10" x 8" Gold Toned/Waxed Salt Print from a Wet Plate Collodion Negative
Because of the finish on the print, this didn't photograph very well (too much contrast). But you can get the idea. I "cooked" the print a little too long, too. I usually have a problem with not exposing long enough (printing out), but these print out pretty fast and I'm using my BLBs.
This was made with artificial light - 2 minutes 45 second exposure and I used an iodine/pyro re-development on the negative.
I've been meaning to post the work I did in 2005 for a very long time. I made this video for graduate school. Not many people have seen it. It's a 20 minute video that explains who I am, what I do and why. You could call it an artist's statement, but it's a lot more than that. For me, it covers both context and intention. The two most important ingredients for an artist. If you invest 20 minutes of your time, you will learn why I make photographs and what drives me to make art.
In these videos, I talk about where I grew up, what I saw, who I was around and some of the questions that came from my youth and the people I knew then. To sum it up, it's about the questions that I never had answered about people who are different. It's about how we define "different" and how "different" should be viewed.
In the video, I interview some of my sitters. I let them answer some basic questions about themselves and the project. Some of the material is for mature audiences - please be aware of that before you watch them. Some of the content could be very disturbing for some viewers.
Please remember, this is not documentary work, this is art, my personal expression, my opinion, my questions, etc. There is no need to email me about exploiting people or "crossing the line". These images, interviews and concepts belong to me and the people who chose to help me explore them. The people in these videos are my friends. In fact, I consider them my family in a lot of ways. They are kindred spirits.
"Those who know how to look will learn from his clear and powerful photographs, and will discover more about themselves and more about others."
Writer Alfred Döblin commenting on August Sanders’ work.
A 20 minute video about Quinn's background, process and interview with a couple of his sitters.
Getty just published a nice (technical) article on alternativephotography.com. My portion of the piece is about halfway down the page (embedded screenshot). 
Preserving the Chemical Photography Era
The project is called, “Preserving the Chemical Photography Era”. A very important project. I’m honored to participate. I have some more work to do for them, too; negatives, Albumen print, and some unvarnished pieces.
I’m not sure who the Bulgarian is they are referring to in the article. I’ll have to find out. I’m not sure what else you would call a Collodion image made on aluminum other than an Alumitype.
I need to update my gallery on alternativephotography. There are Collodion photographs there from 2003 and 2004! The images aren’t bad, but you can really see where I was (technically) at the time.
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.
Last Friday, I received a package from The Getty Institute. It contained information about my photographs I submitted for their analysis and collection for the project, "Preserving the Chemical Photography Era".
It's packed with information about the Wet Plate Collodion images I submitted. There's a lot of "geeky" scientific stuff (Get Your Geek On!). I'm going to make some more images for them - they've asked for some specific things to help them with their research and moreover, for future generations. I believe that there will be a time, in the not-to-distance future, when "photo students" won't know what film is, let alone a process like Wet Plate Collodion. It makes me feel honored to be a part of this project!
The Getty paper. 
Analysis on my Collodion photographs 
Details of the analysis at the Getty.
I just finished a three-day marathon of making Collodion Negatives, Albumen, and Albumen paper. It was a lot of fun!
8x10 Collodion Negative – 15 secs – Intensified with Copper and printed on Albumen/toned – Quinn Jacobson, Barcelona Spain November 7, 2009
People underestimate what it takes to make (Collodion) negatives. It’s not so much the actual making of the negative, it’s all the stuff that has to happen after the negative is made; (possible) intensification, making albumen, and albumen paper, sensitizing the paper, printing the image out, toning the image, fixing the image, washing the image, etc. etc. It’s a lot of work!
We had several discussions over the last few days about why so few people make negatives/Albumen prints. My theory is that we live in a place and time where commitment to this kind of process isn’t valued, or rewarded (so much). Especially, when you can make gorgeous Collodion positive images (Ambrotypes, Tintypes, Alumitypes, etc.) in just few minutes that require a fraction of the work, equipment, supplies, and moreover commitment and patience. When you put those things together, you have very few people left that are willing to commit to the Collodion Negative and Albumen printing process.
Even the (unmatched) beauty of the Albumen print; with all of its tonal range and detail, can’t compel or persuade the masses like the positive process has. I predict that you will never see more than a few people working (not tinkering, but making serious work) in the Collodion Negative/Albumen Printing process. It’s too consuming and too difficult for all but a handful of people. And let me emphasize: Collodion Negatives and Albumen Prints – not Salt, not Centennial POP, not Collodion POP, Negatives and Albumen!
To all of those that participated in this workshop; thank you! To the Atelieretaguardia Studio; thank you! I had a wonderful time, and I look forward to seeing everyone again soon – maybe in Paris???
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. 
We wrapped up the first workshop here in Barcelona tonight. I can’t say enough about Atelieretaguardia Studio. They are wonderful people (Rebecca, Israel, Marti and Xavi) in a wonderful place. Thank you for inviting me again and hosting these events. What incredible memories for me! 
Johanne from Norway.
We had 9 people in the workshop; Mercedes (Spain), Marta (Spain), Rosell (Spain), Jana (Serbia), Bryan (Serbia/Ireland), Agnes (Spain), Ramon (Spain), David (Spain), and Johanne (Norway). Thank you! I’m honored to call you friends. You made some wonderful images over the last few days! And your varnishing techniques rival the “master’s”! Congratulations for a workshop well done! I look forward to seeing you all again!
It’s late, and I’m sitting here in our apartment, a short distance from the Mediterranean Sea. I’m listening to the people in El Raval live their lives. El Raval is a special place. It’s poor and it’s real, real as in authentic. We shop at the local stores, eat at the local cafes and enjoy being “among the people” – it’s very comfortable. Say what you will about El Raval, I love it, most wouldn’t.
El Raval is a neighborhood in the Ciutat Vella district of Barcelona, Spain. The neighborhood is also known as Barri xinés, meaning "Chinatown." El Raval is one of the two historical neighborhoods that border the Rambla (the other being the Barri Gòtic). The neighborhood is home to 200,000 people.
An area historically infamous for its nightlife and cabarets, as well as prostitution and crime, El Raval has changed significantly in recent years and, due to its central location, has become a minor attraction of Barcelona. It is currently the home to a very diverse immigrant community (50% of its population was born abroad), ranging from Pakistanis and Indonesians, to a more recent Eastern European community, especially from Romania. El Raval is also becoming one of the hippest up-and-coming neighborhoods of Barcelona where many artists live and work. It is home to many bars, restaurants, and night spots. (Wiki)
We have a few days now before the next workshop. We’re sleeping in tomorrow, and when we get up, we’ll wander around El Raval, drink some Cortados, watch the people, and enjoy being alive and being in this place.
(Photo above right: “Johanne From Norway” – Quinn Jacobson 8x10 Black Glass Ambrotype - demonstration)
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!)
The Cover shot!
Inside sample.
Inside sample.
Inside sample.
And the back of the book!
Annonymous Ambrotype - 4" x 10" - Clear Glass Ambrotype - Viernheim, GermanyI 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.
Here's a snap of my new camera, too:
