Posts Tagged ‘wet plate collodion’
Woodland Photography .eu is three day event in deep forest of Kočevski rog in Slovenia. The main theme is photography and environmentalism, so you can expect photography expeditions, talks, projections, exhibitions, challenges and even performances. And of course bonfire with acoustic music.
It will last three days, in the last weekend of July 2016 and on the last day, Sunday 31st, it will be open for public. The core group will be around 50 people, but on the last day, Sunday 31st, local community will join us so we expect more then 300 people.
The accent of this event is to experience primal environment and primal photography. And although this will not be a workshop in classical sense of the term, there will be many demonstrations of 19th Century photography processes, like wet plate collodion, dry plate collodion negative, salt printing, albumen printing, carbon printing, cyanotype, lumen prints, large format photography,film photography, etc. And of course digital photography will be very much present. We will do time-lapse photography, photo-hunting with long telephoto lenses,…
More about the program at the bottom of this post.
For photographers and lovers of photography. The accent will be on analogue photography, like collodion and film photography, but also digital photography will be strongly represented.
29th, 30th and 31st of July 2016
In the middle of Kočevski rog – Resa, Slovenia, in one of the deepest forest of Europe.
FOOD & DRINKS:
Food & drinks will be available, but not for free. It will be possible to make your own food, meaning there will be open fire places, so you can make your own food. Indoor kitchen facility is limited. Shop is in the valley, that’s 30 minutes drive, so daily we will organise collective shopping list and somebody from organisers will go and buy groceries.
LANGUAGE: English and Slovenian
ACCOMMODATION & PARTICIPATION FEE
Evening program is open for public and free of charge. The camping, accommodation, food and drinks will be available for purchasing.
The participation fee depends on accommodation. The prices are for three nights, per person and the contribution for the program is included.
150 EUR for camping + program
200 EUR for accommodation in shared sleeping room + program
Renting a private room is possible, please send us an email.
Kids under age of 15 years have 50% discount (escorted by parent).
Youth under age of 25 years have 25% discount.
Please email us to email@example.com
FRIDAY, 29th of July 2016
08:00 – 09:00 Breakfast
09:00 – 12:00 Setting up working conditions, photo expedition
13:00 – 15:00 lunch break
15:30 – 19:00 Photo expedition
19:00 – 21:00 Dinner
21:30 – 23:00 Talk at bonfire
SATURDAY, 30th of July 2016
04:00 – 07:00 Photo-hunt (with an escort of a hunter*)
08:00 – 09:00 Breakfast
09:00 – 12:00 photo expedition to the peak of Rog
13:00 – 15:00 lunch break (at the location Žaga Rog)
15:30 – 18:00 Photo expedition to the caves of Željnske name
18:00 – 19:00 Dinner
19:00 – 21:00 Exhibition opening and talk in the caves
21:00 – 21:30 Returning to Resa
21:30 – 23:00 Talk at bonfire
SUNDAY, 31st of July 2016
04:00 – 07:00 Photo-hunt (with an escort of a hunter*)
08:00 – 09:00 Breakfast
09:00 – 13:00 Photo expedition
10:00 – 16:00 Flea market (local hand craft, second hand photo gear, photo books,…)
13:00 – 15:00 lunch break
15:00 Forum of local community
16:00 – 18:00 Photo expedition
19:00 – 21:00 Dinner
21:30 – 23:00 Talk at bonfire
* Additional charging
Hunter escort, flying with paraglider, rafting,… are arranged individually and charged additionally.
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!
This post will be more Tips&Tricks kind of content, but I’m already uploading new video, so although my audience are not only wet platers, please bear with me.
This tip is not the basics of wet plate collodion photography, it’s a tip that might save a month of your life and potentially a lot of money. It’s a technique that you do not need to use very often, but if you do need it, it’s your only friend, it’s an emergency exit. What do you usually do when your silver bath is contaminated and it fogs like English morning? You sun it, right? If that doesn’t work, you add baking soda and leave it for a long time to settle down, I prefer not to wait that long and I rather add baking soda so the pH is about 5-6pH and then I boil it, so 2/3 of water evaporates. Then I add water, filter it and sun it again for a day or two. Then I have perfectly pure silver bath with which is a joy to work.
Last week I’ve done all of the above, but after filtering silver bath still looked muddy. Strange, strange, very strange, I thought. What do you do when you see something like that? I know what you’re thinking and you are WRONG, you do not publish it immediately on FB with a caption: What’s that?!? NO, that it’s not how you do it! You go back and investigate what went wrong.
I cleaned the pot to see if the coating of the pot chipped off somewhere and UAU, it was a massive corrosion and the metal part of the pot was in contact with my silver bath. Do you know what metal is a developing agent in a wet plate collodion developer? It’s iron, a sulphate of iron! So that means the silver bath reacted with the pot and it contaminated throughly!
In this case, all the sun in the world will not help to clear the silver bath, so you need to call special forces, you need a bad-ass called Kaolin! It’s a fine powdered clay, that is used for china making. It is known to bind on itself all sorts of stuff, but in our case, it will clear the silver bath.
So I’ve added few spoons of Kaolin and the cleansing started immediately. After a minute it was much much better. I left it sunning for a day, so all the clay sedimented down and clear silver was ready for more wet plate photography. The contamination of the silver-nitrate with iron took a fat toll, but at least I saved the remaining silver. If I wouldn’t had kaolin, I would have to dispose it.
Talking about disposing silver-bath. Mark Osterman told me, that when he started with the wet plate collodion process in 90’s it was a habit that photographers were using silver bath until it got contaminated and then they disposed it and mixed it fresh! He have learned from ancient books about sunning, baking soda, boiling, kaolin and all this witchcraft that we do today. I can imagine that us wet platers hurts the thought that we would need to mix new silver-baths every month or so, but there is one nice method how they’ve disposed the silver bath. They used it for painting of wooden fences and apparently it offers fantastic protection! I also read in Osterman’s Collodion Journal that silver nitrate was popular for dying hair. Imagine how permanently black hair were! My hair is getting kind of gray, I might spare some silver nitrate
Back to the topic. Kaolin can be used also to clean your silver bath during wintertimes, when there isn’t much available sun, I use it to cleanse my silver bath for albumen printing. The only way to get albumen out of your silver bath is, you guessed it correctly, Kaolin! I also used a table spoon of kaolin with some baking soda to help my digestion problems. Seriously, it really helps! This is pure classic medicine, it’s not alternative mambo jambo! But all the methods above are alternative usage of Kaolin. Today it’s mostly used in beauty saloons, for facial masks, since it also cleanses skin. So the bottom line is the same as the title:
Kaolin, the best friend of a wet plater and his wife!
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 firstname.lastname@example.org
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!
Dear topshit readers,
Here are some updates. I’ve just came back from family vacations and I don’t have a habit to post that my house is empty. Not that is anything to steal from it, but still.
What do you do for a living people are very frequently asking me. Hm… Not so easy to answer. Well, I do have two regular clients that all together make three to four monthly salaries per year but everything else is freelancing. I’ve been fortunate enough that I’m freelance photographer from 1998 and ever since I have burned only handful bridges, so people know me and I do not need to promote myself as a commercial photographer. The other Friday it was a crazy day. Three clients wanted to do the shoot in one day. Good, three flies in one stroke.
In the morning it was Janez Bršec, a poet. He wanted that I make a portrait of him for a cover of his book. I’ve done as he imagine it, but then I’ve made one more as I’ve understood it. He picked my version
Next it was Corcoras quartet with and without actor Branko Jordan and then a solo portrait of Branko Jordan. At 3pm it was really hot, but we’ve met beside a river that offered some fresh breeze. I didn’t had any problems, aside some oyster stains on the edges, which I like in the first place.
The last shoot was in Ljubljana, that’s an hour drive from where I live. We started at 7pm and finished at 11 pm. Maja Smrekar is a contemporary artist dealing with futuristic visions of humanism. Or at least that’s my interpretation of her work. Nevertheless she explained me her new project. It’s a survival kit for 21st Century. It has many features, it could be a weapon, a tool, or protective gear. So my task was to illustrate her using the set. I was using Balcar studio flashes, a Profot Flash Feeder, some “nothing special” gadgets, excellent Nikon D4 and three lenses. Interesting thing is that the last picture was taken almost at midnight with full moon behind. I had to illustrate that the kit has also a feature to offer a shade, so I’ve used the moon as futuristic sun. I was asked if I could have a workshop on these kind of creative lightning, but with – pardon my French – digital photography. Of course we will, stay tuned.