Archive for the ‘analog photography’ Category
Excellent news, I’m going to Rochester, USA, again, to make a pilgrimage to George Eastman House and have a workshop with none other then Mark Osterman! This time I will learn from the master how to retouch glass negatives. Concerning expenses, the time in not right, but I just have to go to this workshop, because I was always interested in alternating a photograph by hand. Ironically I’ve completely stopped with my photomontages when I did digital photography, although I master Photoshop just as well. Photoshop, Instagram, Photomatix and other digital effects are so generic I don’t like it at all. I can’t explain why I love analog manipulation so much. I really can’t, I know it’s basically the same as digital manipulation, but my feelings are very different.
I’ve looked back 23 years and made a collection of my analog manipulated images. I’ve forgot to mention in the video the project The Tales of Gorjanci Hills, published by Založba Goga ten years ago.So you understand, I have to go to Rochester for this workshop, I have no choice. The only problem is money, of course. As a professional artist, living in Slovenia, the country where art market does not exist, I’m forced for guerrilla sale tactics. I know nobody is selling their art prints on ebay as an auction from 0,99$, but I’ve had some great success, so I decided to resort myself again to this tactic.
Hey, if I started with 23 year old photographs, let me tell you about the dream I had in my teenage years! All I wanted is to make a living out of photography and the only people I knew at the time that were making a living out of photography were people who had a printing lab and making portraits for ID cards. And believe it or not, that was my dream at the time, to work in a printing lab and do ID portraits! And look at me now, I have no fear of putting a print of mine on ebay as an auction from 0,99$ and with it (partly) finance the trip to the workshop at Rochester!
The auction will be for just three days and then perhaps I will put a new print on auction.
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.
My neighbour Rajko Henigman is 87 years old and he was a photographer and cinema operator. His father Karel Henigman was a shoemaker and an amateur photographer who created amazing collection of photographs during the first world war. In the our little town of Dolenjske Toplice is a spa but during the first world war it was a rehabilitation centre for soldiers and Karel Henigman documented daily life of soldiers, during their exercise, rehabilitation, hospitals, preparing food and so on. Very impressive silver-gelatine glass plate negatives formats from 9x12cm to 18x24cm. Rajko is the keeper of his father heritage and he asked me not to photograph his fathers negatives.
Rajko was curios how am I enlarging my glass plate negatives, so I invited him to my darkroom and enlarged a portrait of him that I’ve done some time ago. He said my technique of dodging and burning is the same as he was doing it when he was young. He show me some tips and we enjoyed our time together.Some time ago I’ve visited Božena Pelikan, 93 year old youngest daughter of Josip Pelikan. I wrote a post about the Josip Pelikan few years ago, but this time she showed me the other facilities that Josip Pelikan was using after second world war until his death in 1977. What a privilege to enter the rooms of a great photographer, seeing how he worked, how much have he created. I could feel his presence in the coat that was still hanging on the door where he left it in 1977.
It’s an honour for me to pay tribute to elderly photographers. They are inspiration. I hope in the future I could make a series of art images with these objects. I hope I can make a sort of a conversation with photographs between three photographers, the present one, the deceased one and the one that is not born yet, but will look at the images sometime in the future.
Do you understand? A photographer who is not born yet will look at my images that are not created yet, but when he/she will look at it will have a feeling that they are here from forever. When we look at the old images we have a feeling they are here because someone has left them, but no, they are here because someone created them and the other preserved them. Photographs in front of you are not dusty objects, they are someones intention.
The Different Same triptych that will be exhibited at Wet Plate Collodion Juried Show in Mariani Gallery, Northern Colorado, USA
This work is a triptych. It’s a study of a medium of photography, so I’ve photographed the same tree in two different occasions. The scenery is like that only when the river Krka floods and red alarm for floodings is declared and that was on two occasions in the 2014 year. This three images were from three different glass plates. An ambrotype and two different negatives. Just look closely and you will notice how different this images are really. I’ve made a video on the first occasion and you can find it on the bottom of the post. I also came up with few new solutions how to frame glass plates, especially very heavy plates like 3+3 mm glass plates size 30x40cm (12×16″). The details are described in captions.
Anyway, what I love with the photography of 19th Century is that a photographer had about fifty processes and it’s variations how to make a photography and each of the processes had it’s aesthetic characteristic. Today digital photography is so standardized that a photographer have only one way how to exhibit a photograph, that’s an inkjet print.
And my triptych, entitled The Different Same is all about that. Like the famous photograph: Identical Twins, Roselle, New Jersey, 1967, by photographer Diane Arbus it appears at the first glance the same image, only when you look closer, you see that the three images are very much different and they are different because I – the author – decided to make it so. To interpret the reality as I please. Photography was never an objective medium. If I quote Susan Sontag (from heart), a photograph can only provide an evidence that something did happen, that something was happening in front of the lens. What has happened is an interpretation left to the photographer and the viewwer. Of if I may quote already mentioned Diane Arbus, “A picture is a secret about a secret, the more it tells you the less you know.”
Let me invite you to the event. The exhibition will be on display in the Mariani Gallery from January 20 – March 4, 2015. A Closing Reception and Award Ceremony will be held on Wednesday, March 4 from 4 – 6 pm. Juror Quinn Jacobson will give a lecture and gallery talk during the day. The address is University of Northern Colorado, Mariani Gallery, 501 20th St, Greeley CO 80639, USA.
A friend of mine who is a very successful business man told me the rule of a Cheetah. Cheetah is the fastest running animal and it can reach the speed up to 121 km/h. For achieving that kind of speed it uses wast amount of energy. If the chase was not successful, if the pray runs away, the cheetah needs to rest for the rest of the day. In the next week Cheetah has two more attempts to chase down a pray. If the predator misses a pray for the third time, cheetah dies from exhaustion.
The same rule can be applied in business. You may have a wonderful product, the best one in the world, but if you don’t sell it, you will never be able to launch another one and your business will get exhausted.
This is the problem of my life. I’m passionately interested in so many things at the same time, I have a hard time to focus and limit my interests. I have a good excuse, I live in small country of Slovenia, residents of two million so to make a living in such a small market is difficult. The good side is that I’ve learned so many things and I can use them all in my expression. Like at the moment I’m writing this post fiddling with HTML
code, in the afternoon I was making albumen prints and before noon I was fixing a carburettor of my car, an old-timer. Before the end of the day I might start editing a video. And oh, this is important, for lunch I’ve made a fantastic risotto with curry, vegetables and soya chunks.
I love making stuff and I have no fear in tackling things, even if I’m not successful, which happens. Like yesterday I’ve cleaned the carburettor, the engine was running smoothly I went for a quick ride, but the rust from the fuel tank got into my engine and the car lost all the power. I had to call my neighbour to winch me home again. Look at the bottom of the post.
But my new year’s resolution is to declutter my life style, to focus. I will focus my career into three branches.
- My priority number one remains my artistic career, although I can’t live from it just yet, I expect that in 2015, this will change. It will change, I can feel it on my bladder!
- In next few months I will crack down the woodburytype process, I’m very close, I can see the light!
- Workshops, making portraits, building a social network.
Let me finish with the a success story of the year 2014. Brewery Pivovarna Laško is celebrating a 190’th anniversary and for that occasion they are bringing to the market a special beer made from a hundred years old receipt. My task was to portray the three experts from the brewery company as specialists. The campaign was conceived by Atelje Balant and now Slovenia is still flooded with collodion images!
At this occasion I would like to thank Anže Grabeljšek and Christian Klant on assisting me during this intensive shoot.
Last weekend was an Art Market in Ljubjana, Slovenia, and I’ve decided to give it a go. I set up my darkroom, lights, camera and brought few examples of my work. The Art Market was lasting four days and first two days I’ve made maybe four portraits, but then an avalanche of orders came in and I was working from 10.00 to 20.00 with a 15 min break for a snack. The plates were coming out great. Even my wife who can hardly be impressed by a collodion plate, was amazed how good it turned out.
My secret is the following. I’ve made my collodion wo days before the market, based on standard Osterman’s collodion (3gr CdBr, 4gr KI, 220 collodion, 140 alcohol, 140 ether) the only modification was that I replaced ether with the same amount of alcohol. I was working indoor so I couldn’t afford that the whole building would be smellin ether. I used 99% fine-grain alcohol. The collodion didn’t ripen yet, when I was start using it, but that’s OK if you don’t overdevelop. So my collodion was very young and super fast. I was getting great contrast, because contrast of the plate it does not relate to the age of collodion, but it relates to exposure & development time. If you overexpose and under develop you will get a soft low-contrasty image and vice versa. Because the young collodion I’ve mentioned is about 2 f/stops faster then the old one, photographers usually over-expose the collodion, cut the development, get low contrasty plates and claim that’s collodion fault. It is not. You can see the contrast I was getting with my two days old collodion.
I was using two flash lights, Balcar Source 6400Ws, but I’was using only one flash, that’s 3200Ws and my aperture was 6,7. Pretty cool numbers, right?
The portrait session was exceptionally good accepted and I’m intending to repeat it on the last Saturday of the January, at the studio in downtown of Ljubljana, beside Ljubljanica river. More about that later. This experience gives me an idea. In August 2015 I’m invited for artist’s residency in Norway, Sunnhorland Museum, and I will travel by car to the north stopping on the way, giving workshops, demonstration and portrait sessions. Travelin photographer as they’ve done it 150 years ago!
PS: Here is a quick video from a couple of years ago, just you can see how I was working then.
A collector asked me if I’m selling ambrotypes, I don’t, because they are unique and I want to leave behind me a work that will tell a story. If I sell an ambrotype, that image will be on somebody’s wall and I and anybody else will never see it again. That is one of the reason I’ve chosen wet plate negative in my artistic career. But on the end of the day, I am a professional artist, I do this for a living, it’s not my weekend hobby, so I need to sell my artwork too. So I’ve been thinking and I came to this business model.
Last week I’ve bought a “new” car, Land Rover 109, Station Wagon, model year 1972. It used to be imported in Yugoslavia (RIP) in 1982, serving as a firefighter’s car and in 1999 was a gift for a fiftieth birthday of a car mechanic which restored it entirely but never registrate it, so it was standing in a garage for last fifteen years. Last week I’ve bought it. In two weeks I’m turning forty and this is a gift and a tool I bought myself. Otherwise I hate cars. If I could I would rather spend hours on bicycle or running to do my travelings, but I can’t. If I need a car, I wanted to buy a car that is not boring and let’s face it, cars are boring as hell! They all look the same and the mantra of consumerism is “comfort über alles”. Guess what? COMFORT IS OVERRATED! And on top of that comfort is booooooooring to death!!!!!!
When I’m making my collodion landscape plates, I make two or three plates of the same motif and so if a person want’s to buy an ambrotype from me, he or she have two options:
Either pick it up from a gallery (that I’ve haven’t set up yet) and pay for the full price of an ambrotype 10×12″ that will be US $999.
Or the second option is that she or he can pre order a plate from me, so when I go next time out to do my art, I make another plate for the buyer. In this case the buyer can not choose a plate of his choice, it can only take the one I’ve made that day or decline it, no questions asked. The price in that case is less than half of it, US $399.
Sounds like a good and fair game right? Yes, I know, I would rather not be in a position that I need to sell my ambrotypes, but if you develop two habits like myself, you need to find a way to feed them!
PS: In my life I had several cars. They were all boring to death, except my very first car, Renault 4.