Posts Tagged ‘artist’
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)
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.
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
Do you remember my project Great Depression? I’ve start working on it in December 2012 (LINK) and I had exhibition in October 2013 (link) Yesterday I continued to work on the project. I was in meat factory MIP D.D. (in bankruptcy process). I really wanted to document this factory, because it’ll bring a new dimension to my picture series. Images are showing a disassembly line of a living beings and it the context of my Great Depression photography project, it could be interpreted as a disassembly line not for cattle and pigs, but for humans. Say no more. Images are images and every possible interpretation is a valid one.
I think I’ll go one more time to the slaughterhouse and make few more images…
The book I’m presenting is a fruit of collaboration at the workshop. I’ve learned hugely by just watching Klavdij going through images, picking one, the other, changing the order, putting it back on the pile and so on. We called it Sluban’s magic, because although sometimes images that were on the table were not impressive at all, but his selection of just say 8 images and juxtapositioning them in certain order, did made a huge difference. You can not understand if you don’t witness it. I’ve been at workshops with many many famous photographers, from Martin Parr, Duane Michals, Joel Peter Witkin and many others, but I haven’t seen anything like it. I knew from our first meeting that all I need to learn at the workshop is to tap on his frequency of thinking and the result is evident here in this book. Mark Osterman gave me a great comment. He loved that I used different camera formats (6×6, 4×5″, 8×10″) and also different processes (b&w film, wet plate collodion – ambrotype and wet plate negative) and I blended them all together in a book almost seamlessly. That’s Sluban’s magic, I tell you!
Dear topshit readers,
I’m awfully proud on the following book I’ve made. I’ve joined an excellent workshop with Klavdij Sluban. Klavdij Sluban is an extraordinary photographer and won so many prestigious photography awards. One of the most important award was certainly European Publishers Award 2009 and this year he was one of the juror for Leica Award 2013. It’s fortunate for us that his parents were Slovenians and although he was born in Paris, he spend his childhood in Slovenia, so he speaks fluently Slovenian (among other half a dozen languages). He made a generous offer to make a whole year lasting workshop and we would meet six weekends across the whole year. His only condition was not to advertise the workshop internationally, but invite only Slovenian photographers. Last week we had an opening of exhibition as the final stage of our workshop.
As I’m describing in the video I was aware that the story about the most beautiful children in the world is not enough. I shaped my concept around my fears and delights of being a parent. When I was a child, ten years old, I burned myself with a gasoline and almost died. When I became a parent I experienced fears for my children and one day I was strucked by a thought, what my parents had to go through at the time of my accident!
The book is on ebay (LINK) if you want a copy. If you want a print as well, I’ve just put two prints on ebay and link is listed below.
A link to the gallery of images on my website.
huh, last week was busy so I need to catch up. Sunday I’ve returned from USA where at George Eastman House I took part of a workshop of Carbon Print process under mentorship of Mark Osterman and Nick Brandreth. The workshop was three days but I spend the whole week in Rochester to study their collection of prints, their collection of historical and their library. That was the most exciting week ever! Where to begin, where to begin…
Well, look at images and read the captions and hopefully some passion will get through.