Posts Tagged ‘Art’
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 :-)
Here is a shot that is really dear to me. I grabbed my second favourite middle format camera FUJI GSW III 690 and some infrared film and decided to have some fun time it in the forest. And oh, I had also iPad, so this film happened.
This blog and videos are crowd-funded, through Patreon platform. I’ve started only a month ago and this month I could buy 200 gr of silver nitrate with your donations. I will do my best to deliver and over deliver my promises. If you can spare a dollar, five or more per month, it would be most appreciated to make more videos with this kind of content.
(OK, less mushrooms and more bears, got it!)
And oh, don’t forget to subscribe to my youtube channel. Only lately I have learned that it’s jolly good to have a subrscriber or two on your youtube channel, but I guess you know better then myself, because I equally shocked I’ve learned that I have already 1673 subscribers. Look mom, I’ve made it!
And if you are on it, I also started a FB page, Topshit Photography, don’t forget to tap my ego there too. LINK.
PS: OK, I wanted to list the print on ebay as an auction, but I was reluctant to, but I received a request to do so, so I’ve done it! Here it is. I do follow a spiritual motto:
Everything is on sale except my kidneys! (officially)
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 email@example.com
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!
Tomorrow is a big day. I’m almost finished with my preparations for Vienna Photo Book Festival . I’ve cashed in all my chips and now it’s time to go. I’m going to Vienna with a Land Rover, my old-timer. Today I’ve bought Hi-Lift Jack and I’ve sorted the bed in my Land Rover. As a huge fan of Top Gear, I’m planning to do Topshit Gear Special and I’m planning to record my trip as I do, with emphasis on photography and art. The book Zen and The Art of Motorcycle Maintenance is my inspiration.
I’m not doing this just for the fun of it, but I’m celebrating a new milestone in my photography path. I finally reached the destination after four years of intensive work. Six years or so I’ve seen an exhibition of Sally Mann in London Photographer’s Gallery and I’ve decided there on the spot I want to learn this witchcraft of collodion. It took me more then a year to find Miša Keskenović, who introduced me into the craft and another year to have met Mark Osterman in person. At George Eastman House I’ve seen original albumen prints of Eadweard Muybridge, France Scully Osterman, Mark Osterman and many others. I knew that I want to make a project with it. Albumen print process is in principle very simple process, but if you want to have rich tonality with clear white highlights and deep blacks, it’s very difficult. On top of everything I see my future artwork only in wet plate negative, that is much more difficult to do, then ambrotypes or tintypes.
Practitioners of wet plate collodion process know that the most difficult thing of all is the workflow. It’s one thing to make a good plate (either positive or negative) and it’s completely another thing to be able to do it in whatever situation it is. I bought the Land Rover so I could perfect my workflow and master the process so well that it becomes intuitive and I can focus on the photography itself not thinking on the process.
In the road I’m taking I’m celebrating that. I’m celebrating the past four years of learning and tackling the process and now I feel the process is very natural to me, I’m relaxed and I have plenty of energy to focus on the aesthetic and art. In this road I’m celebrating the fact that I’m making prints that are the best prints I’ve done. I love them so much, I can’t stop looking at them. I know I’ve reached the milestone of learning the craft. Now I can fully focus on my art, on the concepts, on ideas I want to share through the medium of photography.
Here are some random images I’ve done lately. Captioned.