Posts Tagged ‘Art’
Some time ago I’ve made a video about barbed wired EU border (link) and here is another episode from the project. I do not know exactly how will it developed, but I feel the need to document the time and place where I live. I enjoy these expeditions so much. Being away from everyone, from everything doing photography, but not being sure if anybody including myself needs those images. As a professional photographer I’ve developed disfunctionality because photography as a medium is the main source of income and although this is a good thing in the manner I am entitled to devote most of my time to the medium it also creates huge aberration in the process of evaluating the work that I do. This is the aberration I’m mentioning, but I have blind faith that this will pay for my retirement, because social security surely will not.
My next step is to make prints out of the negatives. It will be very different then those digitally converted reproductions, but about that in the next video.
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!
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.
- pour the plate and dip it in silver nitrate bath as you usually do.
- after 40 seconds, in safelight conditions, take the silver-plate out and look at it, then immediately dip it back in siverbath.
- repeat after 90 seconds, 120 seconds, 180 seconds
- 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.
- when there is no more silver drops on the collodion plate, when silver nitrate flows smoothly, the plate is ready to be taken out.
- 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!
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)
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.
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.
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.
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!!!
Dear 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.
Oh, I am so happy with this dark-box I’ve done in the last few days. In October 2014 I’ve bought a Land Rover Series 3 from year 1972 and it took me more then half a year that I started to trust the car and foremost my ability to fix it, or more often then not, recognising I need a help from a friend to do the maintenance of the truck.
I so much love photographing outdoor, especially documentary photography and you know how annoying is to do it in wet plate collodion process. Sure I’ve done it many times, you can get to a location, set up a tent and you work whole day at the location, clean the stuff and go home with bunch of plates. In the last four years that I do wet plate collodion photography, only twice it happened that I’ve set up a tent, took few plates, cleaned the place up, move to another location, set up the tent, do another bunch of plates, clean it and go home. It is so exhausting this moving. And moving a dark-box or a tent is not a problem, it’s to pour back all the chemistry, prepare it for transport… ARGHHH!!!
I had in mind for a long time a wet plate collodion mobile, a car that it will have a dark box and most importantly all other chemistry prepared in such a way that I would stop the car, set a camera, pour the plate, develop a plate and move to another location. I know few people have camper vans or even trailers, which is fantastic, but not suitable for my environment, not suitable for motifs I want to photograph.
Land Rover, Series 3, 109 LWB, Station Wagon, an old-timer from 1972 is perfect for my needs. It’s cheap to buy, it’s cheap to maintain (parts are cheap, but you have to do the mechanical work by yourself or go bankrupt), it’s almost free to insure and foremost it looks good on you! Sure it’s not cheap to drive, it burns 13 litres of petrol per 100km (USA: 18 mpg), but it’s not a car for daily use, it’s a tool! I drive it about once a week down to the river or up into forests, near my house, to bring all the equipment, I rarely make a trip longer then 100 km. You don’t want to drive long time with this car!
Anyhow now I’m happy with my dark box. I need to make another shelf beside the dark-box on which I will have a bath with fixer or humectant and a box to store clean and exposed plates. On top of everything I can make a bed in my car! I can easily make a bed size 135cm x 180cm. OK, if I will have a dark box inside, it will be 50 cm narrower, but still plenty of space. When I was in Vienna PhotoBook Festival, I was camping inside the truck and had also a cooker for making soups, tea and other tasty meals. The dark box can be used also on the roof rack as a crate for storage.
Today I’ve made a quick test before lunch to see if window is properly filtering daylight and I’ve made this wet plate collodion negative. It’s done with Kodak Folding Brownie 3A, from year 1905, it was one of the first compact cameras in the world! Amazing camera, I love it so much. The most important is that I’ve made the plate in about half an hour with all the setting up and going back home to catch the lunch. This Land Rover and the dark box is the most important tool I have! It will make a wet plate collodion process natural and easy. So happy!
Last but not least, my new year’s resolution is to make more videos and blog posts. I am amazed how many people are following me trough social network! The Ebay auctions are going good, the last one reached about 230 EUR and then I’ve sold another copy of the print to an Italian bidder that lost a bidding against a bidder from USA. Of course the second albumen print from the last auction was sold for slightly higher price then the wining bid was. If I add up the support from my patreons and the commissions that I receive in Slovenia and workshops I have, I must say it’s going great. I want to thank you, by revealing my craft secrets, that I have none, inspiring others and being inspired by others.
Thank you and remember topshit 2016 happens!
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.
Of 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”
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.
Gallery on my website www.borutpeterlin.com
Blog post from 22.5.2007
I’ve made this beautiful print from a horrible negative. The good things about negative / positive process is that you can get away with many things. Two weeks ago I got my silver bath heavily contaminated because of unfortunate event that I want to forget, I cleansed that silver with kaolin, sunning and filtering, but it still wasn’t good. The silver bath was good for ambrotypes, but for negatives, it was fogging. I’ve kept that negative and I love it a lot. When I came home I repeated the cleansing process and it’s OK now.
Next week I’m going to photograph EU border that is barb-wired to prevent crossings of immigrants and refugees. The so called schengen border is very near my home, few tens of kilometres and I will go there and document it. I decided to go with Petzval lens, because it’s not covering fully the format and it has such a eerie feeling and communicate well my feelings about it. I’m still lingering about the final printing process, should I go with silver-gelatine photo paper (like the one above) or with albumen printing process. I will make an albumen print from another eerie negative and compare them.
This is a homework for every artist before starting to do the project, but especially important for a wet plate photographer, because of the extensive and precise preparation to make one photograph. Good, this is a good side being a wet plate photographer