Mitsu | 8x10 Ambrotype

Music | Summer Haze by Shapeshifter


Mitsu in Rope | 8x10 Ambrotype
No matter how many times I tell you what this image is, how you see it on the screen, you will never know how amazing it is unless you see the real thing. This was the image I was holding in my hand in the rinse water and knowing I didn't need to shoot anymore. It was the 1st plate of our session and I could have just ended it...

Though I do strive for perfection, my perfection is not yours. I didn't intend the flaws, and yet I love them here. I know I have issues with my developer pour, but I see nothing that bothers me here regarding the pour. What gets me is how this image just falls into the place where I just feel it could not get better, at least within the time frame and situation we were in. I don't get this feeling often, but when I do, I want it to last forever...

Samantha and Aimeelisa

Music | Message in a Bottle by The Police

So time is running and I have two solo shows to prepare for. One opens at the beginning of June and the other in September. I'm no where near what my expectations where when I received noticed that I had procured the exhibitions. However, yesterday was a good one in that, not only did I figure out my newly created Polaroid camera was going to work out, in fine fashion, I also was able to add to the archive, 2 more ambrotypes for the show in June.

Samantha and Aimee came to the studio to sit for me. The 8x10 glass plates are still a huge challenge, but I'm slowly figuring out some of my problems. I just have to make sure to stay busy to make sure I can learn from my mistakes, instead of making them over and over again. Seems to me that I need to have repetition work for me, to keep my skills honed and to adapt from the problems I have.


Sam


Aimeelisa

Putting Zen into the Work Flow

Music | Lean on Me by Bill Withers

The first shoot of the year had some parameters put upon it because I was getting lazy and cowardly. The last few times I have attempted to shoot on glass, I quickly made the decision to switch back to aluminum because I had issues with the glass. Instead of working it out, I went back to what was comfortable... Of course comfort is easy, comfort is nice, but what comfort is not is challenging.

I've had my battles with my photography in 2013. I think I was set back 2 months from producing any meaningful work. I'd still be in that abyss which was pretty easy to rationalize to stay, but time is ticking for my exhibition in June. Working thru fear, all self manifested, is challenging.

Though I don't put much seriousness of starting a new year a new way, I did decide to make the first shoot only glass and the worse thing was failure to get a decent image. I decided that was not such a bad thing as I know I was going to learn something from the shoot.

I prepared with focus and more tenacity for this shoot, particularly after watching the movie, Jiro Dreams of Sushi. All I can say is, if this movie doesn't make you look at yourself and how you create and move forward, nothing will. I prepped for the shoot days in advance, with both aged and fresh collodion and developer. I bought black trays to better judge the glass plates as the image appeared in the fixer. During the session, after every exposure, with alcohol, I wiped down the plate holder and made my darkroom working conditions a bit more simple.

My pours need more attending to, both for the collodion and developer. The 4x larger plate size I am not accustomed to will take time to get used to. The first plate of the year yielded a nice image however, a bit over exposed. I was happy with the direction I was headed. 4 plates for the session and I can say I was quite happy with what I got out of it - 2 especially wonderful plates...


Victorian Polly


Damoiselle hardly Distressed

Ambrotype

Music | Natale's Song by Sia

In a rather bold move, since having gone thru my mistrials with the ever evolving process called Wet Plate Collodion, I decided to shoot on glass, instead of the trophy aluminum that I have been using from the very start. I found it to be more difficult because of the surface tension of the two materials are so different. The glass of course is a much faster. It is also much heavier and more difficult to maneuver. As I was making my pours, I know my focus was more intense, not just because this was all new to me, but also, I could make a big mess by dropping the glass. With all of the detriment involved, I can see the allure of working with this medium over the aluminum.

As I said, I am much more in tune with the process. Fragility is a big influence of becoming more connected with every move you make while the glass is in the hands. As slow as this process is - I shoot maybe 3 plates per hour, the glass makes me feel I need to move even slower. In these days where everything we deal with and expect in daily life is instant, I love going against the grain.

More importantly than any of that, the final image on a glass plate has even more voodoo going on. Being able to see both a negative and positive image in a fraction of a second is magical. The smooth surface of the glass invites us to see the image, but because of the thickness of the glass, the appearance of depth subliminally messes with the mind.

You can't see what I'm talking about viewing these images here on screen, but I invite you to see a real Ambrotype, Wet Plate for yourself and see the magic. A great reason to turn off your screens and view real pieces with your own eyes...



Eyerish | 8x10 ambrotype

Moon | 8x10 ambrotype