The American West Portraits

"Chris Perez" 16" x 20" (40cm x 50cm) Black Glass Ambrotype - Denver, Colorado, USAMaking photographs, for me, is sometimes a painful and difficult ordeal. It creates anxiety in my life. When you want to see what's in your head on glass and metal plates, and can't quite get over the last hurddle, it can be very stressful. I’m in one of those times now, but working through it.

I’ve been making 16” x 20” (40cm x 50cm) Wet Collodion portraits (currently titled, "The American West Portraits"). I started planning this project almost 18 months ago by ordering a 20” x 24” camera, it's been non-stop ever since. And now, I’m struggling to get the look and feel on these large plates that I want. It’s 99% technical mostly a lens issue. I need a lens that will cover the plate and allow me to compose the image in a way that I’m happy with it. It’s more difficult than it sounds.

Normally, it wouldn’t be a problem. I would have plenty of time to resolve any technical or aesthetic issue I might have. However, I’ve got an exhibition opening on March 14, 2012 in Paris, France at Centre-Iris Gallery. I find myself anxious and preoccupied regarding how the images will look for the exhibition. I see them in my mind, I just need to get them on the glass and metal! 

Having been in Denver for six months doesn’t help me either. I need time to build connections and find the right people to photograph. And now it’s winter, the days are short. At best, there’s about three hours of good light to work with. I will say that there would be no better place to be than in Denver for light this time of year, when it’s shining, the bright blue sky is amazing. It means that the sitter I want to photograph must come to my studio within a certain window of time (1000 – 1300). That gets complicated and stressful, too.

These issues are forcing me to rethink how I work and what I work with. And how "exact" things have to be. I have a “King’s problem” and I understand that. I keep thinking, maybe in the end, I will make a far better body of work than if I had a year to work on it. We’ll see. 

This is a "working idea" - these will collect in my studio and I'll look at them over the next couple of months.

Here's a "taste" of what the show will be made up of - all 16" x 20" (40cm x 50cm) Wet Collodion plates.

University of Colorado Boulder (CU Boulder)

I was invited to do a lecture for the History of Photography class at CU Boulder in Boulder, Colorado. The students were very receptive and impressed me. It was mostly about my work and the processes that I use. Of course being a history of photography class, I gave my perspective on what's happened, what's happening now and what I think wil happen in the future. 

I packed some Ambrotypes, Tintypes, Albumen prints, Salt prints and even a faux Daguerreotype for them to handle and look at - they were like kids in a candy store. It was fun.

I'll return to CU Boulder soon to do another lecture. I had a good time and really enjoy sharing my work and talking about these processes. I hope to offer the students/school something very unique in the future, we're working on it now. 

A big thanks to Jeanne for helping me and listening to my lecture for 1000th time! I love you! And thanks for the photos, too!

Quinn starts his presentation at CU Boulder's History of Photography class. Photo by Jeanne Jacobson

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. 

Experimenting With Props





Knife, originally uploaded by quinnjacobson.

 
I've been experimenting with different concepts in the form of props. Every time I do this, I find myself going back to the beginning and photographing people - particularly faces – raw and pure. That's all I'm really interested in.

In the end, what I find most interesting is "less". Less as in fewer props, fewer distractions. I'm not very good at creating an atmosphere anyway. What I can do is show the depth of a person and sometimes, I can reveal something interesting in their face or spirit.

I enjoy this the most but I question if it's because I'm "comfortable" and I'm getting lazy or if it’s still valid to work what you feel most strongly about decade after decade. For now, I’ll continue doing what drives me; the human face.

A New Chapter Begins...Now!

It seems I've closed one chapter of my life and am ready for the next one.

As I look back over the last year (2009/2010), I see what I've done and I'm amazed and incredibly satisfied. Having these kinds of opportunities (Paris exhibition, Archer Project, etc.) is a rare and wonderful thing.

Henry David Thoreau said, "The mass of men lead lives of quiet desperation". For the most part, I would agree with that. They're desperate because they are clueless about their purpose. The trick is to find your passion and pursue it with everything you have. Take risks, push your boundaries, and never quit. Passion is what we need more of - and I don't mean passion as in fundamental religions or passions that hurt people. I'm talking about a personal passion - it's always a positive thing, an asset to society, not a liability. Finding out why you are here and what you're supposed to be doing with your life is what we need to be asking ourselves. For the past 10 or 15 years, maybe more, I've been preoccupied with this idea and have done my best to be honest in its pursuit.

How do you define success? Happiness? Satisfaction? Is it relative? I'm not sure. Regardless of the definition, at this moment in my life I would have to mark 9/10 in all of the categories. I feel accomplished, appreciated and am very happy. Over the last few years in Europe, I've met some of the most kind and wonderful people in the world. Every color, nationality, race and religion - all beautiful, interesting people that helped me get to this point. I can't thank them enough for the difference they've made in my life.

I've talked a lot about stepping out of the spotlight. I'm beginning that process now. Some of it will be a little bit sad for me. I'll miss doing some of the things that I've been doing for a long time. However, it's time to move on and experience the next chapter/adventure of my life. I know it's time.

My exhibition in Paris (Centre Iris) just ended. It was successful beyond words. I'm eternally grateful and thankful for Pierre, Olivier, Benoît, William, Patrick, Bruno, and all of the students in my workshops; almost thirty of you! I would also like to thank all of the sitters that came for portraits. I ended up making almost 175 portraits of Parisians over the last few months. Talk about a body of work! I heard some of the kindest comments and had the honor of making portraits of some very important people in the world of photography. Merci beacoup! It was my honor and pleasure. And finally, Jeanne and Summer, I love you! What an adventure! I could have never, ever done this without you! Hugs, kisses, and someday we'll be having some more Chinese ravioli and Japanese Sushi in Paris!

There are some wonderful things ahead for me (art/photographically). I'm looking forward to sharing them when the time is right. Summer will be starting her studies in August and we (Jeanne and I) may have some big changes ahead, too. We'll see. For right now, let's say the operative word is: CHANGE. Change is good. Change presents opportunity. Don't fear change.

One more thing; I wanted to share some images I'm sending to Washington D.C. for an exhibition. This is Benoît, a Parisian artist and filmmaker. I call this, "Three Portraits in Paris: Chopin's Left Hand". You get it, I don't need to explain it. However, the Parisian model with black eyes may be a different story...

 
"Three Portraits in Paris: Chopin's Left Hand", Triptych - Whole Plate Black Glass Ambrotypes

 "Parisian Model With Black Eyes" - Whole Plate Black Glass Ambrotype

This is Gwen, she was the sweetest lady you could meet. I made two plates of her, I kept this one. Update: I gave this plate to a friend, Joe Baltz, a photographer and teacher in Chicago, IL.

If you would like to see a small sample of the portraits I made in Paris, you can go here. Please forgive the low quality of the images, they were “snapped” with my small digital point and shoot. There are about 150 I never got snaps of!

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!

“In Honour of Archer” Just Another Exhibition? I Think Not!

 

Next month, on May 1, the exhibition, “In Honour of Archer” will open in London. There will be close to thirty Frederick Scott Archer, 1813 - 1857pieces of artwork in the show. All of the work is Collodion or Collodion-based from artists all over the world working in the Collodion process. I can’t over emphasize the importance of this exhibit and event. Not only for today, moreover, for posterity.

Every once in a while, there’s an opportunity to contribute and be involved in something that will be far more important in the future than it is today. The problem is being able to recognize those opportunities and then having the chutzpah to make the sacrifices to get “some skin in the game”.

In Honour of Archer”, is one of those opportunities that I can say with great confidence, will take its place in history. It’s bigger than all of us. It’s its own thing, like a mountain so high that it generates its own weather system. It has its own energy, we’re just trying to keep up.

The work presented in the show will have a certain gravitas, too. A provenance, if you will. In this case, the context of the work is much greater than the work itself. I don’t mean that in the pejorative, I really like the work that has been submitted, I mean that in the way that this isn’t “just another exhibition”. I mean that the photographs in this exhibition are forever connected to this event. It’s the connection that gives this purpose – that’s what makes this so important. I wonder if people get that.

A hundred years from now, no one will know or care what you or I did today. We may see what we’re doing in our daily lives as important, but no one will remember. No one will care. John Popper, from the Blues Traveler band, has a great lyric in a song called, “100 Years”. It sums up the ephemeral nature of our day-to-day existence. He says,

Big angry man in the doorway there
Just keep on walking like I don't care
Why you giving such an evil eye
Could it be you were ignored by every passerby
And it won't mean a thing in a hundred years
No, it won't mean a thing in a hundred years

Our death denial illusions are exposed and open for G-d and the world to see them when we talk about our achievements for future generations. However, in my opinion, this event transcends those illusions. This is one of those things that we all know is the right thing to do. So why has it taken 157 years?

I feel neither allegiance nor indebtedness to anyone except Archer when it comes to the Wet Plate Collodion process. Without Archer, and some others in the 19th Century, Collodion would have been a shelved process, at least as far as we know it today. He’s never received the recognition or the proper acknowledgments from his country, the big photography museums or the academic establishments. They should be embarrassed and ashamed. I'm glad, however, that like people us, the Collodion Collective, were able to come together and make his commemoration what it should be.

Unfortunately, as Parker and Stone said, "Sometimes what's right isn't as important as what's profitable." In that context, this is not, “just another exhibition”.

Thank you to everyone that participated in any way – you’ve done a great thing!

The Paris Exhibition Part One

I’m sitting here exhausted and elated. I’ve just returned from 9 days in Paris. Needless to say, a lot happened. First I want to thank Jeanne, Summer, Olivier, Pierre, and William. Without you, none of this would have happened. There’s nothing that compares to having people in your life that care about you and support you – thank you, merci, thank you, merci!Leica Group member - he volunteered for the demo - a portrait.

For me, this event was like the striking of a match (wood stick match). If you watch closely, you can see the phosphorus burn and ignite the wood.  So now, my match is burning – in the center of Paris, France. It’s a good feeling.

While I’ve had other exhibitions and have shown my work in some great places, this exhibition is extremely important for me. First, it’s in Paris, France – the birthplace, or home of photography. I’ve always dreamed of showing my work in Paris. Any artist/photographer would say the same. Also, the Parisians/French have a particular love for the art of photography. It makes sense that they would. As you can imagine, I spoke with a lot of people over the last week about my work. Never before have I had so many people make comments about my photographs being important for something beyond the process. In other words, it’s not just the Wet Plate Collodion process that makes the work interesting. The concept of the work goes beyond the craft, or better yet, compliments the craft. Every time I heard that, I was overjoyed – that means a lot to me. It’s too easy to get caught up in craft and forget the concept. I heard none of that in Paris. I’ve always said that the French and Spanish have a certain sensibility when it comes to my work. They “get it”. 

Along with their photography culture, I also love the French for their food culture. We were treated to some of the best places to eat in the center of Paris. One afternoon, we had lunch with Jeroen and Geert-Jan, friends from Holland, in a restaurant that is in the oldest house in Paris (1407). It was surreal, and delicious. And Pierre and Olivier treated us to an incredible dinner at L’Autobus Impérial (check out the video). The food there was unbelievably good, not to mention the wine and final drink at the bar (the flaming cocktail).

The opening of my show was terrific. There were more people there than you could count. A big turn out – it really surprised me. My good friend, Bart from Moscow was there, thank you for your support! And Vernon and Christian came from Germany for the opening, thank you! Christian, that photo you made of me by camera is the best I’ve ever seen – we need to talk.

Pierre worked with the bartender from L’ Autobus and made a special drink/cocktail for my opening. It was like a Black Russian with wine and some other things, we called it, “Black Collodion”. It was delicious – I think I had four glasses of it! There were people from all over Europe that came to see the work. It humbled me, to say the least. After the opening, about fifteen of us went out for Japanese food – I had sushi and Sake – it was terrific!

I did a public demonstration on Tuesday for about seventeen people. It went very well. I made two Whole Plate portraits of two people in the audience. My friend, Chris Nisperos, kindly translated for those that  didn’t speak English.

Wednesday was the “Portrait Day” that almost turned into Thursday. I started at about 10AM, and with the help of Jeanne and Summer, I went until almost midnight making portraits of Parisians that lined up at the studio door. I poured was over 40 plates that day/night! The largest number of plates I’ve ever made in one day/night – and most of them were Whole Plate or 8”x10”. If that doesn’t test your Collodion fortitude, I don’t know what does. I made portraits of some very important people (they were all important, I should say “known” people), too. Well connected in the photography world. One was the managing editor of Photo Magazine. I’m doing an interview this week with them for an article.

Thursday was day one of Workshop #1 – seven people. There was a writer/photographer from Réponses Photo magazine in this workshop. I’m looking forward to a cover and several inside pages in the April or May issue. It was a great group of people and an excellent workshop.

That evening, I did a “perfomative lecture” for the Paris Photo Group (from Bievre). I got to see Marie Jo, the president of the group and we chatted a little bit about the photo fair in June. It will be another banner year! The group seemed to enjoy what they saw and asked a lot of engaging questions. It was a very large group.

Friday, I finished up Workshop #1 and prepared for Workshop #2 that started bright and early on Saturday. Workshop #2 had five people in it. Great group! They made some really nice photographs and seemed to take to Collodion like they had been doing it for years. Saturday night we enjoyed a very nice meal at L’ Autobus (see above).

On Sunday, I gave another “performative lecture” to the Leica Group of Paris. The image above is the demonstration portrait I made. I wish it were higher quality, but trust me, his beard looked wonderful! This group also seemed to enjoy what they saw. I was happy to do “perform” for them, too.

So, in a nutshell, this is what happened; I had an opening of a large exhibition. I sold several pieces the first couple of days and several more are reserved (this blew my mind). I taught 13 people the Wet Plate Collodion process. I made almost 50 portraits. I did three “performative lectures” and I’ve been published in over a dozen French magazines. All of this would not have been possible without the support of my friends and family, thank you very, very much!

Centre Iris Gallery 238 rue St Martin – Paris – The perfect venue for my work!

 This is a short clip of me making Franck’s portrait. It was a beautiful image. He gave me a piece he made of me – a painting/photograph – gorgeous! Great guy and wonderful artist!

A slower, more complete look the day before the opening.

 Summer shows off Jeff’s image – and some other large prints in the show.

We all enjoyed this "fire" drink at L’ Autobus Imperial one of Pierre's inventions – nice!

 

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