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

Spanish Magazine Features My Work

If there's one constant in life and art, it's change. And I'm learning to embrace it.

After some serious soul searching, I've come to the conclusion that my work falls under one main idea - one thought - “the other”. I can't distinguish any longer between a portrait of a mentally challenged trash man in Utah or an image of a smokestack next to a (former) concentration camp in Germany. The theme and ideas are the same to me now.

To my mind, my work is about difference (I often refer to this as, "the other") and memory. It's an investigation about how we see each other and what that means in our daily lives. The memory is both personal and universal - do we learn anything from the past, or is it something we ignore and/or deny? I want my work to question self-consciousness, too. I request that the viewer think about themselves from the inside out, not outside in - a unexamined life...

I heard a comment about the words, "equal" and "the same", last night on the radio. It was Martin Luther King, Jr. Day, so it was a good time to reflect on equality, difference, and sameness.

I came to realize that I don't want everyone to be the same, but I want equality. In a perfect world, we would all be equal (rights, respect, etc.) and we would embrace one another's differences. That's in a perfect world. I suppose that's what I try to do. In a circuitous way, I try to celebrate the differences between us. I enjoy a unique face as much, or more, than a "beautiful" face, etc. etc.

I am infinitely infatuated with difference (in a good way). I think I equate difference/uniqueness with awareness somehow. I don't mean that in the sense of trends or fads, but in the sense of being who you are, fully aware of that (internally) and letting the world deal with it - not the other way around.Excerpt from 1:1's website - "War Damage".

That brings me to the intent of my blog; a Spanish online magazine called, "1:1Foto Magazine" out of Madrid has featured some of my work in this issue. You can see it here or click on the image to go to the site. They are a great group of people and actually understand what I'm doing and have done. Muchas gracias!

I'm very happy to be making work, thinking, dreaming and living more as an artist now. I will continue to work toward being more self-aware and not being disconcerted about being who I am. And I'll continue to make work in that context with the hope of teaching myself, and others, tolerance.

Thomas Huxley said, "Try to learn something about everything and everything about something."

The Frederick Scott Archer Project

The Wet Plate Collodion Day Book 2009 I’m pleased to share this link with you; it’s the CiM (Creative Image Maker Magazine) Winter 2010 (print edition). I wrote an article for this issue. It’s about the Frederick Scott Archer Project. 

I hope you buy the magazine, read the article (and look at the Wet Plate Collodion photographs), and then buy the Wet Plate Day Book and feel so moved that you make a cash donation to the project (wink, wink) - I’m just saying, "I hope".

Seriously, I do hope people get on board with this project. I’m just a few c-notes shy of making the bank transfer to London. If you can, please donate (sales@studioQ.com), or support the effort by buying a book.

This is a great cause and I know we can make our goal and make this happen. It’s been a lot of work and a lot of sacrifice to get this far. I know times are tough, and money’s scarce, but if you, please help.

As the time gets closer, I’ll post more information about the ceremony and the events.  The Collodion Community thanks you for your support!

You Look Like Demis Roussos!

Happy 2010!

How do you start off the new year, let alone, a new decade on your blog? I wanted to start with something that was non-photography/non-Collodion related. There will be plenty of that coming this year.

Every where I go in Europe, especially in Holland and Germany, I get comments about looking like a famous European singer, Demis Roussos.

It happened at a Döner last night. A young Romanian guy asked me, "Where you from?" in that great eastern accent. He was real curious about where my birthplace was. I think he was convinced that I was Greek and related to Demis.

So, next time when this happens (and there will be a next time, believe me), I'm going to get some milage from it - Demis Roussos now has a son - me. Here's how it goes: "Well, Demis is my father. No, it's great to meet you! Oh, a free Yufka Döner? Why, thank you. I'll tell my father you said hello."

Demis Roussos

 

Gold Toned Waxed Salt Print From a Wet Collodion Negative

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.

Artist's Statement via Video

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.

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.

Summer's Last Year In Europe

When I Was A Kid...
I remember when I was in middle school hearing my English teacher talk about this quote, "Time waits for no man." Over thirty years later, I still think about what that means.Summer Jacobson - graduate, Mannheim High School - Mannheim, Germany The older I get, the more often that quote comes to my mind.

It's never been more true in my life than now. I can't believe that our daughter, Summer, will be going off to college in nine months! Where did the time go? I want to say, "Wait, wait, slow down! Let me enjoy this time and be present to everything that it has to offer!" But that quote creeps back in and reminds me that once it's gone, it's gone.

We are very proud of Summer. She's been the most wonderful child and will be an asset to world as an adult. She's smart, beautiful and extremely talented. As parents, Jean and I couldn't be more happy. We've been blessed!

What School?
She's chosen to attend my alma mater, Weber State University. I say that she's "chosen" this university loosely. It's the one we've been paying taxes to for years - so we get a break financially for tuition. However, Summer scored high enough on her tests that it looks like she's got a full ride - tuition, books, dorm, etc. for the entire four years! How wonderful is that? So the college fund we've set aside, and continue to contribute to, will now be hers to live on for the four years, allowing her to focus completely on her studies - no part time or full time job to distract her! Exactly what we wanted for her. On top of all of that, she has family there - that's very important to us, too.

Summer Jacobson What is she going to study?
Right now, she's planning on doing a bachelor of integrated studies degree (B.I.S.). This allows her to pick three majors to study - she's selected: English (Writing), Photography, and Psychology. I think these are excellent choices. She's a wonderful writer, a creative photographer and has infinite curiosity about human behavior and the twisted human mind. She'll do well in all of these areas.

These nine months will go by fast. I'll do my best to remember to enjoy every moment - remember, time waits for no man!

We love you Summer!!! Also, when we "Tweet" you, remember to reply as quickly as possible, we worry!

Making Collodion Negatives & Albumen Prints in Barcelona

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??? 

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.