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Photography, Fine Art, Wet Plate Collodion, Alternative photography

Archive for the ‘carbon print process’ Category

Color Carbon Process / Vlog 64

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In the past month I haven’t vlog due to so many things. In this vlog I’m talking about color carbon printing and street photography I’ve done while going to Calvin’s studio. I hope you will enjoy it.

To know more about Calvin Grier’s work visit The Wet Print: https://thewetprint.com/

Written by Borut Peterlin

17 June, 2019 at 09:11

Woodburytype – reinvented!

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Very few of readers of my blog will still remember my post published in 2014 where I’m showing my first concrete steps in reviving woodburytype process (LINK). Two years later I can finally say I’ve cracked the process and modernise it.

Let me explain. I’ve first learn about woodburytypes in 2013, at the workshop of carbon printing in George Eastman House. You can read more about Woodburytype process at Wikipedia or even better, look at the video bellow. But let me summarise why I like so much woodburytype and why is it worth to revive the process.

The woodburytype process was invented in 1864 by Water Woodbury and it was the first mechanical printing process that could print a photograph in good quality. Actually that is the under statement. The woodburytype – mechanically printed – print is the same quality like a photograph is! Wiki:

The Woodburytype process was a unique photomechanical process as it was the only practical fully continuous-tone photomechanical process ever invented.

You may take a magnifying glass and you will have a real problem to find a distinction of woodburytype print and carbon print photograph. But that said the process got extinct because of three reasons.
Firstly it was very slow. Printing houses could print about 100 photographs per hour.
Secondly, text could not be printed on the same page, so the woodburytype print had to be manually glued into a book or a magazine.
Thirdly Woodburytype process used huge printing presses for making mould or intaglio from which a woodburytype print was printed. For about 21x30cm photograph (A4 format) a pressure of about 400 tons was needed to make a mould thus the process was reserved only for big industrial printing houses, no amateur could have a press like that, so with the closure of the last woodburytype printing house in about 1900’s also the process died out.

A book by Woodbury with original woodbury type prints from 1875. These are woodbury type prints that are in principle the same as carbon prints, just the process is different.

A book by Woodbury with original woodbury type prints from 1875.

But ever since I’ve seen original woodburytypes I knew the process is really special and worth reviving because of two reasons. It is still the best printing process of photographs ever invented and it’s still the most archival printing process ever invented! Two reasons are enough?

n last hundred or so years there were few attempts to do woodburytype process but let me highlight only Oliver Barret who even wrote a book about the inventor. You may see him printing a woodburytype print at the link bellow. Also Paul Bloomfield published a video about his woodburytpe process. Although the results of modern woodburytypes, that I’ve managed to see on Internet are not a match to the quality of 19th Century’s woodburytypes, I was not discouraged.

Because I do not have an access to a powerful press, my starting premise was that I need to bypass the need for huge press machines. Mark Osterman told me about Stannotype and even was kind enough to send me instruction manual from 19th Century on the topic of Stannotype, but in the manuals there were only general principals how to do Stannotype. I’ve ditched all the historical manuals from 19th Century and decided it to follow the long path of trial and error. I knew what am I looking for and with many trial & error I’ve learned what works and what does not.

image3-4

Relief of pigmented gelatine from which a mould is made. For authentic woodburytype the relief was imprinted in lead plate.

I’ve started with the knowledge I got from Mark Osterman on carbon printing and then slowly changing the parameters until I’ve successfully made a huge relief of pigmented gelatine, that was also technically perfect. Not a single stone in the process was not left unturned, I finished with completely new receipts and methods. But it works! I must come up with the name of the process. How does topshitype sounds like! (joke)

I waited with announcement on my blog about my re-invention because I wanted to print this landscape carbon print motif, but the process demands preciseness and the preciseness demands time, which I didn’t had, so I’ve ruined the carbon print and the intaglio. Now it will take another two weeks to make new intaglio, but then I can print many prints in an hour.

Jane Fonda (b. 1937) three-color Carbro. Dated March 3, 1960. 526 x 432 mm. (http://www.photoconservation.com/)

Jane Fonda (b. 1937) three-color Carbro. Dated March 3, 1960. 526 x 432 mm. (http://www.photoconservation.com/)

My vision is to make a printing house that will print books in “woodburytype” process. I know that with the help of robotisation the printing house can deliver books that will be unprecedented quality. At the moment I’m making my “woodburytypes” with analogue photography, but I already have plans how to print digital files. (No, the digital negative is not the answer!) Also I have a theory how to make colour woodburytypes. If you ever seen carbro three-color photographs – IN PERSON – then you know that they are the best colour photographs your eyes has ever look upon! And on top of that it’s the most archival photographical process, it does not fade!!!

OK, Internet, I haven’t apply or receive any grants for more then a decade, but now I would need to get my back covered, because I need time to continue the research. Could you please send me a tip who would be interested in this kind of research and this vision of mine? You can leave a comment or send me an email to borutpeterlin@gmail.com

Wet Plate Collodion at -9C, plus carbon print process!

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So I’ve received a request if I’m selling also ambrotypes. I don’t because ambrotypes are unique, there is only one and once it’s sold I will never see it again. But I’ve replied that I do sell pre-ordered ambrotype. So when I will go outside next time, I can make an additional ambrotype for a client. If the client likes it, he or she buys it, if not, no problem at all, no questions asked. And pre-ordered ambrotype is also sold for much less I would usually charge.

So here is the result. The client asked if he can buy it in wooden box and so I’ve done some research, I’ve made a boxe from pine-wood and even blast-sanded it. It’s massive wood (not glued wood boards) and pine wood is known for it’s tensions, so it bended. For  the next box I’ve chosen cherry wood and this was much better. The final touch is the trophy plate with engraved information about the plate and my signature. How do you like it?

In this video I’m making carbon prints. I love carbon  prints. I think it’s the best that photography as a medium can offer. Of course this is a subjective opinion, but please object only if you have seen a good carbon print on glass – in person. It’s translucent silkiness of carbon prints can not be compared with any dot-on-paper principle printing process. It’s unique.

To fund my work I have to sell these babies. The carbon print on paper is listed HERE and the carbon print of glass is listed HERE.
I have a stupid anecdote to share. We had an attempt of burglary in our house. The attempt failed, since I had my German Shepherd – Mike in the house and that convinced the thief to retreat. After that I thought, shit I’m keeping all my savings in a drawer! I must hide it somewhere. And I did. And the very next day I didn’t remembered where I’ve hide it, now I’m totally without any cash whatsoever. Luckily I have some money on my paypal, so I can fill up the gap and pay the bills, but

imagine how stupid do I feel! Plus I searched the whole house again and again, but without success. Anyway I’m telling you this because I do feel stupid and I want to “enjoy” the suffering so much that I will never repeat it again!

Screenshot 2016-02-24 11.04.29

Listed on ebay for 7 days!

Screenshot 2016-02-24 11.09.24

Listed on ebay for 5 days!

 

 


ON THE WET PLATE COLLODION AT -9C
OK, I’ve done three videos on the subject how to do wet plate collodion at cold temperatures and none of them covers the all aspects. It’s impossible to cover all the aspects because everything needs to be reevaluated. Ditch the timer, you don’t need it. For instance in collodion manuals it is usually written that sensibilization time is 3 minutes for ambrotype. The truth is that the sensibilization time varies on the working conditions, the acidity of the silver bath, the strength of silver bath, the freshness of the silver bath, the level of iodine in silver bath and so on. What I learned from Mark Osterman is to evaluate the sensibilization visually. Do this tests and you will appreciate his wisdom.

Sensitizing

  1. pour the plate and dip it in silver nitrate bath as you usually do.
  2. after 40 seconds, in safelight conditions, take the silver-plate out and look at it, then immediately dip it back in siverbath.
  3. repeat after 90 seconds, 120 seconds, 180 seconds
  4. observe how the surface of the plate is changing. You will notice the following pattern. At the beginning silver will be on the plate in drops, very oily kind of pattern. Then longer it will stay in the silver-bath, collodion will accept more of the silver-nitrate, more smoother the silver will flow on the surface of the plate.
  5. when there is no more silver drops on the collodion  plate, when silver nitrate flows smoothly, the plate is ready to be taken out.
  6. In some cases, when I had 9% solution, that was freshly boiled and working in temperature of 25C and I was agitating a bit, the sensibilization times were less then a minute! In times when it’s cold, times might be 6 minutes. Of course judging visually!

Pouring collodion
So this is the most important advice I want to give you. Of course take special attention to poured on plate, if collodion has set. Touch the pouring corner and if finger-print is overflown by collodion again, then wait few more seconds and repeat the test and when you can see that the collodion does not flow anymore, then dip it in silver nitrate. You might make a collodion that has solvents in ratio 65% of ether, 35% of alcohol. It will dry faster, but I work with my usual 50:50 ratio. During summer I do change the ratio to 30 ether : 70 alcohol. Plus more ether makes better ambrotypes, more alcohol makes better negatives. (More in the Collodion Manual)

Developing
I can not tell you the time of development, nobody can, you have to judge it visually. Of course if you’re an avid collodion photographer you do this routinely. If you are not, let me say few words. When you pour developer, observe the plate, count seconds loudly. So when the highlight will start to appear, multiply the time with three. So if the highlights are there already at 4 seconds it will be around 12 seconds. If the highlight will start to appear at 10 seconds, the developing time might be more like 30 seconds. OK, when I say highlight, it can be highlight of a face or a sky. Of course sky will appear much faster then a highlight patch on a nose, so take my advice on seconds approximately.

Developer
At freezing point I usually have 10 gr of ferrosulfate in 100 ml of developer. If it’s hot I reduce it down to 3,5 gr.

Heating plates and chemistry
I don’t recommend it. If you do not have a camper with permanent heating, then I don’t recommended. Because the heating will cool down, so you will not have a steady temperature and your results might be all over the place. My advice is that you do not heat up anything, so you will have steady temperature, which might be -5C, but at least when you will figure it out, you will have steady working conditions! The worst is that you get a good result, but then the temperature of your chemistry has dropped and you will have different results and there are so many variables, that it’s very likely you will get many problems. The only heating I recommend is long underwear and double socks.

Freezing water
In the video I forgot to put table salt in my water. One teaspoon of table salt will prevent water from freezing even at -6C. I’m adding salt even during hot temperatures, because salt will react with silver-nitrate and stop developing process immediately, thus clear blacks.

That’s about it! Enjoy making ambrotypes or better ambroice, a term coined by Scott Anton.

About this
Last but not least, I thank you for supporting my videos, blog posts and my work on general. You can do that by becoming my Patreon, bidding on my ebay auctions, buying work from me directly, taking my workshops or even sending me a tip on paypal directly. My paypal address is borutpeterlin and every cup of tea is welcome. As I confessed I developed a habit – being an artist…

Again I’m making an Ebay auction and again I’m listing prints that are by my opinion perfect! I hope you like the making-of-video and if you think it’s worthy don’t forget to subscribe, like and share.

And as always: TOPSHIT HAPPENS!!!

Topshit Photo Safari was a success!

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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 borutpeterlin@gmail.com

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!

Exhibition of Wet Plate collodion landscapes

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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 borutpeterlin@gmail.com

The Different Same triptych that will be exhibited at Wet Plate Collodion Juried Show in Mariani Gallery, Northern Colorado, USA

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An albumen print, double coated with albumen and twice hand coated with silver, toned with gold, contact copied from a wet plate collodion plate, format 10x12".

An albumen print, double coated with albumen and twice hand coated with silver, toned with gold, contact copied from a wet plate collodion plate, format 10×12″.

A carbon print on glass, contact copied from a (manipulated) wet plate collodion plate, format 10x12".

A carbon print on glass, contact copied from a (manipulated) wet plate collodion plate, format 10×12″.

An ambrotype, a wet plate collodion plate, format 10x12".

An ambrotype, a wet plate collodion plate, format 10×12″.

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 monster tree with a swing! Photographed in wet plate collodion and printed in carbon print and albumen print

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With my daughters at ArtMarket Budapest with my photographs in the back.

With my daughters at ArtMarket Budapest with my photographs in the back.

Here is a new video. It’s pretty long, 10 minutes, I went through few times and edited out as much as I could to make it shorter, but there is quite a lot of information included, so I hope you will find it worthy of your time.  The prints I’ve made I’m not putting them on ebay auction, since last two auctions didn’t went that well, to be honest. Plus last week my work was being presented at ArtMarket Budapest, an international art fair, by Photon Gallery. I am on the right path, my work received good attention, I’ve met some very important curators and collectors and I’ve realized that all I need at this time is just a little more patience and I reckon one more year to catch up with boys & girls from the first art league. I know I will get there, but I’m not there quite yet. I will stop with Ebay auctions for now. The prints are still on sale, of course just send me an email of inquiry CLICK.
Music by Robert Jukič