Wet Plate Collodion - 2 Plates

Music | Hal's Blues by World Saxophone Quartet


Adriana 4x5 Tintype


Ivy 4x5 Tintype

Oh How I Have Missed You...

Music | Bario Alto by Thievery Corporation

When we were introduced, I immediately fell in love with you. I was committed to be with you from day one. It took a long courtship of 2 years before you kindly submitted to me. I had my way with you for several years after that. Never once did I ever take what we had for granted. You had a way of keeping me on my toes and constantly kept things interesting.

After our 3rd year together, I felt like I lost you. I did lose you. You gave me nothing but frustration and only on small occasions did you make me feel just barely comfortable. You came back to me for only a few months, then left me entirely for close to a year. I came close to just giving up and moving on. I actually did move on, starting relationships that I have become quite fond of and will explore...

But today, today you've come back with some assurances. I haven't nor will I ever figure out why you did what you did, but I am so happy we are together again. You know I've fought the good fight for you, so I hope you know I am committed. I am never myself when you are not there. Oh dear, how I have missed you...


My second successful plate after almost a year of having major issues with Wet Plate Collodion. You can't imagine how much I have missed working this technique. Oh how I have missed you...

In One Session...

Music | Avalon by Roxy Music

A new Muse... I hope so.

Juliana and I have recently collaborated in informal settings before, but this session was our first formal sitting. We came up with a general game plan in advance. My goal was to have an 8x10 ambrotype for the upcoming exhibition, which is counting down way too quickly. Interspersed between the plates, I used a digital slr and my ipad with the tintype app to "grab" what I could. I thought it was cute, even before we started that Juliana felt nervous. However, I knew I would get what I needed. The filler photos that I don't count on to get meaningful images worked out amazingly well...


Tin Type App

Tin Type App

Tin Type App

Tin Type App

Digital

Digital

Digital

Digital

Digital

8x10 Ambrotype

8x10 Ambrotype

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

Your Way or the Highway...

Music | Minor Seventh Heaven by Oscar Pettiford



Strobed and shot on location at a rental studio of Pam and Nick.


I have to remember that I don't have this beast under control like I do otherwise. Wet Plate Collodion demands respect, or it will spit you out and stomp all over you. It took me several plates to get into the groove and I just have to remember to take deep breathes and relax, just like I ask my subjects.

Shooting several hundred photos during a digital shoot makes the process easy. Time, effort and costs are minimal and with so many to choose from, there is bound to be a few nice selections. This day, we shot 9 exposures during our time together. It wasn't until the 3rd plate that I started to feel comfortable. This was the 4th plate and I think it was the plate of the afternoon.

There is no resting on one's laurels when shooting wet plates. Not for me at least. The only laurels I have is my past work, and only the good stuff I show. I do love that each time I go out and shoot, I have to be in that mode, that groove to be able to produce. It takes effort and thought. It forces me to work! In the end, if I meet my end of the bargain, I'll get nice plate.

Thing That was Missing, You didn't Know You Missed...

Music | Pieces of the Past by The Vandermark 5


Ironically almost 2 years to the day, I was introduced to a photographic technique called Wet Plate Collodion. With the exhibit called Resurrection at the 23Sandy Gallery which I have thought to be one of the most important shows I've ever seen, I was romantically introduced to this 150+ year old technique.

Yesterday, May 1st was Wet Plate Collodion Day, to celebrate the life of Frederick Scott Archer, the creator of the Wet Plate process. Around the world, the few photographers who still practice this technique was encouraged to shoot plates and post them to the Wet Plate Collidion Day website. What better occasion to try and jump start my entry into this most mesmerizing process than this. As soon as I learned of the Wet Plate Day, I contacted my informal mentor, Ray Bidegain who has become a master of this process himself. He had agreed to let me come to the studio and shoot off a few plates as I learned on the run.

I haven't felt like a kid in a long time. I love to be in a situation where things are new, I'm interested in the subject at hand and I know practically zero. Suddenly you realize you have something in your head you haven't used in a long time. Synapses suddenly start popping, your eyes widen, and you feel more alive than you can last remember.

Coating and going thru the process of sensitizing the plate is critical. Timing is everything. On my first go around, nothing could have gone better.



Jen, my model and could easily become my muse was wonderful to work with. With minimal words, and some simple gestures, she fell into place during our pre shoot rehearsals. When it was time to shoot, because time is so critical, only minor adjustments needed were necessary before the actual shot was made.





So, two years and one day since my introduction to the Wet Plate Process brings me to where I am right now. Though I did photograph Ray here about a 21 months ago here, it is this last session where I feel I can take more of the credit to getting to where I am. I'm looking forward to moving forward!

Thanks Ray, Jen...

Me Me Me

Music | God Bless by Lamb

Perusing Ray Bidegain's site again, I found another photo of myself. I was honored to be a part of his show he had at the Camerawork Gallery. With a bit of self indulgence in the back of my mind, I told Ray he over priced the portrait he did of me...

This was the 2nd shot of 2 plates...



the first can be seen here.