My dearest followers,
here is my newest video about the latest opening of the exhibition I had. It will be open for the whole year, until September 2017, which is cool, because the location is on my way to skylight Studio Pelikan, so next time that I will have a workshop I could bring the group to the exhibition.
Curator: Nina Sotelšek
Organiser: Krško Cultural Centre
Exhibition closes: September 2017
On more personal note, I thank you all for the kind thoughts of support you have send it to me. I am getting back on track, better then ever. Expect more videos to be published this week, more photographs to be made and expect the world to be saved! Because Topshit does happen!
In this video I am contemplating my separation with my wife with who we had 21 year long relationship. It is a sad, but I do my best to deal with it.
PS: oh, I’ve just realized that I left room for misunderstanding. This cottage is just a place to contemplate my projects and store some things in the woodland. I do not live there! I have my own flat in the civilization!
Woodland Beyond Photography is an event where photographers, artists and enviornmentalists retreat in the middle of woodland and create their art. It is organised to spend a weekend in deep forest together with their families. Kočevski rog is ancient woodland in Slovenia, with largest area of virgin forests in whole Europe.
In the caves of Željne, near Kočevje, we prepared an exhbition on the theme Light Shining In, so I invited three artist that creates their art with camera obscura: Michalina Hendrys (PL), Miša Keskenović (SLO) and Gerald Figal (USA). The philosopher dr. Pavel Koltaj gave a speach on the theme Plato’s Cave and how does that relates to our everyday life.
Peter Rauch and Tomaž Pipan both artists based in Slovenia have created a sculpture suspended in the air. Sara Figal (USA) made a sculpture with knitting among trees. Marcus Gabriel (IT) and Christian Klant (D) were making wet plate collodion plates. Photographs and videos used in this video were made by Adrijan Pregelj, Gregor Koščak, Boštjan Pucelj, Miša Keskenović, Anže Grabeljšek and myself.
On the very end I would like to appologise to those who could not join us. The event was organised by myself, without any budget or as I’ve called it, budget-free event, so the only way I could pull this event off is to invite people who are either my friends or friends of my friends. We did not had a support from outside so we all had to contribute to make this event happen. And it did happen!
Last but not least, as a proud father of two daughters I encourage them to get in contact with nature, but a father alone can not do it, so I organise these kind of events were there are tons of kids and we all have a blast.
See you next year and mark the 28th, 29th and 30th of July 2017! And let us not forget… Topshit does happen!
PS: I am a patreon of great artist David Cutter, without whose music my videos would not be the same. My work is also supported by patreons, so I thank you for that. If you appreciate what I do and you might want to donate me a cup of tea or a pizza every month, you can do it ON THIS LINK.
Few days ago I’ve finished a bacis collodion workshop and part of my workshop is a demonstration of contrast control in wet plate collodion process. I thought this might be intersting topic, so here’s a short post. Plate on the left is normaly developed and exposed and plate on the right is overexposed and underdeveloped. As you can see the middle tones are about the same, but the plate on the left has no details in highlights. This is usual push / pull process that is very well known in film photography and the same goes for wet plate collodion process.
Have you ever heard that a collodion mixture becomes more contrasty with aging? Well, that’s merly a false myth. Collodion becomes less sensitive and if a photographer is using the same exposure times with old colloodion, the plates are in fact undrexposed and on top of that overdeveloped, so of course the end result is much more contrasty then it was with fresh collodion, but if you want to have low contrast with old collodion, you only need to overexpose and underdevelop! So the cause of contrasty plates is not the age of collodion, but underexposure and overdevelopment.
This is what I’ve learned from Mark Osterman.
Here are two more plates that I’ve manages to make a reproduction of.
This is just a short, fun video of time that we had yesterday. I’ve installed roof tent on my Land Rover and now kids have mobile tree house! Have a lovely day,
Dear readers of my blog,
my videos and this blog is supported by wonderful people who donate me every month a certain amount of money. I have 38 pateons already and last time that I was in Berlin, where I had a workshop, I decidd to send top 25 patreons a poscard from Berlin. Unfortunately to write all the postcards it took me more then two hours and that time I didn’t had, so I’ve decided it to send postcards from home. I hope you received them.
If you want to give me a tip monthy, please visit: https://www.patreon.com/borutpeterlin
Thank you for the support and hlp spreading topshit all over the world! Topshit happens!
Dear readers of my blog, I am very late with my production of videos. I have great excuses, but you do not follow this blog because of great excuses, so I will spare you 🙂
I think this video is alright. It took me two days to upload it, because of technical issues, but I’m satisfied with it. Only today I’ve noticed I haven’t used any drone shots, too bad.
For wet plate collodion photographers there will be interesting the following example. In the video I’ve said that at the first test the fog appeared because I waited too long before subbing the plate to silver nitrate. Actually I’ve recoded the explanations, but it is too long and boring, so I’ve edit it out. I can tell you now why I knew what is the cause of fogging. Please observe corners. Only in corner number 4 there is no fog. OK, there is some fog, but that fog is made out of sharp lines, meaning the plate was not cleaned enough. Other fog is obviously different. Corner number 4 is the corner where I’ve poured off my collodion off the plate, meaning that was the most fresh collodion. On other edges and corners fog is spreading toward the edge, from centre toward the edge. That is very clear sign of drying collodion, before the plate went to silver bath. The drying of sensitised plate looks different, very different. So my advice to you is to learn with every failed plate and every successful plate. Believe me, it is very likely that I have made much more foggy plates then you, but I have learned by doing it, so now I can do it either at temperatures of -9C (link) or at + 30C (link). Just do it and fail miserably, that is the only way to make it happen.
As you imagine to make this videos it takes a lot of time and because I’m a professional photographer, I need to justify the time investment, so I need to sell my photographs. I thank you for bidding, sharing my videos, commenting, subscribing and basically all the attention this social network is giving me. It’s my dream job and I have more to come! My prints became quite expensive (THANK YOU), but if you still want to give me a tip and buy me a cup of tea every month, you can visit THIS SITE and become my patreon.