Posted on October 22nd, 2009 in Europe | Leave A Comment
If I do okay at the show in Paris, this book will follow around this time next year. I think I will do an edition of 10 books - we’ll see.
This is scaled down (of course) the real book will be 12” x 12”, 116 pages, on very nice paper, hardcover with a image-wrap – I’m psyched about this!
Posted on October 16th, 2009 in Europe | Leave A Comment
I’m happy to announce that the Wet Plate Collodion Day Book 2009 is ready to for prime time! You can order a copy, or two from Blurb:
The Wet Plate Collodion Day Book 2009
Please keep in mind that the preview of the book sucks (quality). That’s the only reason I didn’t release it sooner. Caron got her copy in the US and sent me some snaps - it looks great in print, so forget about the preview.
Please spread the word about the book. And ORDER one or two copies! This is a great project to support. We need to sell 250 – 300 copies!
Thanks to every one that participated! Great job! We did it!!
8”x10”, full color, perfect bound, 92 pages, 82 images, 51 artists/photographers – great work!
Photos by Caron Gonthier (thanks!)
Posted on October 11th, 2009 in Art & Theory, Collodion Images, Europe, Quinn Jacobson | Leave A Comment
“Anonymous” 4″x10″ Ambrotype (Clear Glass on black) - October 11, 2009 Viernheim, Germany
I made this image a couple of hours ago - it was overcast and cool. I used north light (for the mask/effect). It was a 20 second exposure with my Hermagis lens ~375mm - f/9.
This plate looks a lot better when you are holding it in your hand - believe me! It’s hard to copy/scan plates, but especially difficult if they are on clear glass. You can click on it to enlarge it. You’ll see a little more detail that way.
Here’s a snap of my new camera, too:
Jeroen, this is the plate I was making when you called - you didn’t know I was multi-tasking, did you? It was good to hear from you!
Posted on October 10th, 2009 in Art & Theory, Collodion Images, Europe | Leave A Comment
I’ve got a new camera - an 8×10, 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!
