density of a negative.
And that is what I was after! All my wet plate collodion negatives have a bullet-proof densities. It took me literally two hours of redeveloping that I gained the sort of density I wanted. Usually it takes between 10-30 minutes, but this is an exceptional case. The foundation negative was very thin, so it catches only little silver from the redeveloping and the second reason was that I wanted to make this right, so I was adding very little silver and slowly and gradually building up the contrast. If you do it too fast, you may get pinholes in the negative. Second version of this negative I’ve done it faster and it took me only half an hour.
The end result, presented here, is a salt print toned with gold. Salt Print process was invented by Henry Fox Talbot in year 1833 and publicly announced in 1839. In principle it’s very simple process, but if you want to make it right it’s very challenging indeed. Salt print process is the printing process with huge tonal scale. Correct me if I’m wrong but only carbon printing process has a wider tonal scale. And this wast tonality range is the cause that the process demands a negative that could match the same tonality range. By my humble opinion wet plate collodion negative is far far the best negative for print-out-processes (POP). Digital negative simply can not match the density necessary for full tonality spectrum. Simply, a thick layer of silver has much better quality in blocking light then a layer of inkjet dye. Salt print process is like a train, you can lean as much as you can toward left or right, the train will go where the tracks are laid. And the salt print process is the same, it will be as good as the negative is.
Anyhow here is my salt print and you be the judge of my vantage points on the photography, either is that conceptually, aesthetically or technologically.
The print and the ambrotype is for sale, please email me on email@example.com for more details. Thank you for your attention!
Huh, I’m really happy today. I’ve shipped my book to The European Publishers Award for Photography . This is one of the most important photography awards in Europe and I’ve sent my dummy books before, but this time I’m really happy, because I know I’m sending something I truly believe in and furthermore I know I can not make it better. I, personally, did my best in making this book. I was contemplating a lot and I’ve made several versions, changing design, changing format, printing materials, rhythm of the images in the book, number of pages, select out certain images that I really love and so on. Now I feel very content with it. I can not make it better. I am not saying it can’t be done better, but I can not do it better. You may compare this version of the book with the version I’ve brought to Arles Festival and you will notice the difference.
This project The Great Depression was also shortlisted for European Month of Photography Arendt Award! It’s huge honour to be short-listed among few hundred photographers that exhibited in different capitals of Europe. The short list of only five photographers was chosen by the jury of curators and it’s not the kind of competition that you can apply to. I will be exhibiting in the exhibition space of Arendt & Medernach’s headquarters in Luxembourg from 22 April 2015 onwards.
Let me take the opportunity to announce few more news. A week ago this blog reached 500 followers on wordpress.com platform and this week is already 535 and if I count several thousands followers on Twitter and Facebook, it’s huge crowd, so I don’t want to waste your time, so I will write more information in one post.
If you are from USA, you can see my work on two locations.
As I was posting already, a triptych The Different Same is exhibited in the Mariani Gallery from January 20 – March 4, 2015. The address is University of Northern Colorado, Mariani Gallery, 501 20th St, Greeley CO 80639, USA
From 21st of February until 4th of April, you can see the albumen prints bellow in Los Angeles, that’s St. Tammany Art Association, Antiquarian Image Exhibition, 320 North Columbia St., Covington, LA 70433.
In September 2014 I had an exhibition in Cankarjev dom in Ljubljana. I’ve enjoyed that period of life a lot, taking wet plate negatives, photographing river, defeating summer heat by a swim in a river together with my kids. What a privilege to be alive! I’ve recorded a lot a videos to pass on the knowledge I’ve generously received from Mark Osterman and the Collodion community. I’ve enjoyed the work so much I never found time to edit the video material and unfortunately the material just piled up. In the last few months I haven’t record any videos, because I knew I must edit the old material first and yesterday I’ve started at 9pm, finished at 3am and 12 hours later it’s live on youtube. I hope you will find some useful information and some inspiration in it.
The exhibition represents a path that I walked through in the last two years, while learning the process. But the exhibition started with the tintype of frozen river Krka, that I’ve made two months after I’ve started to do wet plate collodion at the temperature of -17C. HERE is the post from February 2012.
The exhibition is devoted to a painter Božidar Jakac and the concept is inspired by words of a poet Tone Pavček, engraved in his gravestone:
You’ve remained part of the landscape, its pain and its beauties.
And this concept is mirrored in the images, I wanted that in every of image there would be a presence of beauty and pain. I’ve designed the exhibition to be dynamic. I’ve exhibited original tintypes, ambrotype glass plates, toned albumen prints, salt prints, carbon prints, toned cyanotypes and also some toned silver-gelatine enlargements and ink-jets from wet plate collodion negatives.
The most important result from the two years walk, it can not be shown directly, but it’s the most important result. I’ve learned the process, I have no open questions and I can make a good image in (almost) any conditions. I’ve learned many different processes and those tools will play a crucial role in my future art career.
Last but not least, if you want to learn some of that hands-on photography processes, I warmly recommend workshops in George Eastman House with Mark Osterman. It’s one thing to learn the process, but it’s something different to get an access to one of the most interesting and rich collection of photography and feel that you are a part of it.
I can not offer that, but I do offer individual workshops, so if you’re interested in buying a print from me or a workshop, please send me an email to firstname.lastname@example.org