Adriana 4x5 Tintype
Ivy 4x5 Tintype
Showing posts with label Wet Plate Collodion. Show all posts
Showing posts with label Wet Plate Collodion. Show all posts
September 08, 2016
Wet Plate Collodion - 2 Plates
Music | Hal's Blues by World Saxophone Quartet
Adriana 4x5 Tintype
Ivy 4x5 Tintype
Adriana 4x5 Tintype
Ivy 4x5 Tintype
April 13, 2016
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...
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...
April 30, 2014
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
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
February 18, 2014
Taking Everything Seriously...
Music | What You Won't do for Love by Jessie Ware
It had been at least a 3 week hiatus since my last shoot. I would be working with a new model, one who I had a little trouble with scheduling the last time we tried working together. In the back of my mind, there was the thought I was going to be blown off... The anticipation to shoot again became very strong. So the let down of a cancellation would have been equally disappointing. In the end, everything worked out.
Wet Plate Collodion demands time. It expects of you to put in far more effort than other types of photography. Early in my experience with Wet Plates, I would often shoot some digital, or at least be ready to as back up. I wanted to make sure that I was able to bring something to the proverbial table after each session. Time moved on and I became more confident that I was ok, just shooting Wet Plates and nothing else.
Late last year, I started shooting both digital and Wet Plates on some of my shoots again. I'm not sure why this time, but I would grab a few images, maybe post a few, then file them away. Yesterday, my main and only concern was to shoot ambrotypes. I knew going in that I didn't have a lot of time. I went in thinking to be being efficient and purposeful. Right off the bat, the first plate was a winner. I often try and make the first shot look easy and effortless. I just want to get the ball rolling in the right direction and have some momentum going into the rest of the session. Plate 2 perfectly set up the last plate and I knew I was going to be quite happy. Without getting too far ahead of myself, I really wanted a back shot of the last pose. However, I knew there was not going to be enough time to shoot another plate, so I pulled out Mr. Digital. Haphazardly, I rang off 30 exposures, front and back, wide and tight.
Upon reviewing the files, I realized I had gotten some really beautiful digital images. It made me think how much better the digital would be if I had taken it more seriously. Instead, I just got what I could, what was left for me, as opposed to push and refine what was given to me... I know in the end, it is the Wet Plate images that really matter to me. I need to either let go of the "Digital Backup" or make the time to push and move forward...
Betty's Back. The reason to pull out the digital camera...
Betty Bound
Betty Plate 1 8x10 Ambrotype
Betty Bound. 8x10 Ambrotype
It had been at least a 3 week hiatus since my last shoot. I would be working with a new model, one who I had a little trouble with scheduling the last time we tried working together. In the back of my mind, there was the thought I was going to be blown off... The anticipation to shoot again became very strong. So the let down of a cancellation would have been equally disappointing. In the end, everything worked out.
Wet Plate Collodion demands time. It expects of you to put in far more effort than other types of photography. Early in my experience with Wet Plates, I would often shoot some digital, or at least be ready to as back up. I wanted to make sure that I was able to bring something to the proverbial table after each session. Time moved on and I became more confident that I was ok, just shooting Wet Plates and nothing else.
Late last year, I started shooting both digital and Wet Plates on some of my shoots again. I'm not sure why this time, but I would grab a few images, maybe post a few, then file them away. Yesterday, my main and only concern was to shoot ambrotypes. I knew going in that I didn't have a lot of time. I went in thinking to be being efficient and purposeful. Right off the bat, the first plate was a winner. I often try and make the first shot look easy and effortless. I just want to get the ball rolling in the right direction and have some momentum going into the rest of the session. Plate 2 perfectly set up the last plate and I knew I was going to be quite happy. Without getting too far ahead of myself, I really wanted a back shot of the last pose. However, I knew there was not going to be enough time to shoot another plate, so I pulled out Mr. Digital. Haphazardly, I rang off 30 exposures, front and back, wide and tight.
Upon reviewing the files, I realized I had gotten some really beautiful digital images. It made me think how much better the digital would be if I had taken it more seriously. Instead, I just got what I could, what was left for me, as opposed to push and refine what was given to me... I know in the end, it is the Wet Plate images that really matter to me. I need to either let go of the "Digital Backup" or make the time to push and move forward...
Betty's Back. The reason to pull out the digital camera...
Betty Bound
Betty Plate 1 8x10 Ambrotype
Betty Bound. 8x10 Ambrotype
January 19, 2014
Framing an Ambrotype
Music | Watership Song by User's Atmosphere
So my flow with the Ambrotype is getting better. I had made the commitment on a few sessions to only shoot 8x10 ambrotypes and it appears to be paying off.
I was asked to be a part of a Valentines show a few months ago and I knew I wanted it to be on glass. I also knew I wanted to work with Eye Sea Blood. Her amazing ability to put things together for a shoot is as good as some of the best stylists I have ever worked with. For some reason, Knife to the Heart came into my head and it became the theme to the shoot.
I could write on and on about the shoot, but I meant to write about framing this new media. Oh so delicate, I had thought since I started shooting on glass how I would frame them. Lots of discussions with other Ambrotype shooters, I decided upon going simple, but elegant. Besides that, economically, I wanted to figure out how I was going to frame my solo show in June and September. This would be a good test.
Black velvet, where I have found there are many grades range in price from single digit dollars up to $54 per yard, is used for the backing of the plates.
The plate is held down with black wire at the corners to hold in place.
I put a spacer of foam core in between the plate and the cut mat.
Close up of wire
The gap between plate and mat doesn't quite translate, but you get the idea...
I have to say, I really like this presentation. The darker neutral mat works really well with the glass plates. The floating mat also works well to show the depth of the glass as well.
Onto delivering the piece for the show...
So my flow with the Ambrotype is getting better. I had made the commitment on a few sessions to only shoot 8x10 ambrotypes and it appears to be paying off.
I was asked to be a part of a Valentines show a few months ago and I knew I wanted it to be on glass. I also knew I wanted to work with Eye Sea Blood. Her amazing ability to put things together for a shoot is as good as some of the best stylists I have ever worked with. For some reason, Knife to the Heart came into my head and it became the theme to the shoot.
I could write on and on about the shoot, but I meant to write about framing this new media. Oh so delicate, I had thought since I started shooting on glass how I would frame them. Lots of discussions with other Ambrotype shooters, I decided upon going simple, but elegant. Besides that, economically, I wanted to figure out how I was going to frame my solo show in June and September. This would be a good test.
Black velvet, where I have found there are many grades range in price from single digit dollars up to $54 per yard, is used for the backing of the plates.
The plate is held down with black wire at the corners to hold in place.
I put a spacer of foam core in between the plate and the cut mat.
Close up of wire
The gap between plate and mat doesn't quite translate, but you get the idea...
I have to say, I really like this presentation. The darker neutral mat works really well with the glass plates. The floating mat also works well to show the depth of the glass as well.
Onto delivering the piece for the show...
January 04, 2014
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
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
December 20, 2013
The Nude
Music | Red Dust by Zero 7
What is it about the nude human body that people find so disturbing . There's a big gap between a nude body and pornography. But for whatever reason there are people out there that can't make that differentiation. The other day, I knowingly posted a photograoh of a women with her breasts exposed. Yes,I know the rules of facebook, no nudity... I'm not surprised that my image got pulled, but the one thing I said I would never do is complain in facebook about it. I did post a message however, to try and start a dialogue to the person who felt it was necessary to report my image. I'd love to know why they felt so compelled to take the time to do so.
Beyond that, I later found that I was prohibited to post anything for 24 hours... A little slap on the wrist for my dirty deed. I know it makes no difference, but I decided to deactivate my account.
I guess I have a lot of frustration about not only facebook and the many, including myself who have become so dependent on it, but how the annonymity allows people to speak out without having to be responsible for what they say and mean. It is lame and cowardice.
Blasphemy
What is it about the nude human body that people find so disturbing . There's a big gap between a nude body and pornography. But for whatever reason there are people out there that can't make that differentiation. The other day, I knowingly posted a photograoh of a women with her breasts exposed. Yes,I know the rules of facebook, no nudity... I'm not surprised that my image got pulled, but the one thing I said I would never do is complain in facebook about it. I did post a message however, to try and start a dialogue to the person who felt it was necessary to report my image. I'd love to know why they felt so compelled to take the time to do so.
Beyond that, I later found that I was prohibited to post anything for 24 hours... A little slap on the wrist for my dirty deed. I know it makes no difference, but I decided to deactivate my account.
I guess I have a lot of frustration about not only facebook and the many, including myself who have become so dependent on it, but how the annonymity allows people to speak out without having to be responsible for what they say and mean. It is lame and cowardice.
Blasphemy
December 09, 2013
Taking Commissions
Music | Solitaire by Uri Caine
From now to the end of the year, I'm discounting portrait sessions in Wet Plate Collodion. Select from 3 different sizes and give the gift that is unusual, one of a kind and everlasting...
Discounted pricing til the end of the year...
My sessions run about an hour to 1.5 hours. I will shoot at least 3 plates and you chose the one that you want to keep. I can shoot a range of sizes from 2.5 inch square plates, 4x5 inch and 8x10 inch plates.
Price of a session includes one framed and matted plate. Additional plates are extra... Prints of plates are also available.
- - -
Price per session by size...
2.5 inch square plate - $85. Additional plate is $60 (Regular price is $125/$75)
4x5 inch plate - $175. Additional plate is $100 ($250 / $175)
8x10 inch plate - $400. Additional plate is $200 ($500 / $250)
If you are interested in booking a date, I will need a payment of the session in advance to hold that particular time frame. There are no refunds.
email for bookings or questions to xmishx@gmail.com
subject titled - Facebook Portrait Session
top lf - Anna, top rt - Will, bottom lf - Yuta, bottom rt - Amanda
From now to the end of the year, I'm discounting portrait sessions in Wet Plate Collodion. Select from 3 different sizes and give the gift that is unusual, one of a kind and everlasting...
Discounted pricing til the end of the year...
My sessions run about an hour to 1.5 hours. I will shoot at least 3 plates and you chose the one that you want to keep. I can shoot a range of sizes from 2.5 inch square plates, 4x5 inch and 8x10 inch plates.
Price of a session includes one framed and matted plate. Additional plates are extra... Prints of plates are also available.
- - -
Price per session by size...
2.5 inch square plate - $85. Additional plate is $60 (Regular price is $125/$75)
4x5 inch plate - $175. Additional plate is $100 ($250 / $175)
8x10 inch plate - $400. Additional plate is $200 ($500 / $250)
If you are interested in booking a date, I will need a payment of the session in advance to hold that particular time frame. There are no refunds.
email for bookings or questions to xmishx@gmail.com
subject titled - Facebook Portrait Session
top lf - Anna, top rt - Will, bottom lf - Yuta, bottom rt - Amanda
December 08, 2013
That's a Rap...
Music |
Thru my transition from shooting digital to film, then to wet plate collodion, I always felt the need to to back up the shoot with my digital slr. Maybe it was the comfort level that digital gives all of us, seeing what we have shot in real time. But as I became reacquainted with the large format film and wet plates, I didn't feel the need to have that digital back up. If my intention was to create a great film shot or wet plate, having digital on stand by was a crutch that I could always beckon. How was that making me a better film or plate photographer.
I have to admit it took a good amount of time where I left the digital camera behind. It has gotten to a point now that I have to remember to bring the digital because my client wanted some colour images to go along with the monochromatic wet plates.
There is a sense of arrival being able to tell my subject that we are done with the session after just 4 exposures. I'm reminded of a story from a fellow assistant, way back in the day when he assisted a photographer who shot the Marlboro Cigarette billboards. The jobs would end up taking weeks and weeks, from location scouting, creating the scenes, gathering local cowboys and horses and all of the other elements to making sure the shoot would go according to plan and with everyone as happy and comfortable as possible. On one occasion, one of the photographic images that needed to be captured was having a dozen horses running over a hill, creating a fog of dust in the background, then into a shallow lake. The perfect locations couldn't be found, so they created a lake at the very base of the hill somewhere in Wyoming where the horses were going to run over. Thousands of sheets of plastic had to be brought in, truck loads of water hauled and poured...
Finally, the perfect moment of twilight arrived, the photographer radioed to the cowboys to get the horses to gallantly run over the hill and thru the water. As the reflections of the water started to break up upon the first set of horses creating splashes and waves, the golden light of the sun being trapped in the dust over the hill, manes of the horses dancing upon their necks, the photographer snapped one exposure and said, "Thats a rap..."
Kiley 1 of 4
Thru my transition from shooting digital to film, then to wet plate collodion, I always felt the need to to back up the shoot with my digital slr. Maybe it was the comfort level that digital gives all of us, seeing what we have shot in real time. But as I became reacquainted with the large format film and wet plates, I didn't feel the need to have that digital back up. If my intention was to create a great film shot or wet plate, having digital on stand by was a crutch that I could always beckon. How was that making me a better film or plate photographer.
I have to admit it took a good amount of time where I left the digital camera behind. It has gotten to a point now that I have to remember to bring the digital because my client wanted some colour images to go along with the monochromatic wet plates.
There is a sense of arrival being able to tell my subject that we are done with the session after just 4 exposures. I'm reminded of a story from a fellow assistant, way back in the day when he assisted a photographer who shot the Marlboro Cigarette billboards. The jobs would end up taking weeks and weeks, from location scouting, creating the scenes, gathering local cowboys and horses and all of the other elements to making sure the shoot would go according to plan and with everyone as happy and comfortable as possible. On one occasion, one of the photographic images that needed to be captured was having a dozen horses running over a hill, creating a fog of dust in the background, then into a shallow lake. The perfect locations couldn't be found, so they created a lake at the very base of the hill somewhere in Wyoming where the horses were going to run over. Thousands of sheets of plastic had to be brought in, truck loads of water hauled and poured...
Finally, the perfect moment of twilight arrived, the photographer radioed to the cowboys to get the horses to gallantly run over the hill and thru the water. As the reflections of the water started to break up upon the first set of horses creating splashes and waves, the golden light of the sun being trapped in the dust over the hill, manes of the horses dancing upon their necks, the photographer snapped one exposure and said, "Thats a rap..."
Kiley 1 of 4
November 19, 2013
Of Beauty and a Rant...
Music | Butterflies by Floetry
I'm all about wanting to capture Beauty. The idea of being able to seize in an image, something that pleasures the mind, to steer an emotion is quite powerful to me. I'm hoping to create not the romantic notion of where fads and pop music comes from. What comes easy certainly moves on easy. And with the vast number of photographic images being created on a daily basis, being able to create a lasting image seems to be more, less and less a priority. Our world is so into the now and not at all about history, which in fact is what photography is all about... Capturing a moment in time and keeping it there - holding on to history... In comparison to drawing and painting, photography is still nothing more than a fetus. I wonder what photography will be like 100 years from now?
With all of the photos we are taking now, making the mundane substantial, grabbing a created facial expression to convey... something, making reality more unrealistic, what direction does one go to photograph something of meaning? I know I get lost in snapping away with my camera phone. Taking a photo is now so accessible.
We all have a right to call what we do photography. Are the lines now blurred so much that snapshots and art no longer exist? I know I have my reasons to do what I do, some blurred and some more focused. I guess if I think too hard about it, I'll stop shooting all together. But like everyone else who shoots, I do so because I want to and in many ways, have to. My search for beauty continues on...
Cain with Floral Head Piece, courtesy of Françoise Weeks">
I'm all about wanting to capture Beauty. The idea of being able to seize in an image, something that pleasures the mind, to steer an emotion is quite powerful to me. I'm hoping to create not the romantic notion of where fads and pop music comes from. What comes easy certainly moves on easy. And with the vast number of photographic images being created on a daily basis, being able to create a lasting image seems to be more, less and less a priority. Our world is so into the now and not at all about history, which in fact is what photography is all about... Capturing a moment in time and keeping it there - holding on to history... In comparison to drawing and painting, photography is still nothing more than a fetus. I wonder what photography will be like 100 years from now?
With all of the photos we are taking now, making the mundane substantial, grabbing a created facial expression to convey... something, making reality more unrealistic, what direction does one go to photograph something of meaning? I know I get lost in snapping away with my camera phone. Taking a photo is now so accessible.
We all have a right to call what we do photography. Are the lines now blurred so much that snapshots and art no longer exist? I know I have my reasons to do what I do, some blurred and some more focused. I guess if I think too hard about it, I'll stop shooting all together. But like everyone else who shoots, I do so because I want to and in many ways, have to. My search for beauty continues on...
Cain with Floral Head Piece, courtesy of Françoise Weeks">
November 08, 2013
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
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...
July 23, 2013
Françoise Weeks
Music | Don't Leave Home by Dido
Almost 2.5 years have gone by since the last time Françoise and I worked together. It was the biggest project collaboration I had for Wet Plates at the time, but I knew that some great things would come of it. Indeed it has as many of those photos have been published in Europe and seen around the world.
A little more than a month ago, Françoise and I had coffee to talk of another project. We knew we wanted to create more botanical couture images, and the themes we came up with was Italian Renaissance and Gothic. Maybe 5 or 6 emails passed thru our mailboxes since then and June 20th rolled around where we created more fantastic images...
Sarah Pardini
Amanda Hathaway
These images were taken with the newly acquired Valantin Petzval lens on the Century 8x10 camera. It was a hallmark occasion for me as it was only the second 8x10 plate I have ever shot and the first plate I shot with my lens / camera combination.
Floral bouquets would be nothing without colour. We also shot with the digital camera and captured just as stunning images...
More of the colour images can be seen here...
I'm pretty sure we won't wait another 2+ years before we collaborate again...
Almost 2.5 years have gone by since the last time Françoise and I worked together. It was the biggest project collaboration I had for Wet Plates at the time, but I knew that some great things would come of it. Indeed it has as many of those photos have been published in Europe and seen around the world.
A little more than a month ago, Françoise and I had coffee to talk of another project. We knew we wanted to create more botanical couture images, and the themes we came up with was Italian Renaissance and Gothic. Maybe 5 or 6 emails passed thru our mailboxes since then and June 20th rolled around where we created more fantastic images...
Sarah Pardini
Amanda Hathaway
These images were taken with the newly acquired Valantin Petzval lens on the Century 8x10 camera. It was a hallmark occasion for me as it was only the second 8x10 plate I have ever shot and the first plate I shot with my lens / camera combination.
Floral bouquets would be nothing without colour. We also shot with the digital camera and captured just as stunning images...
More of the colour images can be seen here...
I'm pretty sure we won't wait another 2+ years before we collaborate again...
July 09, 2013
Light...
Music | When it Falls by Zero 7
Mitsu, a woman who I've been wanting to shoot for quite a long time was spending an extra day in Portland, so we could do a last minute photo shoot. I was honored and had to make time to make it work.
I decided I wanted to do an outdoor shoot as the weather was going to be nice. I also wanted the open feeling of daylight as I did when I first started shooting Wet Plates. The lighting was directional, but much more subtle than I could create using my strobes. The only issue I had was gauging the exposure. It seems I was a stop off all but 1 of the plates as the sun rose rapidly overhead.
I realized after this shoot I still have a lot to learn. Changing a variable certainly changes things down the chain. You always have to be ready to adjust...
Mitsu, a woman who I've been wanting to shoot for quite a long time was spending an extra day in Portland, so we could do a last minute photo shoot. I was honored and had to make time to make it work.
I decided I wanted to do an outdoor shoot as the weather was going to be nice. I also wanted the open feeling of daylight as I did when I first started shooting Wet Plates. The lighting was directional, but much more subtle than I could create using my strobes. The only issue I had was gauging the exposure. It seems I was a stop off all but 1 of the plates as the sun rose rapidly overhead.
I realized after this shoot I still have a lot to learn. Changing a variable certainly changes things down the chain. You always have to be ready to adjust...
June 25, 2013
Anotomy of a Shoot w/ The Wee Pixie
Music | Heaven by Lamb
Since moving to Wet Plates as my main passage to photography, my shoot count has plummeted. Even back in the film days, shooting with the Hasselblad, I'd shoot at least 3 rolls, or at least 36 exposures. 35 mm would up that ante to at least 72 exposures for a portrait session. With digital, that count multiplies.
On a recent session I had, which took a little over an hour, we shot 4 exposures - 4 plates... My mind set in the past would have been, We are on a roll, lets keep shooting! But having settled in on my way, I've shot as little as 3 plates for a portrait session, to 6. Granted, the mind set for me on a shoot like this is that I'd like to get at least one killer shot. However, often I find that my collaborators and I bat a 1000 avg.
The Wee Pixie - A woman with many interests and who is a very intersting person.
The Wee Pixie is a woman who I've wanted to photograph recently. I thought she would be a great subject and would have a lot to say. We didn't nearly touch the limit of who she is as a person, but tended to keep things simple, but different for each plate. I love getting to know my subjects during a shoot, because out of context of 2 people getting to know each other, the idea of creating art diffuses some of that tension, at least for me... Under the guise of a photographer, I can be... not me. The funny thing about that is that I tend to communicate much better in that realm than if I were myself, which often, doesn't have a lot to say.
The beauty of seeing what we created shortly after shooting certainly helps in keeping the number of exposures down. With Wee Pixie, we just didn't miss a beat. Four was all it took, and we both knew it...
Since moving to Wet Plates as my main passage to photography, my shoot count has plummeted. Even back in the film days, shooting with the Hasselblad, I'd shoot at least 3 rolls, or at least 36 exposures. 35 mm would up that ante to at least 72 exposures for a portrait session. With digital, that count multiplies.
On a recent session I had, which took a little over an hour, we shot 4 exposures - 4 plates... My mind set in the past would have been, We are on a roll, lets keep shooting! But having settled in on my way, I've shot as little as 3 plates for a portrait session, to 6. Granted, the mind set for me on a shoot like this is that I'd like to get at least one killer shot. However, often I find that my collaborators and I bat a 1000 avg.
The Wee Pixie - A woman with many interests and who is a very intersting person.
The Wee Pixie is a woman who I've wanted to photograph recently. I thought she would be a great subject and would have a lot to say. We didn't nearly touch the limit of who she is as a person, but tended to keep things simple, but different for each plate. I love getting to know my subjects during a shoot, because out of context of 2 people getting to know each other, the idea of creating art diffuses some of that tension, at least for me... Under the guise of a photographer, I can be... not me. The funny thing about that is that I tend to communicate much better in that realm than if I were myself, which often, doesn't have a lot to say.
The beauty of seeing what we created shortly after shooting certainly helps in keeping the number of exposures down. With Wee Pixie, we just didn't miss a beat. Four was all it took, and we both knew it...
June 23, 2013
Nine
Music | She Cries Your Name by Beth Orton
I've been curious about diptych and triptych works and how each of the images relates to the others. Sometimes trying to communicate a message, it takes more than a single image. I didn't have any deep seated meaning in wanting to create a piece with 9 or 16 and maybe eventually a 25 piece structured collage, other than I thought it would be interesting to view the individual images and as a collective whole.
I love Aimée as a muse. I've not had a session with her where I felt we didn't get anything meaningful. I got a last minute opportunity to work with her and made sure she had enough time to work out multiple plates. We actually ended up shooting 12 in all. Even though small, 2.5 inch square final plates, it still a slow process. I didn't realize how draining for me it would be. I will know next time to prepare a bit better to keep my energy level up.
I thought I would try and work a bit faster by prepping one plate after another and shoot 2 plates within a short time period. I'm realizing that when working with Wet Plate Collodion, work with the rules the Photo Gods intended. Turns out 2 of these images are vastly out of focus, something I didn't initially notice as the plates are so small. As soon as I scanned them however, it was apparent.
This was a good exercise and sometime later, I will come up with another idea, maybe another nine or a 16...
I've been curious about diptych and triptych works and how each of the images relates to the others. Sometimes trying to communicate a message, it takes more than a single image. I didn't have any deep seated meaning in wanting to create a piece with 9 or 16 and maybe eventually a 25 piece structured collage, other than I thought it would be interesting to view the individual images and as a collective whole.
I love Aimée as a muse. I've not had a session with her where I felt we didn't get anything meaningful. I got a last minute opportunity to work with her and made sure she had enough time to work out multiple plates. We actually ended up shooting 12 in all. Even though small, 2.5 inch square final plates, it still a slow process. I didn't realize how draining for me it would be. I will know next time to prepare a bit better to keep my energy level up.
I thought I would try and work a bit faster by prepping one plate after another and shoot 2 plates within a short time period. I'm realizing that when working with Wet Plate Collodion, work with the rules the Photo Gods intended. Turns out 2 of these images are vastly out of focus, something I didn't initially notice as the plates are so small. As soon as I scanned them however, it was apparent.
This was a good exercise and sometime later, I will come up with another idea, maybe another nine or a 16...
June 21, 2013
Therapy...
Music | Galexy of Emptiness by Beth Orton
I was talking with Sarah about how it has been quite sometime since I have done any shooting. I know it is therapy for me because when I go for long periods of time of not creating, it starts to affect my psyche, and not in a good way. It is no wonder why doing this keeps my mind at bay, allowing me some peace.
With the help of my model, we just created something amazingly beautiful. For a period of not more than an hour and a 1/2 together, introductions, selection of wardrobe, some giving some taking, conversation... We shot 4 plates and in between, some instant images and a few digital to get our minds going. One thing leads to another, ideas created out of action.
We didn't shoot a bad plate. This was the last...
Sarah
I'm feeling much better now...
I was talking with Sarah about how it has been quite sometime since I have done any shooting. I know it is therapy for me because when I go for long periods of time of not creating, it starts to affect my psyche, and not in a good way. It is no wonder why doing this keeps my mind at bay, allowing me some peace.
With the help of my model, we just created something amazingly beautiful. For a period of not more than an hour and a 1/2 together, introductions, selection of wardrobe, some giving some taking, conversation... We shot 4 plates and in between, some instant images and a few digital to get our minds going. One thing leads to another, ideas created out of action.
We didn't shoot a bad plate. This was the last...
Sarah
I'm feeling much better now...
May 31, 2013
Men
Music | Real Life )Evolution II) by The Cinematic Orchestra
As I've said in my previous post, I've been meeting some very interesting people lately. I don't often go thru a run of shooting men, but at this time, at least within the last 2 months, this will be the third gentleman I've photographed. There are similarities and differences as to why I might want to select a person to photograph, between men and women. I haven't thought about it profoundly, but initially, I found with men, I see characters. Whether from my own past, books or movies, I usually picture a man not only as he really is, but a character from my mind. Sometimes there are who I imagine, sometimes not at all. However, with all of my sittings, I do allow for a collaboration to take place. At least I think so in my head. I guess you would have to ask my subjects how much they feel they have inputted into one of my portraits.
James
This was the first plate of our session. I honestly knew after seeing it appear thru the fixer that I could stop right then and there. In all, we did 3 plates, one I felt was a bit too contrived, then another I felt was honest and true. But this first image is for me, most certainly the one.
As I've said in my previous post, I've been meeting some very interesting people lately. I don't often go thru a run of shooting men, but at this time, at least within the last 2 months, this will be the third gentleman I've photographed. There are similarities and differences as to why I might want to select a person to photograph, between men and women. I haven't thought about it profoundly, but initially, I found with men, I see characters. Whether from my own past, books or movies, I usually picture a man not only as he really is, but a character from my mind. Sometimes there are who I imagine, sometimes not at all. However, with all of my sittings, I do allow for a collaboration to take place. At least I think so in my head. I guess you would have to ask my subjects how much they feel they have inputted into one of my portraits.
James
This was the first plate of our session. I honestly knew after seeing it appear thru the fixer that I could stop right then and there. In all, we did 3 plates, one I felt was a bit too contrived, then another I felt was honest and true. But this first image is for me, most certainly the one.
May 28, 2013
Murakumo
Music | The Garden by Zero 7
I've gotten lucky in that I've found a few people who create characters outside of themselves. I love Irish and the things she brings to a shoot. I just met Murakumo a few weeks ago and we managed to get our first session in. She loves all things anime, sci fi and such. She is also a costume designer and seamstress. I've seen some of her creations and hope to be able to photograph her in them.
I thought if I could find 5 different people who could come up with 5 different characters, I could do a series called 5 of 5. Long standing project maybe in the works...
Murakumo in Kimono, in bondage
I've gotten lucky in that I've found a few people who create characters outside of themselves. I love Irish and the things she brings to a shoot. I just met Murakumo a few weeks ago and we managed to get our first session in. She loves all things anime, sci fi and such. She is also a costume designer and seamstress. I've seen some of her creations and hope to be able to photograph her in them.
I thought if I could find 5 different people who could come up with 5 different characters, I could do a series called 5 of 5. Long standing project maybe in the works...
Murakumo in Kimono, in bondage
May 14, 2013
May 05, 2013
Sharing with the Past...
Music | Naima by John Coltrane
The other day, I got to spend some time with my past... I'd say close to 25 years ago was when I may have last hung out with Tamara Staples in her old loft space in Bucktown. I remember doing a portrait of her while she was making these extraordinary hats. As she is now, she has a spirit that is free and carries on much in the same way from what I remember. More responsibilities, a different life, sadness for me of the lost southern drawl, she is a woman of Brooklyn, NY. It was refreshing to me that I was able to hang out with her for a few hours, take her portrait again and talk of the past, talk of now and of art.
circa maybe 1987. The Hat Maker
2013. Tamara Staples
The other day, I got to spend some time with my past... I'd say close to 25 years ago was when I may have last hung out with Tamara Staples in her old loft space in Bucktown. I remember doing a portrait of her while she was making these extraordinary hats. As she is now, she has a spirit that is free and carries on much in the same way from what I remember. More responsibilities, a different life, sadness for me of the lost southern drawl, she is a woman of Brooklyn, NY. It was refreshing to me that I was able to hang out with her for a few hours, take her portrait again and talk of the past, talk of now and of art.
circa maybe 1987. The Hat Maker
2013. Tamara Staples
Subscribe to:
Posts (Atom)
