Wet Plate Collodion Negatives - October 2011

Robert shows off his beautiful Albumen print - printing out in the contact printer!It always feels like good things end too soon. The Wet Plate Collodion Negative Making workshop was one of those good things ending too soon.

 I had a great group of people in my studio for the last three days. Doug Winter, Kathryn Mayo Winter, Robert Krawiec, Kyleigh Morgan (assisting) and Jeanne; they truly impressed me with their ability, passion and excitement. If you wanted to be surrounded by motivated and encouraging people, this group would rank high for those attributes. A big “thank you” to everyone! Jeanne kept us fed and made sure things ran smoothly - thank you!!!

Negative making is a fussy, unpredictable endeavor. It takes awhile to feel comfortable with it and “get the rhythm down.” However, once you do, it’s very rewarding.

The group I had here was incredible. Not only did they get it going, they got the mojo going fast! Almost every plate and every print was a success. And they were even doing some beautiful, creative portraiture work. It was very enjoyable for me to assist and watch the magic happen. There were tears and Goosebumps from this beautiful process. I don’t understand why more people aren’t working in this process!

We started on Saturday with introductions and conversation about art, life and the Wet Plate Collodion world. Saturday afternoon I demonstrated how to make a negative, redevelop it and then made a Salt and Albumen print from it. I showed them how to make Negative Collodion and Negative Developer and we talked, at length about chemistry. At the end of the day, they prepared glass (Half Plates) for Sunday.

Sunday was a great day. They all made Negatives, portraits of Kyleigh. I could see they were going to have some really beautiful prints.

And yesterday, Monday, we made Salt paper and Albumen paper and printed like crazy! Really impressive stuff! Remember, these guys had never made a Wet Plate Collodion Negative before or printed one on Salt or Albumen. How could you not be impressed? I hope to see them all again real soon!

Lef to right, Quinn, Jeanne, Kyleigh, Robert, Kathryn, and Doug.Some of the Salt and Albumen prints made from thier negatives! Impressive work!!

One of Kathryn's prints - toned Salt print - unwaxed. 

 One of Doug's prints. Toned Salt print - I apologize for the digital replication - the prints are really gorgeous in your hand!

One of Robert's prints - toned Albumen - Half Plate.

One of Kathryn's prints "printing out".

Doug dries one of his Wet Plate Collodion Negatives down while Kathryn takes a photo with her iPhone. 

Southern Utah University Art Insights Lecture

Last Wednesday, I traveled to Cedar City, Utah. Southern Utah University asked me to be a speaker for their Art Insights program. 

My wife, Jeanne, joined me and helped me with the Wet Plate Collodion demonstrations during the day. And Thursday night, she had to listen to another 45-minute talk about my work and process (thank you, Jeanne!).

It’s always a huge honor for me to do these kinds of things. I’m both encouraged and humbled by the response and comments from people.

Southern Utah University has a beautiful campus and I was surprised how nice Cedar City, Utah is – I’d never been there before – gorgeous views of the land and bright blue skies. The students and faculty were very kind and seemed to enjoy what they saw and heard from me. 

They had me give my lecture in the Great Hall. The references to Harry Potter they made about the space were spot-on. It’s big, elegant and holds a lot of people. I’m not sure how many people were there, but it was full (200+?). 

I’m always amazed that people come out to hear (and see) someone like me when they could be doing a thousand other things. It’s very humbling to me. I always try to be as sincere and honest (authentic) as I can be when talking about my work and my intent for the work. I think that most people want to listen about (and see) work that’s authentic and not gimmicky or made for consumption (shocking, crude, etc.). That’s what I try to give them – honest and real – like the people I photograph.

We would like to say, “THANK YOU!” to Deb and Harold Snider for hosting us in their beautiful home and for all of their wonderful hospitality.

Thanks to Jeremias Paul and Rheana Gardner from the photography department – I appreciated all the help and encouragement. I look forward to working with you again. And I would like to give a big thanks to all of the students of SUU and the general public that attended my “performative lecture” (Wet Plate Collodion demonstrations) and/or my Great Hall lecture. 

All photos by Jeremias Paul and Harold Snider (thank you!)

The Southern Utah University Photo Group! Half Plate Black Glass Ambrotype by Quinn JacobsonHarold watches as I flow the plate with Collodion - his image.Harold's Half Plate Alumitype in the wash pan.Jamie's in the sitter's seat and waits as I explain what I'm going to do. Getting ready to make a Half Plate Clear Glass Ambrotype.Fresh out of the wash - against my black t-shirt, I show the group how thin negatives appear as positives against black.Jeremais shot this - I love the shadow of the image!Kallie (forgive me if I spelled that wrong) sits for her portrait - the texture of her hair looked very cool!Do you see what I mean?Getting her "dialed in" as Jeremias makes a crack about Muybridge ;-)My brother in the blues, Steven Swift, sits for his portrait. (http://www.stevenswift.com/)Steven on metal!A closer look - Steven.This was the test plate to start the day. It's a portrait of Rheana.The Bunny Girl's work, Jamie - I was asked to look at some of the students work. Jamie's work had Gummo written all over it - she's from Ohio, too!

Back In The Saddle

After almost six years, I'm back in America and teaching Wet Plate Collodion to Americans, again. It feels good.

I held the first (of many) Wet Plate Collodion workshop in my studio from September 3 - 6, 2011. It was a great feeling to be back and to speak the language, understand the culture and have people laugh at my jokes. I had some fantastic people in the workshop, too. A big thanks to Chris Kirk, Rob Perisho, Jeff Graves and Izah Gallagher. They're great people with a great Collodion future ahead of them! I hope to see them all again in my studio soon!

 Summer preps varnish while the rest of the crew are cutting and cleaning glass, (left to right) Jeff Graves (Broomfield, Co), Rob Perisho (Chicago, Il), Chris Kirk (Austin, Texas), Izah Gallagher (Denver, Co), and Summer Jacobson (Denver, Co).

 This was just a joke. I thought it was kind of funny. Herr Graves drying his Clear Glass Ambrotypes.Summer helps Chris with varnishing. Chris did some of the finest varnishing I've ever seen (not kidding). "My GrandDaddy's Hat" Izah shows off her wonderful self-portrait. Whole Plate Black Glass Ambrotype.Chris makes a portrait of Summer as Jesse watches. The EXTREME Denver UV made using natural light a no brainer - really gorgeous images!"Cowboy" 7x5 Alumitype by Chris Kirk"Cowboy" 5x7 Alumitype by Izah Gallagher.

Summer Jacobson, September 4, 2011 Denver, Colorado - photo by Chris Kirk

Rob Perisho, September 3, 2011 Denver, Colorado - photo by Quinn Jacobson

If you're interested in joining me for a workshop/course in a historic photographic process like Daguerreotypy, Calotypy, Wet Plate Collodion, Albumen Printing and/or Salt Printing, keep your eye on this link or send me an email and we'll get you in! I have a nice big (safe) well lighted studio in the RiNo District in Denver, Colorado. 

Workshop: Making Wet Plate Collodion Negatives & Salt/Albumen Printing

(Limited to 4 Students)
$650
October 8-10, 2011

8x10 Collodion Negative – 15 secs – Intensified with Copper and printed on Albumen/toned – Quinn Jacobson, Barcelona Spain November 7, 2009This is real photography for serious artists and photographers! An intensive, three-day, hands-on workshop that covers all aspects of making Wet Plate Collodion negatives; including redevelopment, intensification and making Salt and/or Albumen prints from the negatives.

This course is designed for people who have worked with the positive Wet Plate Collodion process (Ambrotypes, Tintypes, etc.). Darkroom experience is preferred and students should have a good understanding of traditional silver gelatin negative making. Large format camera experience is preferred, too.

Demonstrations
Students will get to see the negative making and redevelopment/intensification process executed from start-to-finish and the workflow methodology that Quinn uses for his work. He will also demonstrate making a Salt Print and/or Albumen print from the negative. Also, this course starts on the Second Saturday in Denver, Colorado. Quinn will have the doors open for the public to see what takes place in the studio! 

Chemistry
Quinn will do an in-depth segment on chemistry. Chemistry for negatives is different than positives. It’s subtle but affects the quality of the negative. He will also work through the chemistry for redevelopment and intensification; two very different methods for making negatives. Each individual chemical will be discussed and described in detail. Students learn about each chemical’s function and purpose in making and redeveloping/intensifying negatives – this is very important as it relates to troubleshooting. Safety, storage and handling are also major components of this segment. Students will participate in making each of the chemicals for the process.

Plate Making
This workshop will use Half Plate and Whole Plate format sizes. Students will have the opportunity to work in both of these formats. The second day of the workshop is devoted to making negatives which includes preparations, glass cutting, cleaning, etc. pouring plates, sensitizing plates, exposing plates, developing plates, fixing plates and varnishing plates. The third day will cover printing processes.

Negative Redevelopment & Intensification
Quinn will cover both of these techniques and show the difference between them. Students will learn when to use hardcore redevelopment or a simple intensification.

Salt & Albumen Printing
Each student will select their best negative and make a Salt and/or Albumen Print from it. This course will not cover making Salt and Albumen paper, but will provide students the paper and supplies for printing the negatives.

Critiques & Troubleshooting
At the end of the third day, there will be an overview/critique about the images made. This critique is based on troubleshooting – things that went wrong and things that worked. It’s a very valuable part of the course.

What’s Provided?

• You can attend the workshop with nothing but a pen and notebook. Cameras, chemistry, substrate and facilities are all provided. You are welcome and encouraged to bring your own camera (if you can). Using your own equipment helps when you start making images on your own. Be sure to have a Half Plate and/or Whole Plate insert. 
• You will receive a copy of Quinn’s manual, “Chemical Pictures: Making Wet Collodion Negatives”. The manual will be used throughout the course.
• Lunch will be provided each day (it's unbelieveably delicious food). There will be drinks available at the studio (coffee/espresso, water, soft drinks, etc.) throughout the day. 
• On Monday night, we will have a small "celebration party" with drinks and nosh. We'll also award the Wet Plate Collodion Certificates of Training. 

Course Date: October 8 - 10, 2011
Location: Studio Q / Quinn Jacobson Photography
3519 Brighton Blvd. Unit G Denver, Colorado 80216
Time: 9AM - 6PM (with a lunch break)
Cost: $650

IMPORTANT: This is "first come, first serve". To ensure a place in the workshop, please send $100 deposit to sales@studioQ.com (PayPal) or email quinn@studioQ.com to make other arrangements.

My Final Workshop in Germany

Jasmine & Abel - 6"x6" Black Glass Ambrotype - 7 Nov., 2010It's bitter-sweet. I just finished my last Wet Plate Collodion workshop I'll do in Germany. Two photography teachers from Brussels came down; Erwin and Frederick. We had a good time. It's always fun, and I'll miss it terribly. However, there is a time to call it and this was it. I could be weeks away from being back in the United States and I need time put things away, both literally and psychologically. I need to separate a little bit. Time will do this.

Jeanne asked a friend, Jasmine, to come over so that Erwin and Frederick would have someone to make portraits of - other than each other or me. Although, they made plenty of images of one another. Jasmine brought her boyfriend, Abel. They were patient and kind, I ended up making this portrait for them.

There will be more teaching and more exciting things in the U.S. for me, I know it. I'm already looking forward to it!

Ch-Ch-Ch-Changes and The 39-89 Project

It’s almost September! Let’s start with the most obvious change; the weather. The weather here has taken a turn for the cool. We must be entering Autumn (fall and winter are very mild here). Highs are 16-18 degrees Celsius (60s F) and lows are 8-10 degrees Celsius (40s F). It’s nice, I like it. It’s still raining a lot, but then again, when isn’t it raining here?

We’re thinking a lot about the big change coming for us and have our eyes and minds set on the northwest. I think that’s where we belong  -but who knows? Right now, it looks like we should be leaving Europe around the first of the year. However, I always say everything, and I mean everything, is subject to change.

The '39-'89 Project & Exhibition: Generating Ideas
I can’t really work on the Wet Collodion part of my project here (I can research and write but I can’t make photographs for it), so I’m experimenting with some paper negatives and setting up to do some Daguerreotype work. I’ve got the Daguerreotype stuff ready to go, but that will have to wait until I’m back in the States. It’s way too much to do here – too much as in expensive/hassle, too much. The Calotypes on the other hand, are very doable here.

My goal is to setup (individual studio/darkroom space) for all three processes in the States; I call it “The 39-89 Project: The First 50 Years of Photography”. 1839 – 1889, the first fifty years of photography; Daguerreotypes, Calotypes and Wet Plate Collodion. Each process has its own aesthetic and special place in history; I’ll offer workshops in each process when I return to America.

I want to write a piece at some point about why Collodion is so popular today and why the other two processes will never gain that kind of popularity. It’s written in history, however, I want to write a contemporary piece about it. I’ve found some interesting correlations to the digital movement and would like to share those ideas in an essay.

My exhibition in 2012 (in Paris at Centre Iris) will be large Wet Plate Collodion pieces, but I’m going to do an ancillary project (technical and historical) about this period in the history of photography. I’ll include Calotypes and Daguerreotypes. It will give context to the main exhibit and it will be educational and interesting (I hope). And, it will be relevant to anyone interested in photography today (that’s kind of the point, yes?). In a way, you could say I’m doing the technical and academic work while I wait to return to the States. This “break” has been a great time to generate ideas and experiment with some things. I needed this.

Across The Pond… And Back Again
We made a trip to the States this month and really enjoyed it. We didn’t enjoy leaving our daughter, Summer, behind (for college), but we enjoyed seeing our family. It was good to see everyone and we’re really happy for Summer. She’s all settled in at Weber State University, my Alma mater, and is doing great. Europe will always be a part of us and we will return often, but I’m ready to go home.

Coming Up: Daguerreotypes & Wet Plate Collodion Performative Lecture
We’ll be going to Belgium for some Daguerreotype work the first weekend in September and then the second week, we’ll be in Dresden for a Wet Plate Collodion Performative Lecture at the City Museum. I’ll be doing some commissioned portrait work there, too.

French 3 Television

France 3 TV's piece about Quinn's exhibition in Paris at Centre Iris Gallery.

France 3 TV just aired this piece this week. The spot is about my exhibiton and work in the Wet Plate Collodion process. They also show a lot of images from my exhibition in Paris at the Centre Iris Gallery. It's a really good piece - very "top shelf". I'm very pleased. Enjoy!

It’s Coming Along Nicely, Thank You - The Paris Exhibit

For the last few weeks, I’ve been able to ignore most of the distractions in my life and concentrate on getting ready for my exhibit. It’s been really nice. We don’t have a television but the other technologies can be a huge distraction. Give up Facebook, email, (fill in the blank) forum(s), for a week and see what happens. Your attitude toward these things change a little bit. (In all honesty, I didn’t give them up completely, but cut way back).

I’m on track and feeling good about most everything. There is still a little bit of anxiety – I want it perfect, or as close as possible to perfect as I can get it.   Framed work waiting to be wrapped, packed and sent to Paris.

I’ve been framing and varnishing images for the last few days. Two coats of varnish per image and several days of drying – it’s process but they look outstanding! The plates look wonderful matted and framed, too. I get a rush seeing all of this – I can’t believe that I made all of this work (sounds ego-oriented, but true)! Where in the hell did I find the time to do all of this and sleep? There are 70 pieces, almost 100 images! Keep in mind, this is Wet Plate Collodion work!

It looks like we are going to rent a VW Transporter and keep it in Paris while we’re there. We had originally thought to rent a van, drive it over to Paris, unload it and turn it in there in Paris. Then we would take the train back home after the first week (opening, lectures, demos, workshops, etc.). I think I’d be “stepping over a dollar to pick up a dime” doing it that way not to mention the hassles and headaches. We’ll pay the fees and keep the van and drive it back. By the time we pay for a taxi, train, we’ll pay about the same (which is a lot).I hanged and varnished 10 large ink jet prints for the show. They turned out very nice.

From what it sounds like, I’ll be making a lot of portraits there. I have five days and one night of making portraits. Standing room only, 20 minutes per session – really? There are that many people interested in having their portrait made? Maybe I can pay for the van for the week (grin). I think I’ll do okay on that front. 

The gallery has pulled out the big guns – they’ve got some great press on the event. I’m going to have a journalist from Réponses Photo (French magazine) in the first workshop. I should have the cover and a portfolio spread from it. That won’t be too bad, eh? There are a lot more doing pieces on the event, too. Yummy! 

I’ll post more as things unfold. So far, so good.

Vernon Trent, from Düsseldorf came down yesterday for a Wet Plate Collodion "refresher" and to make some images for a piece for stern.de. I think there was a totally of nine images. He made a couple of really nice ones. Here's a couple of snaps from the day. We capped it off with me making a portrait of him with his new camera.

The models: Christian and Carina. 
Whole Plate Alumitype
Vernon - photo by Quinn Jacobson - Whole Plate Alumitype
Wet Plate Collodion images – Viernheim, Germany 13 February, 2010

My Paris Show Part One: Preparing

This isn't the first time you've heard me talk about (or read me write about) my show in Paris. And I can assure you, it won't be the last.

I'm excited beyond words. I'm completely focused on making this the best it possibly can be. So, if I seem aloof, slow to respond or appear to be dropped-out, you know what I'm doing and where my head is!

The Centre-Iris Gallery has started to publicize the events. There will be a few highlights; first, the exhibition (of course!). I will be showing both of my projects; work that I made in the United States and my current European project. I'll have about 50 images from the project, "Portraits from Madison Avenue". I will also have several pieces, I'm not exactly sure how many,  of my new project, "Vergangenheitsbewältigung" (loose translation: "struggling to come to terms with the past"). I'm still working on this project, but I hope to have quite a few pieces in this show.

The content and Collodion variants will span the gamut. There will be portraits, landscapes, still lifes, etc. There will be Black Glass Ambrotypes, Clear Glass Ambrotypes, Albumen prints, Salt Prints, Alumitypes, and Ferrotypes (Tintypes). I'm going to offer sell the work, too. This is a big deal for me and it's very important that I do this right!

Quinn making Pierre's portraits in Paris - June 2009
Secondly, I will be doing a public demonstration (performative lecture) the afternoon of the opening (March 9). I'll also be teaching two workshops during the week. If you're in, or near Paris, drop Centre-Iris Gallery an email and have them hold a spot for you!

And last, but not least, the gallery has asked me to do a "Portrait Day". This will be on March 10. People can come by the gallery and I will make a portrait for them (for a fee, of course). It was a hit in Paris last June. I would expect the same here, maybe even more people Oy! We'll see.

This is a gigantic logistical challenge. I'm going to rent a Volkswagon Van. I need to pack all of my artwork (huge space and very delicate items), Collodion equipment (dark-box, camera, lenses), chemistry and substrate, and luggage. And then we have to fit in it, too! I'm hoping this works! It's a four and a half hour drive to Paris. Have you ever driven in the city of Paris? Oy!

There will be more to follow... I promise.

Über Wet Plate Collodion Images: Barcelona Spain

16" x 20" (40cm x 50cm) Clear Glass Ambrotype - Barcelona, SpainYou wouldn’t be exaggerating if you said that the fun never ends in Barcelona.

Not only is it a wonderful city to wander around in, you can also make über Wet Plate Collodion images here – if you know the right people: Atelieretaguardia Studio.  

Tuesday morning we set up and prepared make some ULF (Ultra or Über Large Format) clear glass positive Collodion images – 16” x 20” or 40cm x 50cm. It takes a lot of people, money and time to do this. It’s not small task. We had six people working together to produce some fine large Ambrotype portraits. The silver bath was 6 liters – that’s almost 600 Euros ($900 USD) alone! It takes special equipment, too. Large silver bath tank/holder, trays, bottles, everything must be big, including the camera and lens.

These were made with a German 16x20 camera. We used a 700mm f/8 Hermagis, stopped down to f/16. The first plate (watch the video below), was exposed for 20 seconds and it was spot on! On the other plates, we maxed out bellows and moved the camera as close to the sitter as possible. The images almost filled the plate. The images we made later in the morning, when the UV was blazing, had exposures as short as 10 seconds! All four images are beautiful in their own right and are very special to the entire Collodion team.

It’s extremely enjoyable making these plates. This is only my second time doing this, but this trip has inspired a new project for me when I return to the United States. Yes, you could say a project dealing with Über photographs – even super Über photographs.

Johanne from Norway.