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Paper salat, per mitjà d'una ampliació de negatiu digital. He emprat sal artesanal de Gerri, al Pallars, per aquesta copia.
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Salt print from a dry plate negatve, but using an enlarged digital negative. For the iodizing of the salt print I used hand harvested Pyrenees salt from Gerri de la Sal.
Copia en paper salat d'una placa seca que vaig fer del monestir de Sant Cugat, per mitjà d'una ampliació de negatiu digital. He emprat sal artesanal de Gerri, al Pallars, per aquesta copia. També vaig intentar virar amb or, però després de fixar amb "hypo", el que clarament no ha fet efecte.
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Salt print from a dry plate negatve, but using an enlarged digital negative. For the iodizing of the salt print I used hand harvested Pyrenees salt from Gerri de la Sal.
Full-plate 6-1/2" x 8-1/2" tintype on black aluminum. FKD Russian camera.
From a series of tintypes I shot of Nathan last month. Just now getting around to scanning and correcting.
I guess if they ever stop making film, I can just make my own. You won't see me taking screengrabs off of a HD video camera for my own enjoyment, but I will probably have to teach how to do it :-(
To know more about this process, see: www.collodion.org/q&a.html
Last Saturday, Agnieszka and I attended a collodion process workshop with Mateusz Detyniecki. We learned about the history of wet plate photography, how to mix the chemicals to develop, set a scene and use the camera. Mateusz worked with us throughout the day, patiently explaining the process and helping us achieve success. This is one of the best and most interesting workshops that I have attended, and if it is something that interests you or someone you know, definitely get in touch with him and schedule your own workshop. What a gift this makes!
Agnieszka and I each shot 3 smaller plates and 1 large plate for the workshop, for a total of 8. It's a slow process, but as you can see, the effect is quite worth the effort.
This is the first plate I took of my life partner Agnieszka. Pure magic and beautiful.
Warszawa, Poland
Summer
Links to all of my work. Instagram. Website. Behance. linktr.ee/ewitsoe
Patterns spontaneously formed by a drop of silver nitrate solution added to a saturated solution of magnesium sulfate...
OK this "photo of a stranger" is a little different inasmuch it was taken in my (very) makeshift studio and my even more makeshift darkroom. A few years back I got into making my own wet plates after I did a course. I wanted to take portraits and after I had taken an image of just about everyone I knew I put an ad out on my Facebook page and Carl (above) got in touch. He popped around the next day, suitably attired and I took 3 plates in half an hour (the other two can be seen if you check out the wet plate album. Unfortunately taking wet plates in the street is almost impossible, which is a shame. Lockdown put an end to my wet plate activities and all my chemicals expired and I've not got back into yet which is a pity and I really enjoyed it. Carl was (and still is I think) a punk (hence his hair) and was photogenic to say the least. I haven't seen him since but I gave him a plate and he seemed reasonably pleased he made the effort.
first kallitype print. arrow root sizing on tiepolo paper. sodium acetate developer. i'm testing the process. during last days i home brewed my oxalate solution, but doesn't work. to know if it's not the paper, i try with the oxalate of my palladium kit. it works. my oxalate solution seem too acid
mortain (50)
more of my work here www.facebook.com/charlesguerinphotography
Using the 5X7 Seneca camera with the R&J Beck rectilinear 8X5 brass lens. I made a few glass negatives this afternoon, using John Coffer's "No. 7" with the corresponding developer. I then did an intensification using the two step bleach-then-silver nitrate-bath process. This plate is one of the two negs I got some success with, though both are horribly marred with pinholes (why??). This little rectilinear lens is actually quite sweet, and its going to stay on the 5X7 I think.
Exposure was 80 seconds in bright overcast light.
NOTE: the Daffoldils at the center of the group were yellow with orange trumpets,and these photographed dark, with the trumpets almost rendering black!
This is a second version of the Aristolochia seed pods photo I made about 10 days back, but a new arrangement, and this time its a wet plate collodion on glass. (As a negative)
This home-made glass negative process is getting very exciting, and I love the result!
Collodion used was UVP-X from Brian at UV Photographics. Beautiful stuff!
Two weeks ago I had to retire my main silver bath because it had accumulated too much replacement byproduct in it (CdNO3 and NH4NO3). I did a complete maintenance on the bath and yesterday I adjusted the pH and added more silver nitrate crystals to bring the solution up to SG 1.071, and did a few test plates. This is from a wet plate negative made with the restored bath. Looks like I managed to get it back into prime condition, and its ready to go back into service!
Made the Voigtlander Petzval lens.
This is Ken. He appears here as a farmer, but in real life he is a print salesman.
I chose to back out and get some additional focus as well as some wonderful Petzval lens distortion on this shot.
8x10 wet plate collodion tintype
6-second exposure with two CFL banks and daylight
11.25" Voigtlander Petzval lens from 1857 (wide open at F4.6)
Kodak Master View 8x10 camera
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About Wet Plate Collodion:
Wet plate collodion is a 19th-century photographic process invented in 1851. It was the third photographic process (Daguerreotype was the first, Calotype was the second), and used throughout the Civil War. Wet plate collodion was the most popular form of photography from the 1850's into the 1870's.
Wet plate collodion is a process of hand-coating a plate of glass or metal with salted collodion and then sensitizing the plate in a solution of silver nitrate, making the plate light sensitive. The plate is then transferred (in a darkroom) to a light-tight holder, and then to a nearby camera while still wet. The image is exposed using a view camera (of any size). Exposures need a lot of light, and the plate is only sensitive to UV light (no reds or yellows) and has an ISO of less than 1 (yes, one).
After exposure, the holder is taken into a darkroom, the plate removed, and a developing solution poured over the plate. It is then hand developed, stopped, and rinsed. At this point, the plate can be taken out of the darkoom. The image appears as a negative until a fixing agent poured over the plate turns it into a positive. For an ambrotype (wet plate collodion on glass), the silver is a creamy color, so the image appears as a negative if viewed against a bright white and a positive if viewed with a black background. Ambrotypes can be made specifically for use as glass negatives as well (for contact printing). For a tintype (on metal), the plate is pre-coated with a black background, and the final collodion image appears as a positive. The final step of the process is varnishing the plate to protect the silver from tarnishing.
Mark is not actually a menace, although he did a great job of portraying one! Wet plate collodion has a way of making even the nicest people look menacing, and I think this has to do with the fact that only UV light (no reds or yellows) is recorded on the plate. The three-second exposure also made for a serious portrait.
Thanks to Mark for all his patience, and for bringing the barrel-aged Old Rasputin XIV Imperial Stout for a nice pairing with our waffle breakfast!
8x10 wet plate collodion ambrotype (scanned on a flatbed scanner)
3-second exposure
11.25" Voigtlander Petzval lens from 1857 (wide open at F4.6)
Kodak Master View 8x10 camera
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About Wet Plate Collodion:
Wet plate collodion is a 19th-century photographic process invented in 1851. It was the third photographic process (Daguerreotype was the first, Calotype was the second), and used throughout the civil war. Wet plate collodion was the most popular form of photography from the 1850's into the 1870's.
Wet plate collodion is a process of hand-coating a plate of glass or metal with salted collodion and then sensitizing the plate in a solution of silver nitrate, making the plate light sensitive. The plate is then transferred (in a darkroom) to a light-tight holder, and then to a nearby camera while still wet. The image is exposed using a view camera (of any size). Exposures need a lot of light, and the plate is only sensitive to UV light (no reds or yellows) and has an ISO of less than 1 (yes, one).
After exposure, the holder is taken into a darkroom, the plate removed, and a developing solution poured over the plate. It is then hand developed, stopped, and rinsed. At this point, the plate can be taken out of the darkoom. The image appears as a negative until a fixing agent poured over the plate turns it into a positive. For an ambrotype (wet plate collodion on glass), the silver is a creamy color, so the image appears as a negative if viewed against a bright white and a positive if viewed with a black background. Ambrotypes can be made specifically for use as glass negatives as well (for contact printing). For a tintype (on metal), the plate is pre-coated with a black background, and the final collodion image appears as a positive. The final step of the process is varnishing the plate to protect the silver from tarnishing.
I've been building a portable darkroom for many months now, and this is a result from its maiden voyage. My wife made a giant darkcloth to go over the opening, and we headed to the coast to make some plates for my 37th birthday.
This is looking north (postive plate is a reverse-image), about halfway between Bodega Bay and Jenner. This is a mid-day shot in bright sunlight at F64, so I struggled with a balanced exposure between the whitecaps and the dark rocks. I chose a 5"x10" panorama format for this to showcase our beautiful West Coast.
It was a challenge dealing with chemicals on the the road, but we couldn't have had more cooperative weather (no wind). I'm pretty sure I freaked out a lot of tourists with the crazy tailgate darkroom with a silver darkcloth (and apron) with chemical bottles and trays surrounding the scene! We actually met quite a few people that were interested in what we were doing as well. Overall, it was a good first-run for the portable darkroom and a fun birthday.
5x10 wet plate collodion tintype
1-minute exposure in bright sunlight
F64
12" Goerz Artar lens
Kodak Master View 8x10 camera
---------------------------------------------
About Wet Plate Collodion:
Wet plate collodion is a 19th-century photographic process invented in 1851. It was the third photographic process (Daguerreotype was the first, Calotype was the second), and used throughout the Civil War. Wet plate collodion was the most popular form of photography from the 1850's into the 1870's.
Wet plate collodion is a process of hand-coating a plate of glass or metal with salted collodion and then sensitizing the plate in a solution of silver nitrate, making the plate light sensitive. The plate is then transferred (in a darkroom) to a light-tight holder, and then to a nearby camera while still wet. The image is exposed using a view camera (of any size). Exposures need a lot of light, and the plate is only sensitive to UV light (no reds or yellows) and has an ISO of less than 1 (yes, one).
After exposure, the holder is taken into a darkroom, the plate removed, and a developing solution poured over the plate. It is then hand developed, stopped, and rinsed. At this point, the plate can be taken out of the darkoom. The image appears as a negative until a fixing agent poured over the plate turns it into a positive. For an ambrotype (wet plate collodion on glass), the silver is a creamy color, so the image appears as a negative if viewed against a bright white and a positive if viewed with a black background. Ambrotypes can be made specifically for use as glass negatives as well (for contact printing). For a tintype (on metal), the plate is pre-coated with a black background, and the final collodion image appears as a positive. The final step of the process is varnishing the plate to protect the silver from tarnishing.
photo: rz67 + 110 lens + fp4 + g33 developper
print: gum over kallitype on dalbe paper. 2 layers of prussian blue and 3 of ocre
i made 4 print, numbered, dated and signed. contact me if interested.
more info about this print here: www.facebook.com/charlesguerinphotography
IN ENGLISH BELOW THE LINE
Calotip mètode Pélegry modificat (mel en comptes de xerigot), en format 4x5.; paper Canson Marker; 40 s. d'exposició a f5.6 (ev 14,2). Revelat amb acid pirogal·lic (sense compensar amb acid acetic) i 1 ml. d'acetonitrat de plata durant 6 minuts. Negatiu invertit digitalment amb Photoshop.
Càmera Graflex Crown Graphic de format 4x5 polzades, fabricada cap al 1949; objectiu Graflex Optar f4.7.
L'església de Sant Oleguer amb els Salesians al darrera, a Sabadell.
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Calotype (modified Pélegry, with honey instead of whey); Canson Marker paper; 40 s. exposure at f5,6, (ev 14,2). Developed with pyrogallic acid and 1 ml of acetonitrate of silver for 6 minutes. Original negative digitally inverted with Photoshop.
Graflex Crown Graphic camera, made c.1949; Graflex Optar f4,7; 4x5 calotype.
St. Oleguer neo-romanesque church with the Salesians school behind.
No AI Training: Without in any way limiting the artist’s exclusive rights under copyright, any use of this photograph to “train” generative artificial intelligence (AI) technologies to produce images is expressly prohibited.
This is a self ambrotype portrait (my lovely wife tripped the shutter) on a 3.25" x 4.25" piece of clear glass.
I made a make-shift 1/4-plate holder out of an old 5x7" film holder, and tried out a new (old) camera and lens for this shot. You can see how fragile the collodion is on glass, and how it simply peels away at times, seemingly for no reason, but most likely from (me) not cleaning my glass plate well enough. I also had some rough edges from my unskilled glass-cutting techniques! You can also see where the silver wire (I used to hold the plate in the film holder) reacted with the other collodion/bromide/silver chemicals and created some whacky blooming growth on each corner.
I like this self portrait mostly because of all its flaws. The hole in my head shows a bit of how I've been feeling lately, as well as speaking to the fragility of the medium, the image, the person, the thought, the memory and life in general.
1/4-plate ambrotype (wet plate collodion on clear glass)
15-second exposure with two CFL banks and daylight
Goerz Dagor 9.5" lens from 1908 (wide open at F6.8)
Eastman View #2 5x7 camera
I've wanted to make some wet plate collodion images of my grandparents since I started making plates. I finally got the chance to visit them, equipped with my portable darkroom, some sandwiches for lunch, and my assistant (my lovely wife).
My grandpa is 97 years old, and he has been a farmer here in California (walnuts, almonds, rice) all of his life. We have a common interest in old country-western music, and sometimes I bring my guitar over and sing a few tunes in their living room. I've heard some good stories of my grandpa playing guitar with his harmonica at small dances and parties when he was younger.
My grandmother (Nana) is 92 years old, and is an amazing woman. She was an educator, an avid quilter, and has always had an open (and tack-sharp) mind. She was an excellent sitter, as she seemed to love gazing deep into the 19th century camera lens!
The cold temperatures we were having in early January were just a bit too low to ask my grandparents to sit and wait for all my posing and processing, so we opted to bring a couple CFL lights inside and try our luck with man-made light. It wasn't really enough light. Even at full power, exposure times were 20-seconds, making holding still even more difficult than normal. They were troupers, and we had a great time visiting with them and my father.
Two, 8x10 wet plate collodion tintypes
20-second exposures with two CFL banks, indoors
11.25" Voigtlander Petzval lens from 1857 (wide open at F4.6)
Kodak Master View 8x10 camera
for some strange reason I quite like this, the poe boy collodion has given it an attractive (to my eyes) hue.
Last Saturday, Agnieszka and I attended a collodion process workshop with Mateusz Detyniecki. We learned about the history of wet plate photography, how to mix the chemicals to develop, set a scene and use the camera. Mateusz worked with us throughout the day, patiently explaining the process and helping us achieve success. This is one of the best and most interesting workshops that I have attended, and if it is something that interests you or someone you know, definitely get in touch with him and schedule your own workshop. What a gift this makes!
Agnieszka and I each shot 3 smaller plates and 1 large plate for the workshop, for a total of 8. It's a slow process, but as you can see, the effect is quite worth the effort.
This is the first plate I took of my life partner Agnieszka. Pure magic and beautiful.
Warszawa, Poland
Summer
Links to all of my work. Instagram. Website. Behance. linktr.ee/ewitsoe
IN ENGLISH BELOW THE LINE
Primeres proves amb la més antiga de les tecnologies de positivat fotografic, el paper salat. De fet, es pot considerar anterior al daguerrotip, ja que les primeres proves de Henry Fox Talbot daten dels anys 1830, i fins i tot cap al 1790-97, Thomas Wedgwood feu imatges similars. Però fins el 1839 no sabien com fixar la imatge i aquesta es tornava completament negra en poc temps. Aleshores, Talbot trobà que el hiposulfit de sodi fixava la imatge de manera permanent.
El paper es sensibilitza primer amb sal comuna al 2%, i un cop sec, amb nitrat de plata al 8% o 12%. Un cop sec de nou, s'exposa al sol o lampada UV amb un negatiu per contacte, i un cop la imatge s'ha enfosquit suficientment, es renta amb aigua i acid citric i es fixa amb hiposulfit de sodi.
Aquest primer intent m'ha quedat una mica massa clar i tacat, segurament per anar massa de pressa i no deixar secar suficientment el paper, ni exposar-lo prou. Per cert, la sal que vaig fer servir és de Gerri de la Sal. Es per tant una foto amb una mica del Pallars.
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My first salt print trials. This traditional photography process is maybe the oldest one, even older in a way than the daguerreotype. That's because first trials were made by Thomas Wedgwood in 1790-97, and then Henry Fox Talbot in the 1830's, but they could not fix the images until using sodium thiosulfate (hypo).
The paper is sensibilized first with a 2% table salt bath, dried and then a 8 to 12% silver nitrate bath (a brush could also be used). This creates silver chloride in the paper. Once dry is then exposed with a contact negative to the sun (or UV lamp), and the image develops itself. Once developed, it's washed with water and citric acid and fixed with hypo.
For this salt print,I used Gerri de la Sal mountain salt, traditionaly harvested in the Catalan Pyrenees. The image was weak and stained because the paper was still damp when I exposed it, and then don't waited till it was dark enough.
Lockdown put an end to my wet plate craze as inviting people to my makeshift studio in my back garden to sit for a portrait was out of bounds. I took a few still lifes such as this one (which is cropped) but then gave up and I am guessing all my chemicals have expired. In fact I am not sure I can remember how to do it anymore which is a crying shame. Maybe I will re stock and give it another bash when the warmer weather comes along. The company where I got all my supplies went bust recently so will have to find another source for my collodion etc.
photo: ADOX 63S + FP4+
print: kallitype on tiepolo paper. enlarged negative with reversal process on arista ortholith film. homebrewed ferric oxalate. dev: sodium acetate. cleaning: acid citrique (2 bath). gold/thiourea toner.
a very interesting process but not so easy, i had to learn and improve a lot.
this is a photograph of the print. the color isn't easy to reproduce
i try different process with this photo. the scanned negative version can be seen here: charlesguerin.deviantart.com/art/017-54999957
more of my work here www.facebook.com/charlesguerinphotography
I've been doing a lot of wet plate collodion photography lately. This is a vast departure from my usual landscape posts. This process is challenging me in some interesting ways, and I am really enjoying it.
I lighted this portrait with CFL lights, a lot of exposure time, and a very patient, still model. We used a head brace to keep steady for 8 seconds. The black streaks on the lower left are areas that I missed when coating the plate.
This is an ambrotype; a process of coating a piece of glass with collodion, sensitizing the plate in silver nitrate, exposing an image in-camera, and then developing and fixing the plate (all before the plate dries). The glass is clear and the silver is a creamy color, so the image appears as a negative if viewed against white and a positive if viewed with a black background.
8x10 ambrotype (scanned on a flatbed scanner)
8-second exposure
11.25" Voigtlander Petzval lens from 1857 (wide open at F4.6)
Kodak Master View 8x10 camera
In the abandoned town of Helena in Trinity County, California, my wife pointed out a lone chimney. I knew I had to make a plate of this after just one quick glance.
This outside living room was a joy to shoot, and there were so many flowers in bloom in this valley that it made every breath more intoxicating. The idea of disappearing walls and making what was once "inside" become "outside" was very appealing to me, and I raced the setting sun to get a decent exposure. It is humbling to think how our lifespan is dwarfed by something as (in)significant as a chimney, isn't it?
In retrospect, I should have done a bit more tilting to make the chimney upright, but I was caught up with simply making a proper exposure before the light vanished for the evening. I was able to make two plates, and this was my favorite.
Medium: Wet plate collodion tintype (on aluminum plate)
Exposure: 50 seconds
Aperture: F/32
Lens: Goerz 12" Artar (red dot)
Camera: Kodak Master View 8x10