Stop to Smell the Roses, Moving to find them...

Music | BaBopByeYa by Janelle Monae

I brought out the Rollieflex with the intention to shoot. Bag, meter and camera by my side in the car... On my way home from a brief meeting, within a split second, I saw my first subject speed by as I drove. For another split second I questioned if I should turn the car around and take a closer look. Without thought, brakes on, scanning for an area to make a U turn, the direction of the car suddenly changed...


click to view gallery

Out of the bag, meter and camera in hand, I step out and get my general reading from the meter... 320 asa, f:5.6 @ 125. I want this image to have more mystery and stop down another 3/4's. It wasn't too difficult to line up the first shot as it was the view that initially grabbed my attention in the first place... A simple and almost anticlimatic, click of the Rollie and I was off to look for other angles...

After collecting a few other photos, I knew a great app in my camera phone that would work well with this particular subject matter. Back in the car and back out again, I find the same and other angles to shoot. Often times with digital, I try and keep in the mindset of shooting like I would with film... I won't look at the results of what I shot until only after coming home. A memento of the panache of what it used to be like... But today with my phone camera, I wanted to see if what I had in mind was working...

When something is working, you just go with it. No thinking. I had come to the area I was in by happenstance and so it would be I would drive around without much thought. My only inclination was to drive on roads I've never been on. On almost all my stops for a shot, I pulled both cameras out. I know for certain they will be very different from each other.

I had a very fruitful hour or so. I knew it all started with that bus. I knew that it all started by turning the car around and get the process going. A time to smell the roses or in this case, shoot the dilapidated...

The Print...

Music | The Gift of Freedom by Charles Webster

This morning, I picked up a print order for one of my clients at the lab. It is a bit out of the way, but I enjoy picking up prints. I remember back when I was a kid, I'd have to wait a week or more to have the local drug store send out the film to a processing lab. Just after paying for my purchase and not even hitting the door to leave, I would have all ready torn into the envelope, careful to not let the negs fall out and start going thru what I had just shot. One... Two..... Three...... Start counting the keepers from the garbage.

I love that anticipation. For that week, you knew you had something to look forward to. And when the day finally arrived, your anticipation level was so high, hence the open envelope almost immediately after touching your fingers... You still had change to receive as you shuffled thru the first few photographs...

Sometimes weeks would go by before you finished shooting off that roll of 24 frames. Almost guaranteed that at least a month or more went by if you got a roll of 36 frames. Suddenly, as you look thru those images in July, you see images of snow and the frigid feeling of winter suddenly comes back to you.

And unlike now, where everything is viewed on a screen, the tactile feeling of a print is so much more emotional. The print changes before your eyes as you tilt it to remove the glare, or move up close to see more detail. That intimacy of physically handling the print is what I love. That feeling will always be with me. I have memories of going thru albums on the living room floor with my family and laughing and giggling about our recent history... I wonder if my kid will have memories of being in front of the computer screen, looking at images when she is older...

Why Words?

Music | Invitation by The Lucky Thompson Quartet

Like music, paintings or any other of the arts, I appreciate the work itself with my own interpretations. Sometimes I have none, and would like to have some background on a piece. But there are those images that I am beholden to, just by 1st impressions...

Haley

This is both a test and post from my phone I am try to figure out. I shot this photo and the effects were created using an app within the phone... I'm finding this technology quite amazing and I wanted to see how simple this process is. So far so good and simple...

Register

Stop the Bitching and Move on...

Music | It's Good to be in Love by Frou Frou

I need to move forward...

http://conscientious.tumblr.com/post/1447220689/just-a-thought

keeping up...

Music | So Easy by Royksopp

Between 2 blogs, a twitter and just recently a tumblr account, it is amazing I post anywhere. I noticed I have not posted here in quite sometime, so I thought I'd post my my recent shoot...

I love basement walls... I'm still in search of the perfect basement, a bit dirty and dingy, a wooden stair case on one side and a bare swinging light bulb, dimly lighting just a corner, everything else fading to black...

But not for this shoot. Anna's place is quite neat and clean, but the concrete wall and floor with the window still intrigued me.

Good Bye Light...

Music | Polvere di Gesso by Giamaria Testa

It is all about how light falls and surfaces reflect. There is light that dances off surfaces, wrapping gently around curves, slowly fading to black, creating shadows that define shape, creating form. There is light that is hot, direct and forceful, creating harsh reflections, hard delineating shadows, extreme contrast...



Here at the North Light Studio II, I'm happy to be able to work with the soft light falling from the north and some from directly above. But as the light falls to the south and clouds mostly taking over the skies with the passage of autumn to winter, my special light will falter to a flat directionless light. The seasons come and go and now I'll have more anticipation to work the North Light Studio II for next year...

Re-Alignment

Music | Ain't No Sunshine by Bill Withers

I've tried to go at it alone and learn on the run... There is great satisfaction of finding solutions to problems yourself. But as my inconsistencies with my wet plates grew to great displeasure, I knew it was time to call in for help. My good friend Ray Bidegain has again come to recalibrate my head to bring some sanity to my mind.

After some great conversation over one of my ever improving lattés, we went to my work space so I could show him my set up. As I had initially thought, my issues were in the processing stages. Immediately, Ray picked up on some problems that I was having, diagnosing and coming up with obvious and simple solutions. Having a second set of eyes and another more experienced brain makes a huge difference. I saw immediately no streaks or drip marks on the first plate. We only needed to do a total of 3 plates where I think I can achieve a much higher level of plates.

This specific plate has been doctored up a bit, because of and snakey mark and dust... but there are no strange dip marks or pour stains... I'm a happy boy...

Practice, Scream, Practice, Scream - Scream

Music | All Through by OOO

Times like yesterday afternoon, when not a single plate photographed was really worth saving, makes me want to scream. It is apparent that I need tutoring at this point because after 3 months, I've come no where near a perfect plate and when curve balls are thrown at me, I'm not sure how to counter. This is where history and knowledge beyond the techniques come in handy. I haven't learned yet what I need to know. I can go thru the motions, but that's it...

I tried using my espresso maker the other day. Haphazardly put in some espresso, water and let her go. Out comes a very good cup of café. Next, a latté... Not bad! I was never taught how to make the proper espresso. I went through the motions, but still know nothing more than when I first got the machine. After a few days and a lot of practice, I've become pretty good. My latte is tasty and I'm happy with what I've created.

Zen and the art of creating takes knowledge, practice and more practice. I just wish my wet plates came out a good as my latté...

Slow Emergence...

Music | Nipponized by Shingetsu Ensemble

Ironically, I had another discussion with a friend of mine about an image I had recently shot. Rod from Australia has been a great online friend for a few years now. We both have similar aesthetics, have similar battles in what we do and someone I respect as a photographer. We usually have our communications via ichat and thru our conversations, he is often the 1st to see some of the my most recent work. There has been a lot of trust developed over the years and I respect the opinions he offers.



Upon showing him this photo, his words surprised me... He said something like... How could you make this beautiful woman look like an old hag... Though Rod is new to Wet Plates, I knew his opinion wasn't from ignorance. I knew also that his view on things comes from a wide background of aesthetic. So, when he spoke those words, it really took me by surprise.

Though we didn't really talk about how challenging viewing a Wet Plate can sometimes be - one has to look beyond the surface of the image. Purely on a visual sense, I still cannot equate what Rod said to be true, but there is a challenge one is presented with when viewing an image that is not perfect. The discolour, strange artifacts, and flaws of the image forces you to look deeper and more profoundly.

Rod did admit that initial comment came out without much thought. It was more a reactionary opinion that may have come out a bit more abrupt than originally intended. I love that this new work is making people think, look beyond the surface and more into the image. Even someone with Rod's background in imagery, he was challenged. Upon some discussion about the image and a little view from my side, Rod changed his tune and admitted in much more a positive return. I don't often like to explain my intentions or serendipity as was the case for this plate, but now he admitted he quite likes the image a lot!

Questioning Judgement...

Music | Noiseshaper by Dunk

On my way through out the new process, I can see the possibility of getting caught up in specific aspects of the technique... Bad composition but great pour and clean plate, or everything is perfect with the exception of a light leak in the film holder... We tend to want to concentrate on the positive. I don't think I have let my ability to rate and want publish a photograph, either online or elsewhere blind my judgment to the entirety of an image. I can honestly say I have never come close to producing a perfect or even 75% near perfect image on a technical basis. However, in terms of composition, the ability to communicate an emotional state, or merely feel I have something to say in a photograph has never been an issue. If I feel the visual content of an image is strong enough, it sometimes can override my lacking of technical skills. This is especially true with my adventures with the Wet Plate Collodion process...

However, I was writing to a friend of mine and was shocked to see what he wrote about the image below...



"those pics of xxx and xxxxxxx are scary"

"...you took pretty girls and made them ugly"

"dude, that ain't pretty"

"look at it, there's no other way to interpret it... xxxxxxx looks like an old hag from the Oklahoma dust bowl and xxxx looks like forced child labor from the '20s"

And... last but not least, he also said his wife said I should take it down!

I hope I can take criticism for what I do, like the way I did for this... I sincerely appreciated his honesty. I think for me the shocking response to the photograph made me compelled to write about it here. It is interesting to be able to communicate what one feels about an image. It brings out something in both the artist and viewer...

More Beauty...

Music | Mad World by Alex Parks

Jen was back in town for another few days and for the 2nd time, I have been fortunate enough to photograph her again. I love our collaborations together. We don't talk much and as I imagine our future sessions together, we may not have to talk at all... Being comfortable in silence is just as important as verbally communicating our opinions, desires and instructions.







However, I appreciate Jen more so because she can push me when she has her own ideas to keep the shooting going. I didn't have a lot of advance ideas coming into the shoot. It was more of a flow and go day. Of the 7 plates we shot, only one was a disappointment and that was more my judgement call than anything else.

I'm starting to feel connected to this art. Still way more to learn, but having some grasp, little to very little, I'm feeling so excited about shooting and creating more plates...

Naughty and Nice...

Music | Bob The Bob by The Lounge Lizards

This is a cross post from Photo Prive. Photographed earlier in the week...

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No Offense to Chuck...

Music | A Few Honest Words by Ben Sollee

I write like
Chuck Palahniuk

I Write Like by Mémoires, Mac journal software. Analyze your writing!

A Good Day...

Music | Black Hole Sun by The Section Quartet

I love this process. I love that there are no guarantees. I love when after you put in the time to figure out problems, new ones come up. I love that it is both forgiving and rancorous, but always fair. I get up in the morning and feel excitement. I go thru my head in advance, all the things I need to accomplish to make today worth remembering in the future. But there is no doubt I will have artifacts, good or bad from the days adventure.

Today was a good day. Knowing I was working with Jen, I knew I was all ready ahead of the bell curve. She was someone I did not have to worry about. My feelings at the end of the day would be of my responsibility alone. After almost 2 weeks of being inactive, I was newly prepared for another go around with the Wet Plate. This time, I solved my fogging issues with a nice bright safe light I found off Craigs List. Those silly entrance lines of the Silver Nitrate bath would also be gone, with the use of my Silver Nitrate Tank I built earlier. I couldn't use it initially because I didn't have enough of the bath to cover the entire plate.

I can see and feel that every time I come out to shoot, I'm a bit closer... With the help of my Wet Plate Brothers and Sisters on the internet, I know I'm getting better.

Technology in Modern Times for an Old Process...

Music | This World by Zero 7

Along with change comes new ethical questions that like everything I've been working on lately is a challenge. I imagine over time, when I have become acquainted with the Wet Plate process, I won't have to deal with the purest attitude I have regarding this medium. Because of my lacking ability, I am using digital technology to correct some of the issues I've been having. My thrust in moving backwards was to get away from digital, but as time moves forward, I'm realizing that sometimes technology really is a good thing.

If I have the purest attitude I think I have, I'm gonna have issues.






I'm gonna have to draw the line...

More Photos, HERE

The art of the machine | The Japan Times Online

The art of the machine | The Japan Times Online

What Used Yo Be, Just Isn't So Anymore...

Music | Sudden Intake by The Black Dog

So as I move forward with the Wet Plate Collodion, I'm finding that my flaws are not as acceptable as they used to be. Other than merely capturing an image on the plate, I now want to at least have the knowledge in my head upon how to achieve the "almost" flawless plate. I still love the unpredictable nature of this medium, but seeing what others have accomplished, I know I'm not even close. This is a true test of my patience...

Earlier this week, Sherry came by and spent a few hours at the new North Light Studio. I'm getting to know the light better here and am noticing some of its nuances. So long as the wind doesn't pick up too much, I think I will get some great images over the upcoming summer months.



After finding that my red filter for the window in the garage is not up to optimum specs and finding my plates fogged, my new problem has been the random black lines that appear on the plate. This was driving me absolutely insane as I was trying to find the issue on the run... It wasn't til a day later and getting counsel from the ever helpful forum for Collodion that at least the issue was identified.

Yesterday, a model from the San Francisco area came to town and sat for me. I think is was good that I was working with a total stranger. Not only in terms of collaborating, but the fact that I didn't want to come off as a total idiot. I felt by the time we met much more confident in the Wet Plate Process and that I wouldn't make the same mistakes and have the issues I had before.




Well, as you can tell, I did have another issue come up, but I think it lies similar to the issue I had with the black lines... My next approach will be to have more Silver Nitrate on hand and use a tank as opposed to a tray.



There are so many things in this process that takes a lot of finesse and skill in order to come up with the perfect plate. I feel like at the moment, I'm just floating along and moving as the process takes me. I know where some of my attention needs to be, but the unknown areas are what I know I have to work thru to learn and find.

I have no choice other than to be patient and move...

A Solo Taste...

Music | Mad World by Gary Jules

I'm a virtuous person. My first foray into Wet Plates came over 2 years ago during an exhibition of alternative photographs displayed at the 23 Sandy Gallery at a show called Resurrection. There I got my first view of actual Wet Plates, both on glass and tin. Totally amazed at the final image, the resolution was unlike anything I had ever seen before. I had at about the same time decided to start shooting film with a large format camera as well...

A few months later, I had gotten together with Ray Bidegain, who showed me the process and allowed me to take a wet plate photo. Totally hooked, but without time or finances to get my own wet plate photography off the ground, I did all I could and learned what I could on the internet. I was also cursing Polaroid because of their decision to halt production of Type 55 film.

Fast forward to early March of this year. I had read about Wet Plate Day, May 1st to honor Frederick Scott Archer, the founder of the Wet Plate Collodion Process. I contacted Ray to see if he was going to participate and if so, if he had any room for me to be able to shoot a few plates of my own, with his help of course. I managed to take 3 plates home, 2 for me and one for my model. We were all pleased.

Shortly after that, I was able to go ahead and purchase a kit where I would be doing some remedial mixing of chemicals to do my own plates. Last week, I spent a good 3 hours shooting and coming up with seriously horrible looking plates. Without anyone to guide me, I called it a day and felt totally defeated...

Portland has not had summer, even though we are beyond mid June. Clear sunny days has been a rarity, which has halted my pursuance of the elusive wet plate... Finally, today we had the sun coming in and out, but I was getting consistent light at my out door North Light studio.

My session began with hopeful thoughts of creating my first legible Wet Plate, but without luck, I merely picked up where I left off last week. Feeling defeated, I took a break and looked at the trash I created... I realized that was unintentionally fogging my plates and the most important step of putting the Silver Nitrate on the collodion and plate. A simple cardboard over my tray fixed that problem and I made a huge step forward! I still was having exposure problems and what was in my brain was not coming out on plate. Feeling hopeful again, I went against my better judgment and guessed at another exposure. My pour of the Collodion wasn't perfect, but usable. I felt so close I was not about to start over again. I'm still not a good judge of when to stop development. As I cleared the developer off the plate, I'm still not feeling good. Only when the images clears in the fix did I realize I finally reached my forbidden fruit.



About being virtuous... Patience...