Archive for the ‘Large format camera’ Category
I’ve started a new project. I’m foremost documentary photography and ever since I got myself devoted to wet plate collodion process, I regretted the fact that I’ve parted with the spontaneity and playfulness of 35 mm photography. I desperately wanted to smooth my workflow, so the complexity of wet plate collodion process will not stand in my vision of documentary photographer, going around, taking pictures. That’s why I’ve made this invincible wet-plate mobile! If you are wet-plate practitioner you will appreciate a lot the content of this video, because wet-plate workflow has never been easier! Of course the dark-box is the key, as I’ve described in my LAST POST.
Now, finally, I can devote myself again to documentary photography I cherish so much. My theme is The Final Frontier of EU, more precisely the EU’s Schengen border. To prevent migration of refugees from Syria and immigrants from other places, Slovenian government decided to put barbed wire on our south border!
Imagine that!?! I do not know what think and what will they solve with what? Imagine that thousands of refugees will flood across the river Kolpa to Slovenian soil and take a stand there! What will Slovenian government do then? I mean it’s not 1939, journalists are all around and on top of everything we should pretend to be civilised, so we set barbed wired fence. To stop what and who? Deers?
Most of my readers don’t know much of history of Slovenia and there is no reason why should you know, but in this context I will say few lines. Slovenia used to be part of Yugoslavia, governed by communistic regime that resist Stalin’s politic and therefore received a lot of
sympathy from West and East. There was a very real threat that Soviet Union will invade Yugoslavia like they did to Czechoslovakia, Lithuania and others. Churchill delivered The Iron Curtain Speech in 1946 and its south-east border was actually Slovenia (that was part of Yugoslavia at the time). So what I’m trying to say is that in the past we experienced some really difficult times and inspire of being threatened with invasion, even when the Iron Curtain was being set on our borders with Italy and Austria, even in the dark times like this, our ancestors did not think of making our country like barbed wired concentration camp!
That said Slovenian nation, we deserve the finger up our asses, for being a faithful servants of our masters, support the imperialistic war in Iraq and dismantling Middle East, being quite at violation of human rights issues, buying particular arms and basically everything we supposed to do, to receive crumbs from the table. There is solely one good lesson to be learned from this refugee crisis. The whole Europe and the world has learned that whatever war happens wherever in the world, we will have in a month time refugees knocking at our door! USA is safe, they do not care, but people we have learned that you can not cross a border as a single person, but a flow of hundred thousands of refugees is unstoppable!
I say this in first person, because on the contrast to most of you, I do not exclude the scenario that I and my family might need to flea from a future war. I was 9 years old, I still remember very clearly, we had a lunch, I was being very picky and my grand father said, appreciate the food, because tomorrow it might be another war. I was laughing at him, thinking how silly he is, but not even ten years later we had a war!
Before I left on the road I heard there were violent protest happening in the capital of Montenegro, so I’ve decided that I will make a reportage about that. The question was how will I do it? I can not compete with local photojournalists and I wasn’t interested in news photography, I’ve done that a lot, I wanted to do it differently. I had to think what kind of reportage will I make, how will I approach the subject, what will be the subject at all? Many important questions to be answered before picking up a camera.
Talking about the camera, I was reluctant to take my super digital camera Nikon D4 with me, it’s too heavy and too expensive and I wasn’t into news kind photojournalism anyway, so I decided to do the feature reportage with my 4×5″ camera. I’ve decided that I will not wait for the violent protest, those images will be in the news anyhow, I wanted to make a different kind of story, so I’ve made the following approach.
When I came home there was the hardest task, to write a story, to write a text! For all of my years as a photojournalist I always was working in a team with a journalist, but now I had to do all by myself. I was kind of confident, because I knew how am I going to do this story before I picked up a camera or ask a question, so I sit down to write the story at 8am and finished it at 4pm. The experience working with excellent journalists for magazines like The Observer, Colors Magazine, Corriere della Sera, Mladina and others, was very good foundation. Even the editor in chief of Mladina weekly, said I wrote a good text. I was really satisfied with the feature reportage that was published in Mladina weekly. You can read the full article from THIS link, but it’s in the proper language, so I apologise to English speakers.
Last but not least, I’ve showed the feature story to my friend at UK’s picture agency Panos Pictures and he found it excellent and published it on their blog as an example of a good feature story. HA!!!
Long forgotten love for photojournalism revived in me. I don’t want to do daily news, but I am interested in daily life, small stories, that are affected by the stories from the news. Plus I realised I can do a reportage with a slow view camera, better then with my ultrafast digital camera! And imagine that, I can also write!!!
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!
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/
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!
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
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.