I’m getting excited for the summer. Rupert Jenkins from CPAC suggested I offer a field course in Wet Plate Collodion. Great idea! Not only for the people that attend, but also for me! I need to mix it up this year.
I’m still working out my next project idea. I don’t really like to say too much, because things change all of the time. I’m not even sure what process I’m going to use! However, I’m excited about living in Colorado and what that means photographically. I want to get out of the studio, too. So, for right now, I’ve decided that I’m going to offer two VERY special workshops this summer. I’m calling them the Colorado Wet Plate Collodion Field Workshops.
These will be special for at least two reasons. First, not only do you get to make photographs by hand in a wonderfully revealing process (and get away from the computer for a while), you get to spend time in some of the most beautiful landscape in America.
The details will come in a few weeks, but I’m thinking about taking a group to Mt. Evans. There’s a paved road (the highest paved road in North America, by the way) that goes to almost 14,000 feet above sea level (that’s 4.300 m for my European brothers and sisters). Has anyone make Collodion plates at those elevations before? I don’t know. The scenery is spectacular and to spend a day making plates there sounds fantastic!
I’m going to offer two workshops; a direct positive course (not an introduction), where we will make Ambrotypes, Tintypes, and Alumitypes. And a negative making course where will we make negatives and then spend a day back in the studio printing those negatives on Albumen, Salt and Collodion Chloride paper.
Here’s what I have so far: The Colorado Wet Plate Collodion Field Workshops: Direct Positive Images: Friday, July 27, students will meet at Studio Q in Denver, Colorado at 4PM for an overview. They will cut, clean and prepare four pieces of glass; two clear and two black. Two metal plates will be ready to go, too. Saturday, July 28, students will meet at Studio Q early (not sure maybe 0600) and depart for Mt. Evans. We will spend the day making six plates each (in portable dark-boxes). We will return to the studio late in the day and look at and talk about the images (maybe have to varnish the plates in the studio, too). This course will have a prerequisite that you have worked in the positive Collodion process before.
The Colorado Wet Plate Collodion Field Workshops: Making Negatives & POP Prints: Friday, August 10, students will meet at Studio Q in Denver, Colorado at 4PM for an overview. They will cut, clean and prepare six pieces of glass. Saturday, August 11, students will meet at Studio Q early (0600/6AM) and depart for Mt. Evans. We will spend the day making six negatives each (in portable dark-boxes). Sunday, August 12, students will meet at Studio Q at 1200 to start the printing out process of their negatives. At the end of that day, students will varnish their negatives and we’ll talk about what we did throughout the course. This course will have a prerequisite that you have worked in the positive Collodion process before and understand it well.
The Colorado Wet Plate Collodion Field Workshops: Direct Positive Images: $595
The Colorado Wet Plate Collodion Field Workshops: Making Negatives & POP Prints: $695
PayPal add 3%: sales@studioQ.com
I was very pleased with our trip to Paris to open my show. The photographs were received well, attendance was great and we had a wonderful time.
We'll go back to close the show in June and do some more teaching, portraits and research for my next body of work. It's all very exciting. Thanks to everyone that helped make this possible. All of the sitters, the gallery, and most of all Jeanne!
These are some images that Fabrice Pejout posted on Facebook. These show the space, you can see why I get excited about my work hanging in this gallery.
Here's an English article about the exhibition: France Revisited
Recently, I had the opportunity to present my work and do a Wet Plate Collodion demonstration (I call them performative lectures) at AKV | St. Joost Art School in Breda, The Netherlands.
"Wait! I thought you were leaving Europe, Quinn?"
I'm trying! There's been confusion about when I'm leaving Europe (because of what I've said/posted). To tell you the truth, I thought I would have been gone by now. I'm not.
The process of leaving is like a roller coaster. One day, everything is in place and the next day it's all changed. It's not quite working as smoothly or as fast as I thought it would, so I'm still here. At least for a little while longer.
It's very complicated to explain, but it has to do with the economy, my own desires and hopes for what I want next and patience. So, for right now, I'm going to resume living and do what I do best. Life's too short to put it on hold.
Yesterday afternoon I received a call from Jeanne. She told me I had a surprise in the mail and wanted me to guess what it was. I had no idea. As I rifled through my mind, trying to think what it could possibly be, she said, "It's the DVD from Benoît and it is amazing!" I couldn't wait to see it.
The backstory goes something like this: When I was in Paris this year (March - June, 2010), I was approached by an artist/filmmaker named Benoît Boucherot. He asked if I would be interested in allowing him to make a documentary about my time in Paris and my photographic/artistic life. He explained to me what he would do and what his intentions were and I said, "Yes".
The result of his hard work and incredible talent is this, a 44 minute documentary about me, my family, my work and my time in Paris. I think he did an outstanding job capturing the feeling and the passion behind all of the hard work and incredible fun we had in Paris.
Un documentaire non commenté de Benoît Boucherot
44 minutes - HD 16/9e PAL - VOSTFR
2010 - Les productions Rwann Hearn
" Photographe américain vivant en Allemagne, Quinn Jacobson a exposé ses ambrotypes et alumitypes au Collodion humide pendant 4 mois à Paris au Centre Iris pour la photographie. Depuis trois ans, son van bluesy parcourt toute l’Europe pour transmettre, lors de workshops, cette technique héritée de Frederick Scott Archer, l’inventeur du Collodion humide en 1847, contemporain de Daguerre et Talbot, disparu totalement oublié dans une immense pauvreté. Assisté de sa femme Jean et de leur fille Summer, il invite également régulièrement les chalands à être photographiés lors de séances de prises de vue réalisées avec ses chambres traditionnelles. Et la magie du procédé ancestral, et l’émotion de la révélation de l’image unique se rejouent ainsi sous nos yeux lors d’instants fugaces frappés d’une stupéfaction sans cesse renouvelée. Il a accueilli mes regards, ma caméra et mon Leica, dans son studio éphémère au mois de Juin. Cela peut bien se passer de commentaires... "