TOPSHIT PHOTOGRAPHY blog

Photography, Fine Art, Wet Plate Collodion, Alternative photography

Archive for the ‘Art’ Category

Exhibition in Bratislava during Month of Photography

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During Month of Photography in Bratislava I was invited by Gallery Photon, to exhibit in the gallery of Embassy of Republic Slovenia. I decided to try something different, to present my work in old windows. I’m presenting a very intimate story of fears and delights being a parent and the window frames are emphasising hand made craft of my photographs and the effect of looking through window inside. I was very satisfied with the effect although needless to say I was full of doubts if this will actually work or make sense. I hope you agree, it does work.

I really wanted to exhibit this project, because as a teenager I saw the exhibition of Sally Mann and her project Immediate Family and this was for me very important personal motivation. Not only her work inspired me to photograph my family, but also it was in Sally Mann’s work I first time saw a 19th Century hand made photography used in contemporary art. On top of that, I am in the middle of divorce and setting up this work was so painful. I was totally ambushed by emotions from the past, while working on the exhibition. You don’t see that in the video, of course, but photographs are full of it.

Thank you to Gallery Photon, Dejan Sluga, Miha Colner, Embassy of R. Slovenia in Bratislava, Month of Photography in Bratislava and of course my family, Lučka, Brina and Alenka Peterlin.

On THIS link you can see the gallery of the images.

Here is a video few years old, where I’m talking about A Father’s Tale project, early version of the project.

Father – Daughters – Bonding / Vlog 011

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In this episode of my vlog, I’ve started a collaboration with my daughters in my photography project A Father’s Tale. I’ve been talking before about my project, but now, when I am in the middle of divorce, I’m bonding with my kids in this kind of creative way.

The prints we’ve created are listed on Ebay, as an auction, so I thank you for bidding, liking and sharing my videos. I thank my patreons who are supporting me monthly via platform PATREON.com.
Music by: David Cutter Music – www.davidcuttermusic.co.uk

Let me invite you to the opening of my solo exhibition on 3rd of November 2016, at 17.00 at Ventúrska 5, 813 15 Bratislava, Slovakia.

And I can not part by not announcing a workshop in Florence, Italy, on 16th and 17th of November. The workshop will be on wet plate collodion negative and salt printing. More info on fotonomia.firenze@gmail.com

LINK TO THE EBAY LISING OF LUČKA’S PRINT lucka 

 

LINK TO THE EBAY LISTING OF BRINA’S PRINT brina

Vlog About Street Photography

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Dear followers,
Thank you for all the encouraging thoughts, gestures and actions. I am alive and kicking and after a very peculiar part of my life, I am getting back on track. I hope this video will inspire you and open new views on photography. No guidelines to follow, just inspiration to go out and do more photography!

If you appreciate my videos, this blog and my work on general and you might want to buy me a cup of tea or even a pizza every month, you can do this on my Patreon page.

Music by David Cutter Music  – http://www.davidcuttermusic.co.uk

Written by Borut Peterlin

13 October, 2016 at 15:56

Inspiration & manipulation photography

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I confess, I always fancied manipulation of photography. Paradoxically with introduction of Photoshop (I’ve learned PS 3.0 in year 1994) I’ve lost all the interest in this field and my work in the last 15 years is more or less documentarian nature, meaning, 99,9% of my digital images would pass world press photo standards.  I can’t explain why.

About a year ago I’ve made a video about my work and analog manipulation of photography, it’s embedded at the bottom of this post. All the work mentioned is very old, like my last project Fairy Tales was done in 2001-02 and let me state that is not photoshoped at all! That was selectively illuminated landscape scenes, taken on colour negative film, format 6×7. Yes, it was very hard to wait for developed proof prints to see what have I’ve done last week and often go back and redo them.

About a year ago I was at a workshop on collodion glass negative retouching in George Eastman House and beside the techniques I’ve learned I’ve seen also some fascinating examples of retouched photographs. I mean authentic photographs that you may see only in books. Mentor Mark Osterman have shown us an examples from a collection of George Eastman House and that was really inspiring.

Anyway the time has come to start a new project, dealing with nature and image manipulation. I’ve picked few books from authors Peter Župnik, Pavel Pecha, Herman Pivk and Regina Anzenberger. Intentionally I’ve picked authors that are based in East Europe and although the quality of their work does not fall behind known western authors, you probably never heard about them. East-European photography is so underrated! It is so underrated by their own countries to start with! I hope you will appreciate my suggestions and their work.

In this video I’m presenting a print I’ve made from a retouched collodion negative. About a year ago I’ve made a video how I’m making the wet plate collodion negative and the salt print and now I’m publishing the result upgraded by my knowledge gained at George Eastman House. I will talk about my next project in the next videos, but for now I’m sharing with you my creative process, my inspiration and the aesthetic I admire. I think that on youtube there is way too much camera-review videos and photographers on general are putting too much emphasising on gear and not enough on photography and the creative process of photography, so this one is a little different. Very different.

Screenshot 2016-03-27 22.40.20

 

I’m putting my retouched print on ebay, as an auction and by your bidding and buying my work, you support my endeavour in art. This blog is also crowd funded at Patreon.com. Thank you guys, I appreciate it!!!

PS: I’ve started to use professional video-editing software and big thanks to Vid Klančičar for the crash course how to use it.

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From barbed wired EU border, with love…

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Some time ago I’ve made a video about barbed wired EU border (link) and here is another episode from the project. I do not know exactly how will it developed, but I feel the need to document the time and place where I live. I enjoy these expeditions so much. Being away from everyone, from everything doing photography, but not being sure if anybody including myself needs those images. As a professional photographer I’ve developed  disfunctionality because photography as a medium is the main source of income and although this is a good thing in the manner I am entitled to devote most of my time to the medium it also creates huge aberration in the process of evaluating the work that I do.  This is the aberration I’m mentioning, but I have blind faith that this will pay for my retirement, because social security surely will not.

My next step is to make prints out of the negatives. It will be very different then those digitally converted reproductions, but about that in the next video.

From the most famous photography exhibition in the world The Family of Men exhibition

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The past week I was in Luxembourg where I was a guest of European Month of Photography – EMOP. I was nominated together with Marcell Esterházy, Tatiana Lecomte, Andreas Muehe, Lina Scheyniusfor for Arendt Award for Photography. The winner of the award of 5000 EUR was Tatiana Lecomte.

I’ve seen some pretty amazing works of art, exhibitions, artists, curators and collectors. Very inspiring, can’t wait to meet most of them in Arles, the most important photography festival in Europe, and present my new work.

We visited also probably the most famous photography exhibition of all times, The Family of Men, curated by Edward Steichen. I loved it totally and I’ve photographed as much as I could so I could share it on my blog. It’s amazing how Steichen juxtaposed photographs, isn’t?

Wikipedia: The Family of Man was an ambitious photography exhibition curated by Edward Steichen, the director of the Museum of Modern Art’s (MOMA) Department of Photography. It was first shown in 1955 from January 24 to May 8 at the New York MOMA. Steichen’s international collection of images, included his focused tour of 11 European countries including France, Switzerland, Austria and Germany. In total, Steichen procured 300 images from European photographers which were first organized into the Post-War European Photography exhibition on display at the Museum of Modern Art in 1953. Due to the incorporation of this body of work into the 1955 The Family of Man exhibition, Post-War European Photography is thought of as a preview to The History of Man.

After its initial showing at The Museum of Modern Art in 1955, the exhibition toured the world for eight years, making stops in thirty-seven countries on six continents. More than 9 million people viewed the exhibit. The physical collection is archived and displayed at Clervaux Castle in Luxembourg (Edward Steichen’s home country; he was born there in 1879 in Bivange). It was first presented there in 1994 after restoration of the prints. In 2003 the Family of Man photographic collection was added to UNESCO’s Memory of the World Register in recognition of its historical value.

Written by Borut Peterlin

28 April, 2015 at 00:37

Vantage point in photography / Wet Plate Collodion & Salt Print Process

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Salt print toned with gold, format 10x12" (25x30cm).

Salt print toned with gold, format 10×12″ (25x30cm).

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 borut@borutpeterlin.com for more details. Thank you for your attention!