TOPSHIT PHOTOGRAPHY blog

Photography, Fine Art, Wet Plate Collodion, Alternative photography

Posts Tagged ‘alternative process

Transcending reality in wet plate collodion / Vlog E02, S01

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Dear followers,
as I’ve promised I’m publishing my third episode (I count also the episode zero) of my vlog while pursuing my goal to publish an artist photo-book.  Of course, the theme of my book will be Kočevski rog woodland and this time I went to one of the most beautiful places, Ponikve valley.

I was wondering how long should my vlog videos be and what should be the mix of entertainment and informative content. This is what I think it’s good. Please let me know your opinion. In each episode I will include a tip or two about the process, but the main topic will be artistic vision, composition, asking questions and the search for answers. Just don’t ask me to do camera review blogs, they are boring. Photography and cameras is like traveling and wheels. It is related, but not dependent upon. I will do a book review, here and there, but not one of those 100 famous photographers everybody know. I will rather do a review of work that nobody knows, like I’ve done from Peter Župnik, Herman Pivk and many others. Basically photographers whose quality does belong on top 100 list, but they will never be world famous photographers, because of circumstances.

I’ve described my intention in the previous blog post, but let me highlight that I haven’t realised before, but all the likes and shares are well important, since the large social network is the guarantee that my book will actually be published, so thank you in advance! So if you think this content is worthy, please press like and share it. If I’ve made your day, please you could buy me a cup of tea every month via my PATREON page and if you could afford, thank you for bidding on my Ebay auction.

The print on sale is an albumen print, toned with gold toner, from wet plate collodion negative. It’s listed on EBAY.
LINK to “THE BRANCH” Ebay listing
LINK to the “TWO TREES” Ebay listing

I thank David Cutter for the music and Fiona Cambell for the disclaimer voice.

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

Eleven workshops in the next half a year

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Screenshot 2016-02-15 21.18.54Dear readers of my blog,
I love teaching and I particularly love teaching collodion photography in the nature, so I came up with this program. There are eleven workshops, but actually I have one more for kids and one more for college students. Please follow THIS LINK and pay particular attention to the Photography Jamboree at the last week of July. It’s open public event, free of charge, based on volunteerism. The purpose of Photography Jamboree is to raise awareness of environmentalism through photography and through direct experience. I sincerely hope that the event will grow into a festival, next year. But that said I can not do it alone, I can do my photography alone, but not the festival of photography. I will do all in my power to gather a group of volunteers and with their generous help make an event that will bring people out of this hectic mad world and experience the peace of eternal forests. Please spread the word.

Alchemy pictures in Wet Plate Collodion photography

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This two shots I’ve done as a commercial proposal for a client that briefed me to do a proposal in color and although they loved the result it was not chosen. Lately I see world in black and white 🙂 I hope you’ll like it. I’m sure I’m going to sell this proposal eventually. I’ve shot it with large format camera on glass plates size 13x18cm (5×7″) in wet plate collodion technique. I often get asked by my colleagues why do I bother with this huge cameras and this lengthy and demanding process, if I could do it digitally and my answer is here. Please compare and try your all iphone apps and photoshop tricks and you just can not fake this optic! As Chinese proverb says: Shortcuts don’t lead anywhere, where you want to be.

Ta dva posnetka sem naredil kot predlog za klienta, ki pa je želel fotografijo v barvah. Kljub temu, da jim je bila fotografija zelo všeč, se na koncu niso odločili za moj koncept. Pač zadnje čase vidim svet v Č/B tehniki. V vsakem primeru verjamem, da bom slej ko prej prodal ta koncept. Fotografiral sem z veliko formatno kamero, po tehniki mokri kolodij na steklo, formata 13x18cm. Pogosto sem deležen čisto resnih opomb kaj se martram s to staro kramo in s tem napornim fotografskim postopkom, če bi lahko to naredil digitalno. Moj odgovor je spodaj. Primerajte analogen in digitalen posnetek in potem poizkusite vse vaše appe in fotošop trike, a te optike enostavno ne moreš poustvariti. Kot pravi kitajski pregovor; bližnjice ne vodijo nikamor, kjer si želiš biti.