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!
Whole Plate Wet Collodion Negative of the group at Archer's grave.We did it! I still can’t believe that I’m sitting here in London (Heathrow airport) with glass plates in my bag of Archer’s new plaque surrounded by the people that made all of this all happen. And I have an Aluminum plate of the dead Fox – also known as, “The Death of Fox Talbot.”
Carl Radford made a very nice introduction and John Brewer did an excellent job of presenting Archer with historically correct information. Archer was never without a headstone, but he wasn’t ever recognized for what he did. That’s where we came in.
The unveiling was very special. The very moment Carl and I lifted the black cloth from the plaque on Archer’s grave, the clouds parted and the sun shined bright and beautiful on all of us. A very good sign. A confirmation, if you will, that it was right to do this (see Kim Conway’s photo below). It was moving. I really hope Alastair got that bit on video, it was the pinnacle for me (well, there were many, but this was special).
Carl Radford (left) and Quinn Jacobson at the Archer plaque unveiling. There were almost 50 people at Archer’s grave. More and more came throughout the day to see the process he invented and to see the wonderful Collodion exhibition. All of it was very well received. Thanks to Tim Soar and Adam Brown for presenting the work properly – a wonderful job, indeed. Adam’s going to be hanging out in the gallery on a Sunday here and there. Stop by, see the work.
The Friends of Kensal Green, Barry Smith, in particular, was a kind and gracious host. He gave us some private tours and shared his passion with us: the history of some very interesting and important people in Kensal Green. We also shared a couple of pints with him. A wonderful experience: it’s all about connecting.
It was a great honor for me to be a part of all of this, a pinnacle in both my personal life and my artistic career. The people I’ve met and the places I’ve been because of this process are the reasons I wanted to do this. Archer made this happen for me. I’m not saying we’ve “paid him back”, but I hope, in some small way, we’ve made a difference for him/his memory and for everyone working in the Wet Plate Collodion process.
P.S.
”The Death of Fox Talbot” - This is an image (whole plate Alumitype) of a dead fox. It was about 150 meters from
"The Death of Fox Talbot" - 100 meters from Archer's grave. Archer’s grave. The poor thing probably laid down on the tomb to either get warm or cool off and died (who knows of what). It smelled terrible, of course, but I couldn’t help but make an image of it. Being orange/red in color and lying on a gray slab, Collodion translated dark. I think you get the idea though. I thought the eye and teeth were stunning and spooky.
Thank you, thank you, thank you – to everyone that donated, helped, attended, etc. It was a great pleasure working with all of you.
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!
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 funny how time works. A few months ago, I was pouring plates and contemplating what images I wanted to
Rockin' the "Glass Memories" T-shirt. Limited edition! make for my exhibit. And I was taking days to think about my work, or about one image. I was moving slowly and pensively. Time was a plentiful commodity. Today, I’m scrambling about checking lists, looking in boxes, talking to myself and running around here like a chicken with its head cut off. Time has become a scare commodity and there’s no way for me to buy anymore – we leave Sunday for Paris.
The good news is: I’m almost there. The big stuff is finished (thank G-d). I just completed framing the two big silver prints from Barcelona. I need to put the dust covers and wires on them, but that’s it. I ended up with 70 framed pieces and almost 100 images in this show. Unbelievable!
I got a brand new 8x10 camera from Steve (Rochester, New York) a couple of weeks ago. Much better than the first one I had! Paris will be its maiden voyage. I’ll use it for the demos, the work on portrait days, etc., and the students in the workshops will use 4x5 cameras. We’re taking one 4x5 and the gallery has three. I should’ve set my workshops up like this a long time ago. It’s easier to operate, less stressful and better for people learning the process. There should be some very interesting images coming out of Paris next week.
And yes, that is a bad-ass t-shirt! Notice the design? I illustrated a Wet Plate Collodion camera from the 1860s, with a big Jamin-Darlot (cone) lens and put it on contemporary tripod. You can click on the image to enlarge it.
28" x 32" - 16"x20" Silver Gelatin print from Collodion Negative/Positive - Barcelona, Spain
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
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.
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 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!
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
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.