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Photography, Fine Art, Wet Plate Collodion, Alternative photography

Archive for the ‘fine art’ Category

Christmas special video on albumen printing and wet plate collodion negative

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Ha, I finally finished my Christmas special video, few days after Christmas, but never mind. In this video I’m researching different lenses from Petzval Gasc & Charconnet from 1860’s to Voigtlander Heliar from 1930’s to Schneider Tele-Xenar from 1970’s. Then I’m making albumen prints from wet plate collodion negatives and I’m analysing the results. It’s my home-work for my new project on Schengen border that is wrapped in barbed wire, but more about it later.

Screenshot 2015-12-27 15.17.45.pngOf course I’m listing the best print on Ebay as an auction from $ 0,99 USD and I’ve set it for five days, so it will be ending at the end of the year. Party like it’s 1999! I’m really happy with this work, it’s my final home-work, before starting a new project. As you probably know, European Union is a union of different countries, but the official – police- border is not set at the final frontier of the EU, but it’s actually set on the border of Slovenia and Hungary, if we are talking about south east border. HERE is a link about the Schengen Area of 26 countries and HERE is how it looks in barb wire! I will devote a post about my new project, probably before the end of the year.

About the print, I hope you like it, it’s the best I can do. It’s the closest I got to the perfect albumen prints done by Eadweard Muybridge, that I’ve seen in George Eastman House. In the print I’ve invested absolutely all the knowledge I have about wet plate collodion negatives, albumen printing processes, large format cameras and photography on general.

And you can tell, I’m not taking any shortcuts! Some people prefer to drive a car, fast cars, but I prefer to walk. Sure, it takes much more effort and yes, I might arrive at the same place much later then everybody, but when we will arrive to our goals, although standing side by side, we will not be the same people, as we started the journey. And… I prefer to walk, I prefer to do hand-made photography.

If you want to learn the process properly, you need to go to George Eastman House, where you will see vintage prints from Masters of Photography and you will be thought by a master of photography, Mark Osterman! If you are based in EU, you don’t need me to express my condolence, but you can also take some of my topshit workshops. Schedule for 2016 is coming soon.

Last but not least, I must tell you that I’m over flooded with emails concerning details about the process. I can’t answer all of them, but I do make a reply to every question asked by my patrons, so if you want to join the crowd, please visit my patreon.com/borutpeterlin site.

Thank you for supporting my work, either trough bidding on my prints, sharing my videos and foremost being my patreon. I appreciate it a lot!

 

Today is the 20th anniversary of the end of war in Bosnia and Herzegovina and I’m opening an exhibition “Tour de Dayton”

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Today, 14th of December 2015, is the 20th anniversary of the end of the war in Bosnia and Herzegovina. The war ended in 1995 with a peace accord signed by Serbian, Croatian and Bosnian political leaders in Dayton, Ohio, USA. By this peace accord Bosnia and Herzegovina was devided into two ethnical entities, Republic Srbska and Federation of BiH. Locally this border is also named as Dayton border.

I decided to do a project about this border that never existed before, by documenting the border on a bicycle. I named the project Tour de Dayton. I cycled on this ethnical border and photographed Bosnian landscape and how it became a medium in the hands of new nationalistic politics and explore how this new nationalistic symbolism coexist with symbols of former Socialistic Federal Republic of Yugoslavia.

I decided to cycle on the border with my camera and heavy duty panoramic head Manfrotto 303 plus (video-log about the gear). Why cycling? Bicycle is the best transportation system for a travel photographer, no doubt about that, plus I wanted to physically endure the path, the road, the border. I must admit immediately, that I haven’t succeed it, I didn’t cycled trough all the border, but only about 500 km on two separate occasions.

The reason why I failed is of boring financial nature. Not that I couldn’t finance the project, it is cheap to cycle, but I received a commission I couldn’t say no and I had to return back home and do the job. You know, the curse of being an artist, a professional photographer and responsible father at the same time plus on top of everything being born with workaholic disability of only two hands!?!?

Therefore I never exhibited my project, but today is the 20th anniversary, so I’m making sort of guerrilla exhibition in one of the best galleries in Slovenia, Photon Gallery. My exhibition will be on the walls for only today and tomorrow, since they are opening a new show on Friday and I jumped for a day or two.

Is it worth it, an exhibition for a day? Absolutely! I consider myself a documentary photography and I have this ridicules drive that I need to document the environment, to express my feelings about it and by doing it to experience the life fully. At the bottom is a video-log on the project, from 2011.

So I invite you to the opening of my exhibition today, on Monday, 20th of December, 2015, at 19:00 in Gallery Photon, Ljubljana, Slovenia.

Relevant links:

Wikipedia Dayton Agreement

Gallery on my website www.borutpeterlin.com

Photon Gallery

Blog post from 30. June 2011.

Blog post from 22.5.2007

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

At 5am in Venice

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Few weeks ago I had a job in Venice and I couldn’t resist not to do some 5am photography. 5am is one of my favourite projects. The basic concept is to be a part of the day when night had finish already and the day haven’t started yet.

Sometime around 5am there exists a subtle moment when day chases its tail. Laborers are off to work; party-goers are finding their way home.

In the wee hours, ambiguity rages between night and day, light and dark, predator and prey, mind and instinct, life and death. This surreal relationship between contrasts seems to linger in what is just the blink of an eye.

In one sentence, it’s a love affair with light. I love it, being awake before everybody and having an eternity just for myself. I walk and observe without any rush, without any obligations and without any expectations whatsoever. It’s my walking meditation channeled trough photography.

As I’ve mentioned in the video I’ve started the project in Fabrica in year 2000, because after Oliviero Toscani left, I could not get a permission to go out and do photography. My kind of photography! You know, the kind of photography that does not sound sane in an application form and on top of that it does not have a deadline or a goal to achieve? I remember very clearly when a senior staff was explaining me that I should sketch how will my photographs look like, before I take a camera in my hands. I explaining him that if I would do so, I would make an image that is made with my mind and my mind is just recycling concepts and in this way I can not come up with nothing original. You can imagine the face of the temporary head of the department…

Anyhow, in the video above is presented a book dummy that I’ve created in 2008. After that I was doing my 5am routine wherever I traveled and bellow there are few recent images from Lithuania, Poland, Slovenia, USA, Czech Republic and of course Venice, Italy.

The project will be finished in a book, I’m quite certain about it. You might remember that in my post from Les Recontres Arles festival I’ve mentioned that Dewi Lewis remembered me for some crazy project of mine? In one sentence I’ve met Mr. Lewis more then ten years ago at Frankfurt Book Fair and after all those years he still remembered me and one of my crazy projects. He remembered my 5am project! How amazing is that?!?

To repeat fast, Dewi Lewis is one of the most important photography book publishers in the world and he was a publisher of Martin Parr (before Faidon), William Klein, Erwin Olaf, to name just few and he remembered my 5am project ten years later when we’ve met in Arles. Of course I will make new 5am book dummy and send it to him.

If you will be in Vienna Photo Book Festival I will be there also with my photo books. That said, the book isn’t published yet, so I can’t sell you one, but someday I will.

Bellow are images that I’ve made in Venice. This is my selection from couple of mornings and only few images will actually end in a book. At the bottom there is a slideshow I’ve made years ago with music of Daniel Wehr. Daniel was a fellow student in Fabrica.it in year 2000 and he made this music for my 5am project. He even walked with me one 5am morning, recording sound, but he didn’t like the sound of camera shutter, so next day I got up even sooner at 4am :-)

Written by Borut Peterlin

6 April, 2015 at 11:58

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!

Analog manipulation of photography by Borut Peterlin

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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.

Ebay auction of my print starting from 0.99$

Ebay auction of my print starting from 0.99$

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.

Was ist Kunst? (inspired by Robert M. Pirsig)

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Was ist Kunst?* or What is art is the question that was not invented together with with the art itself but it was invented in Ancient Greece and in this blog post I’m settling the score once it for all and give answer what art is. I warn you though, you might not like it :-)

As followers of my blog know, for my 40th birthday I’ve bought a Land Rover 109 old-timer car that is even older then me, it’s 43 years and for last fifteen years it was standing in a garage. You can imagine that once I’ve started driving it, an avalanche of malfunctions blasted on my shoulders. It’s almost two months since it’s standing on my courtyard and I can’t move it to a mechanic and since it’s freezing winter a mechanic don’t want to come and take a look. It got a nickname The Real Estate! The good thing is that I’ve spent last three years learning collodion photography from scratch, so I have a stamina an patience to sort things out, so I used the expression from Jeremy Clarkson: How hard can it be? and decided to fix the car on my own.

For inspiration I’ve read for the third time the book Zen and The Art of Motorcycle Maintenance by Robert M. Pirsig and I confess, only this time I can say I’ve understood the message of the book. No wonder this book is in Guinness book of world records as the bestseller that was rejected by 121 publishers before 122nd actually published it and soon became a bestseller, with over five million copies sold.

OK, you may ask what does that has to do with the bombastic introduction in my post? Everything. This book made me realise what art is and changed my life profoundly. The line of thoughts that will follow is very influenced by the book and before you will condemn me, I publicly admit that I will misquote and misinterpret the book, so I strongly recommend that you read it by your own pace. (It’s even in Slovenian for my Slovenian following presidents!)

So, what Art is???

On the Internet there are many articles on what art is, but let me highlight a very simplistic, populistic easy reading article 27 Responses to the Question “What is Art?”.

But that very simplistic article will give you just as much valid answer as any art historian would. Let me say it more correctly. Any art historian will give you just as false answer as any article. (yes, including this one) :-)

The original sin of an attempt to define what art is, is that people are aiming in the wrong direction! We are looking at things in gallery and question if this should be there, if this is art. We expect that an object would have some sort of ingredient that would define it as art, some sort of objectiveness. In ancient times that ingredient was gold, whatever object contained gold and other expensive materials, it was glorified as art. Then it was the craft! Obviously some painters can draw with breathtaking accuracy and expressing themselves with huge skill. Then came avant-garde and scandalous Duchamp’s signed urinal entitled Fountain is still a case of questioning if that is art. And so on, and so on…

Any attempt to define what art is, is like standing in a river, facing downstream, observing what river flow is bringing and evaluating. You could devote your life doing that, but you could not foretell the future. Every mathematical equation works both way. 1+1=2 and so it is 2=1+1. Art is not mathematic and there isn’t a person in the world who could not tell you what you need to do to create art.

To be honest there are few super-stars curators that do speculate and take a role of weather forecasters and decide what contemporary art is. But those people are not to be mistaken for art-historians, although they might have an education in art-history, they are creators, they curate exhibitions, they decide who will win what award, they are more contemporary artists then art historians. But even so they can not come up with an answer what art is.

In today’s times we divide between art and craft, but that wasn’t so in the ancient times. Aristotle’s cosmological work On The Heavens is the most influential treatise of its kind in the history of humanity and as I’ve learned he started the concept of subjective and objective, the foundation of western civilisation.

In the book Zen and the Art of Motorcycle Maintenance, Pirsig talks about Quality, Ancient Greeks named that principle Arete and I’ve recognised the roots of the Art. Arete = Art

Wikipedia:
Arete (/ˈærətiː/; Greek: ἀρετή), in its basic sense, means “excellence of any kind”.[1] The term may also mean “moral virtue”.[1] In its earliest appearance in Greek, this notion of excellence was ultimately bound up with the notion of the fulfillment of purpose or function: the act of living up to one’s full potential.

I think ancient Greeks got it right, we missed it completely. Art is a process of creation and although it does leave traces behind, those traces aren’t ART itself, they are footprints left behind by artists. Those foot prints can be objective as a painting in a gallery or subjective as a dance in a theatre. Those foot prints are worthless if they aren’t made by art in action, if they aren’t done as Arete! And if we see the footsteps, we might imagine the line of thought the line of creation the line of craft that the artist was taking while creating the art piece. Our creativity fuels with inspiration.

Let me be more precise, the Art is not the Mona Lisa in Louvre, or Duchamp’s Fountain or a leap of dance of a dancer. The Art is an event that happened and after the event a trace is left behind. Let me say it with other words. Mona Lisa painting by Leonardo Da Vinci is just as much art as are the ruins of Pompeii the city of Pompeii! The road sign Rome is not the city of Rome, nor is a souvenir or any building or a person living in the city!

That revelation opened my eyes and from now on I see the world differently. Last two days I was fixing my Land Rover. I approached the work with the arete attitude as I’m making the most important exhibition in my life. I suspected that the cause of my problems is the fuel pump. Two weeks ago I didn’t know what a mechanical a fuel pump is, but I’ve focused on the problem, dismantled it, changed all the valves, diaphragm, seals and put it back. Now works perfectly and it will continue so for the next ten years. Unfortunately, I realised that the cause of my car’s malfunction is not the fuel pump, but it’s distributor. I ordered new parts. Nevertheless the fuel pump, poor girl, needed the restoration.

Let me finish with paraphrasing Pirsig with the case of my Land Rover.
Objects are just atoms and molecules. They do not have a moral or a feeling for what is right and what is wrong. They are what they are because somebody rearrange materials in the way they are. The malfunction does not exist in a car, it exist solely in the viewer’s mind. The car is a direct reflection of it’s viewer’s interpretation.

The car that is standing still for two months in my courtyard represent disharmony in me and I’ve decided to regain the peace by fixing the car. I am using wrenches, bolts, spanners but my most important tool is ARETE, the will to do whatever is needed to do, so the car will fit my interpretation of how it should be. I use arete to regain the internal peace and that will happen only when my concept of a car will be aligned with my senses.

This process is the feeling that every artist know. It’s a feeling when you are alive, when your hands are golden, hands are moving and miracle is emerging right in front of your eyes! An artist is not separated from the the object until the object is aligned with artist’s interpretation how it should be and it brings peace to the artist. When the artist finishes working on it, from this moment on, art (arete) seize to be and the artist and the art object become two separate entities.

Do you see, people are looking at an object and questioning if this is art, but they are aiming it at the wrong direction. Art is an event, not an object!!!

Written by Borut Peterlin

18 February, 2015 at 13:35

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