New Wet Plate Collodion Camera & New Formats

I've got a new camera - an 8x10, Black Arts Camera - that Steve Silipigni built for me. The camera is new and I've chosen to work with some new formats, too.

For the duration of my project, and for the upcoming exhibition, I've decided that the square format and the landscape (4"x10") format will serve me better in what I want to do.  

My new setup includes: 4"x4", 4"x5", 5"x7", 6"x6", 6.5"x8.5", 8"x8", 8"x10" and 4"x10".

The history of the square format in photography begins in 1929 with the introduction of the first Rolleiflex. The Rollei’s designers, Francke and Heidecke, had been producing various rectangular format cameras since about 1920. Their decision to make the Rollei a square format camera rather than a rectangular one was based on considerations specific to the twin lens reflex (TLR) configuration, rather than aesthetics. The elegant waist level viewing system of the Rollei would have been miserable to use sideways when a horizontal picture was desired.

Around the middle of the 20th century, talented photographers such as Richard Avedon, Robert Doisneau, and Irving Penn used the Rolleiflex camera in their portraiture and editorial work—choosing the Rollei. Diane Arbus, one of my major influences, made her incredible portraits with a Mamiya TLR. In all cases the resulting negatives were square.

Today, I made a few images. I made some 4"x4" images and 6"x6" images. Here's the most successful image from today.

I'm looking forward to working with these new formats and this new camera! We'll see what happens!

 6" x 6" (15cm x 15cm) Black Glass Ambrotype

September Video Podcast: Exposure

For all of you Chemical Pictures members, I just uploaded the September Video Podcast. It's all about exposure: Over, Under and Spot On. I show some working examples using my Cigar Box Guitar, and yes, I play a little bit, too - I hope you enjoy it.

Exposure: Making A Good Image

Exhibition In Paris, France

The website of Centre Iris Gallery for photographyI’ve had three photographic dreams my life. The first, to have a photographic exhibition of my work in Paris, France. The second, to have a book of my photographs published (a very nice 12” x 12” tri-tone, spot varnished images). And the third, to own and operate a (historical) photography school - the first three processes - Daguerreotypes, Calotypes and Wet Plate Collodion.

I’m happy to say that the first dream has come true! I’ve been invited to do a show in the center of Paris at a gallery called, “Centre Iris Pour La Photographie”. This is an incredible high for me. Paris is the birthplace of photography and the French, for the most part, really love and appreciate the art.

My exhibition will run from 9 March to 19 June, 2010. I will be doing a live demonstration of the process; I call them “performative lectures”, and a full-blown, two-day workshop during the exhibition, too.

This will be my second solo exhibition with my Wet Plate Collodion work. The show will consist of 50 – 60 pieces; Ambrotypes, Tintypes, Alumitypes, and Albumen prints (singles, diptychs, and triptychs). I’m going to exhibit both the, “Portraits from Madison Avenue” work and the, “Vergangenheitsbewältigung” work.

Wish me luck! I hope you can make the opening!

Chemical Pictures - It's Finished!

Well, I didn't provide salvation for mankind, but I did finish my book, DVD, and web site.

After an inordinate amount of time, money and obstacles, the Chemical Pictures book, DVD and web site is ready for prime time (opening next week - July 20 - Summer's 17th birthday).

I'm elated, but at the same time, relieved. This has been a trying task, to say the least. While I understand that it's not perfect, I am very happy with it. If I had a couple of lifetime's and all of the resources I needed at my disposal, I could probably do a better job, but this will be fine for now. I think the users will be happy with it, too.

I'm most excited to hear what people think. About half of the content is malleable - at least the web site portion - so if users have suggestions for making it better, I'm going to listen. It's dynamic, too. I will do monthly video podcasts on a wide variety of Collodion topics. The technical forum board (yes, another one) will be active as well - but without the "noise" you get on public boards.

My biggest hope is that the students of my system will understand what I've put together here and maximize the opportunity to have access to a live, dynamic learning system. I hope that they will see the value of spending time with each video, each chapter in the book and ultimately really grasp the process and moreover, enjoy it.

The web site opens on Monday, July 20, 2009 and the book and DVD begins shipping the first week in August.

Value, What Does It Mean To You?

I've been thinking a lot about value lately. The other night on NPR, there was a program about how Americans have lost the ability to discern what value is - they are confusing it with cheap.

It was based on buying cheap products that we know are "disposable" They used Ikea's business model as an example. That's no surprise, we've been trained to do that. Our options today are top-shelf (expensive) stuff or Wal-Mart. There's nothing that's well made for a reasonable cost available to us. At least not like the previous two options. I think our grandparents knew what value was (at one time). We've all been trained to buy cheap - get it as cheap as we can - use it and throw it away. We don't even look for quality - we look for cheap.

Quinn and his National Resonator Guitar aka, DobroIt got me thinking about photography. Photography has changed so much over the last 10 years, it's hardly recognizable to me. I don't want to sound like I'm stuck in 1851, or that I'm a Luddite, because I'm neither. My thoughts go to the word value, again. I wonder what's happened to "cheapen" photography so much?

Susan Sontag wrote that all photographs are meaningless and have no value. This was based on her belief that because we're inundated with so much imagery every day, it all becomes a big, blurry, meaningless mess. We are quick to dismiss images, or ignore them - I know I am. And Summer's (my daughter) generation seems to be far worse. This worries me and it also tells me that I can share some valuable information with those young whipper-snappers (as he reaches for his cane)!

When I'm out doing my "performances" there are some obvious things happening. There's a big wooden camera/brass lens and a portable darkroom set up - these are unique, not often seen items that draw attention. Moreover, there's something tangible in watching me "perform" and listening to my stories. They see quality, dedication and passion. They hear the narrative of photography - it gives meaning to them, even to the ubiquitous digital image.

The result of the "performance" is extraordinary, or special, to their eye (the image itself) mind and heart. Photography is universal, everyone understands the basic concept of what I'm doing, but I believe they recognize the value of what I'm doing.

And lastly, please don't think that the images I posted have any value - I just wanted to expose you to another set of meaningless images today.