Why I Choose The Old Methods

Every so often people ask me why I choose to work in the 19th-century world of photography. They assume it’s to get attention in the digital world (Facebook and Instagram) we live in. Why would I choose to work in processes that are (somewhat) difficult, (sometimes) dangerous, and very labor-intensive? Processes where the failure rate far outweighs the success rate. Why do this when you have a “high-resolution color camera” in your pocket ( your phone) and can click and slide your way into making “art”? It doesn’t make sense to a lot of people. And I understand why.

The answer isn’t easy but I’ll try to give you a couple of reasons why I do what I do. There's a book that I recommended on my YouTube show a few months ago called, "Zen and the Art of Motorcycle Maintenance" by Robert M. Pirsig. A quote I really like from the book says, “You are never dedicated to something you have complete confidence in. No one is fanatically shouting that the sun is going to rise tomorrow. They know it's going to rise tomorrow. When people are fanatically dedicated to political or religious faiths or any other kinds of dogmas or goals, it's always because these dogmas or goals are in doubt.” That really resonates with me. It’s one of the reasons I keep doing what I do. After 20 years of working in historic processes and almost 40 years in photography, I still doubt, I still fail, I still strive and there is so much I don’t know. It does keep me going. It challenges me. There’s a lot of purpose and meaning for me in what I do.

Another book I recently recommended is called, “Meaning in Life: A Therapist's Guide” by Clara Hill, PhD. She talks about how to find meaning and significance in your life through achievements and failures. Moreover, she clarifies what meaning and significance are; hint, it’s not money or fame. It goes to Ernest Becker’s theories on death anxiety and death denial. He said, "Man cannot endure his own littleness unless he can translate it into meaningfulness on the largest possible level.” (Ernest Becker, The Denial of Death). We are hard-wired to want to live forever and we know we won’t. That creates a big problem. Have you ever heard of someone having an existential crisis? One way to deal with death anxiety (knowing that you are going to die) is finding meaning and significance in your life. I find a lot of that in my work and in the act of creating my work.

Susan Sontag (On Photography, 1977) said, “All photographs are memento mori. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt.” There are many ways to interpret that quote. First, “memento mori” is the knowledge that you are going to die. Mortality; the state of being subject to death. And knowing that no one or nothing can stop time, we literally march toward death whether we want to or not. Making photographs, and photographs themselves, remind us of this fact. Death reminders are everywhere. I believe the more we deal with our mortality, the more we’ll make of the time we have to be alive. We’ll be motivated to find meaning and significance. I know it works for me.

Platinum Palladium Chemistry and Recipes

General Information

Negatives: Wet Collodion Process - this is a Thomas Sutton based process - a blend of method #1 and method #2
Format: Whole Plate - 6.5” x 8.5” (16.5 x 21.6cm)
Negative Density Range: 1.5 - 2.0
Paper: Hahnemühle Platinum Rag - with Fumed Silica rolled on dry (CAS 112945-52-5). Fumed silica increases the Dmax or density of the blacks, clarifies tonal range and even “sharpens” the image. And Arches Platine paper - same methodology.

Ferric Oxalate: 27%
27.5ml DH2O at 120F (49C) for mixing FO
8g Ferric Oxalate
0.5g Oxalic Acid

Platinum - Na2: 20%
25ml DH2O at 100F (38C) for mixing PC
5g Potassium Chloroplatinite

Palladium - 15%
25ml DH2O at 100F (38C)
2.3g Palladium Chloride
1.6g Sodium Chloride - Kosher Coarse Salt

Contrast Control - If Needed
27.5ml DH2O at 120F (49C) for mixing FO
8g Ferric Oxalate
0.3g Potassium Chlorate (for Palladium Prints - 0.6g for Platinum)
0.5g Oxalic Acid
(1 - 2 drops of 5% Gold Chloride can boost contrast but will cool the print in color)

Potassium Oxalate - Developer 30%
300g Potassium Oxalate
1L DH2O
(warm the solution to 120F (49C) for warmer tones)

Clearing Bath(s)
Bath #1 - 10 minutes:
30g EDTA Disodium - 3% (lower pH)
20g Sodium Sulfite - 2%
1L Water

Bath #2- 10 minutes:
30g EDTA Tetrasodium - 3% (higher pH)
20g Sodium Sulfite - 2%
1L Water

Bath #3- 10 minutes:
30g EDTA Tetrasodium - 3% (higher pH)
20g Sodium Sulfite - 2%
1L Water

Final Wash
Running Water - 30 minutes

Drop Chart for Whole Plate Negatives
14 drops Ferric Oxalate
14 drops Palladium
3 drops Platinum
2 drops Contrast Control (will vary negative to negative)
1-2 drop(s) Tween 20 - 10%
1 - 2 drop(s) of Hydrogen Peroxide (if needed for fogging)

Waxing or Gelatinzing Prints
I will also experiment with waxing these prints with beeswax and lavender oil. The traditional 19th-century method. I’ll also experiment with a 5% gelatin coating on the prints too. Renaissance Wax is a brand of microcrystalline wax polish used in antique restoration and museum conservation around the world. I’ve used a lot of this on Salt prints in the past and I use it on my knives (bladesmithing) as well. I will also test gum arabic and albumen.

Platinum Palladium and Wet Collodion Negatives

William Willis patented the platinum printing process in 1873 and began to market it in 1879 under the name Plaintinotype. It became popular with the Pictorialists, the Linked Ring Society, and the Photo-Secessionists.

I will be making some Platinum Palladium prints from my wet collodion negatives. It used platinum and/or palladium salts (with ferric oxalate) instead of silver (with chloride) as the light-sensitive material. These prints are characterized by their ability to reproduce a long scale of tonal values. It is a very permanent image and was highly valued for this reason. Later the process was appreciated more for its aesthetic qualities and became favored among art photographers. It is usually characterized by soft, gray tonalities, but it is possible to change the color of the print during development or by toning the finished print. (Library of Congress).

My interest is in the ability to produce prints that are both unique and more painterly than “straight” photographs. I’m very interested in pictorialism. Pictorialism is an approach to photography that emphasizes the beauty of the subject matter, tonality, and composition rather than the documentation of reality. I like to make Rawlins Oil Prints as well. I think these processes will be perfect for my project.

I haven’t seen any Platinum Palladium prints made with wet collodion negatives. Most people today use digital negatives. I have seen a couple of prints made from film. Since this is a contact print, the negative needs to be what you want for the final print. In other words, an 8x10 negative will make an 8x10 Platinum Palladium print. I’ll be working in the Whole Plate format (6.5” x 8.5”) for this project. It’s manageable and the prints are large enough for viewing. I’ll also lean toward a warmer print (Palladium and warm developer) for this work. I may even experiment with waxing and/or using gelatin on the final print.I’ll see what happens,

Here are some examples of Platinum Palladium prints from the 19th century:

“Coming Home From the Marshes” Henry Peach Robinson, 1886

“Morning” - Clarence White 1905

Ancient Crypt Cellars in Provins, France, Frederick Evans - Platinum print, 1910.

What's Next?

I’ve been having a lot of fun and learning a lot, this last week or 10 days making wet collodion negatives. What I’ve learned is invaluable and enlightening. It’s been there in front of me for the last 20 years, I just never pursued or tried something different and it paid off.

In a nutshell, I’ve found a collodion mixture, a developer mixture, and a silver bath that performs extremely well for making negatives. Especially for making negatives in my environment. I can adjust it as I need for any POP (printing-out process) or even DOP (developing out process) that I want.

This brings me to my next step(s). I’m getting ready to place a chemistry order with Mike at Art Craft Chemicals. On my list are the chemicals for the following POP and DOP processes:

Rawlins Oil Printing (pigment prints)

Carbon Printing (pigment prints)

Platinum/Palladium Prints

These are the main printing processes I’ll be working in for the coming months. I’ll be testing a variety of negatives too. The wet collodion negative is checked off of my list (for this project) but I will be experimenting with Dry Collodion Negatives, the Albumen on Glass process, and the Collodio-Albumen process as well. You can visit my YouTube channel if you’re interested in any of the shows I’ve done on these processes.

I’m after the right negative process and the right printing process to complete my next project. It may be that I have a variety of printing processes I use, I’m not sure. I need to make the work and sample/experiment with the printing processes. I’ve worked in all of them except for the Collodio-Albumen process (for negatives). What’s different now, is the work I’m making - at 8,500 - 9,000 feet (2.590 - 2.800m) above sea level and mostly landscapes. Access to some of the places is not easy (hence the dry plate processes) and the weather can be a factor.

I’ll document everything or as much as I can here. You’ll learn more about the project as I go and see the results that I’m experimenting with.

This is my concrete shovel that I used to build stuff on my property. I made this wet collodion negative in my “north-light” studio setup. It’s a 13 second exposure with a 3B at f/5.6

Wet Collodion Negatives and Salt Prints

For the last few days, I’ve been working on making negatives and today I had the chance to run some test Salt prints from those negatives.

I can say that I have the chemistry worked out - I’m confident about making negatives with both detail and density. It’s a fine line and there are a lot of details. Over the coming weeks, I’ll be sharing some of those details as I start my project.

"Albumenizing" Your Plates: Why Should You Do It?

There are two reasons you want to albumenize your plates. The first is the most important; to prevent the collodion from lifting or peeling. If you are making negatives and you redevelop with pyrogallic acid, it can shrink the collodion and it can cause the edges to lift.

Secondly, you’ll gain some density. Albumen on the plate will add about 1/4 stop - that’s just a guess, but it does add some density. If you’re making negatives, that’s really nice to have that little boost.

Here’s my method: I use one large egg white, 1 liter of distilled water, 2 drops of pure ammonia, and 4 ml of Kodak Photo-Flo.

I beat the egg white, ammonia, and 250 ml of distilled water until I get a “soft” meringue. I let it sit for a while, then I filter it and add the rest of the distilled water. I add 4 ml of Kodak Photo-Flo to it to prevent bubbles.

I deburr the edges of the plate, I clean the plate with my plate cleaner (calcium carbonate, alcohol, and DH2O). I steam the plate over a humidifier and pour on the albumen. I rack the plate and let it dry. After it’s dry, it’s ready for collodion.

This is simple, easy, and highly recommended.

Wet Collodion Negative - Quinn Jacobson’s property - December 2, 2021. Searching for the “perfect” negative.

Tests On Making Negatives: A New Approach

I spent a few hours today preparing and making a couple of negatives. I’m going to use this space as my “photographic journal”. I’m also keeping the exact details in written form. This will go away someday and the paper and ink will be around a bit longer.

My first goal was to use a “highly iodized” collodion. It’s made with CdI and NH4I. This reference comes from Thomas Sutton’s book. I ended up modifying this idea a little bit today. This is what I did:

I added 50% of the “highly iodized collodion” with some “soft negative collodion” (it contains a bromide). I developed with ferrous sulfate and DID NOT redevelop. These are foundation negatives. I laid them on my light board and photographed them; that’s it.

Here are some specifics for reference:

1. Plates are Whole Plate (6.5” x 8.5”) 16.5 x 20.3 cm

2. They were made with a Dallmeyer 3B lens and f/5.6 stop (290mm)

3. They were made on December 1, 2021, at 1130 hrs MST and 1210 hrs MST

4. Exposures were 3 seconds (Aspen Tree) and 1.5 seconds (Dead Tree) - the UV up here is extreme! I can only imagine in the summertime. I’ve ordered a set of Waterhouse Stops from Markus H in Austria. I will definitely need them up here.

5. The temperature was 65F (18C) and RH was 20%

6. They were sensitized for 4 minutes in the silver bath and developed for 40 seconds with a 4% Ferrous Sulfate developer.

7. The silver bath was too cold: 40F (4C) that caused problems with sensitizing the plates.

8. Both plates were FULLY albumenized.

This plate turned out okay. Again, these are foundation negatives, no redevelopment of intensification.

Detail of the Dead Tree plate.

It was 65F (18C) today and 20% RH. This plate dried so quickly after pouring I lost the left side of it. I think the extra ether played a role too.

The detail of the Aspen Tree. I will keep photographing this scene in different light until I have a perfect negative.

Inverted negative.

Inverted negative.

Inverted negative.

Inverted negative.

Special Glass, Silver Baths, and Collodion For Negatives

I’m Very Grateful and My Goals

I’m so grateful for this space and to have the time to work here. I just want to make that public. I’m very fortunate and I know it! I’m looking forward to working full time on my projects, experiments, and really doing a deep dive on Wet Collodion Negatives. My goal is to explore several different POP processes with my “evolving” negative-making process.

What Did I Do Today?

I prepared 12 pieces of glass; Whole Plate (8.5” x 6.5”) size. I also made 500 ml of Collodion for making Wet Collodion Negatives. This is a HIGHLY iodized collodion. Sutton talks about it in his book that I did a series of videos on. If you are interested, you can find them here. I sunned and cleaned my silver baths (#1 and #4). I have four different baths at any given time. They are always in rotation for maintenance. I usually carry at least two into the field. I have one adjusted for positives and one for making negatives.

Highly iodized collodion for making negatives.

One bath for making positives and one bath for making negatives.

Clean glass ready to albumenize.

Also, I have some special glass for plate making. Not special in one sense, it’s soda-lime glass. And it’s the most common form of glass produced. It’s composed of about 70 percent silica (silicon dioxide), 15 percent soda (sodium oxide), and 9 percent lime (calcium oxide), with much smaller amounts of various other compounds. It’s special because it’s 1.25mm thick and is notched (I place it in the “top right” position). Those are kind of special attributes, especially for me making wet collodion negatives. It’s incredibly strong too. The notch always lets me know which side is the collodionized side.

Wednesday and Thursday: Plate Making Days

This Wednesday and Thursday, I’ll make some test plates in my new space. Not a big deal for most, but for me, it’s been almost two years since I’ve been able to do this. I was busy building the house and getting all of the infrastructures in so we can live here. I also had to build the studio/darkroom building and then build out the darkroom. A lot of work, a lot of time and a lot of money! All worth every minute and every dime.

And It Begins!!

I’ve had a long wait for this to start, but I’m on my way.

Where do you start again? I say start with fresh Collodion and Subbing Albumen. I was in my studio mixing chemistry and listening (loud and the acoustics are great in there!) to the soundtrack from, “If I Leave Here Tomorrow: A Film About Lynyrd Skynyrd” - the story of what happened to Lynyrd Skynyrd/Ronnie Van Zant and crew. If you haven’t seen it, I recommend you do so. It’s on Netflix.

I made some fresh Positive Collodion, both flavors, KI and NH4I, and I’ll mix some Negative Collodion up tomorrow or the next day. I have a potential project/job coming up in New Mexico so I want to be ready if it happens. If it does and I can show you, I will.

It’s important for me to evaluate the “mobile” concept again. 99% of my work will be done in the field and most of it will be negatives - wet and dry and in between. I’ve set up my space to do post-production work on those methods. I have (north light) studio space to do portraits or still life work, but most of my work will be “on the road”. I’m primarily a portrait photographer/artist, but I think I find remote work (out of the studio) more interesting now. And believe me, I’ll still be making portraits, and even still life plates, but it is limiting to a degree.

We are experiencing very warm weather up here. No snow, which is bad for water, but nice sunny, mild days. I hope it holds for a little while. I’ll be processing some test plates very soon. Another goal is to get all of my lenses squared away. I have a “new” Derogy No.2 lens and I uncovered an 8x10, 1903 B&L Tessar, f/4.5 lens unpacking my gear. They are both unmounted. I have two lens boards from Chamonix, so I’ll get them mounted up and do some “high elevation” test plates with them.

My “new” (very old) Derogy No.2 Lens.

I’ll be back soon with some examples of what the process looks like at this elevation in positives and negatives. I’m super excited! Stay tuned!!

Old School Darkroom Door Installed

I have the sinks plumbed and just put the old school, spinning, darkroom door on. It fits perfectly! I’ll commit to securing it after I KNOW I have everything inside the darkroom that I want.

Fits like a glove!

I’m taking a break today and doing my Studio Q Show LIVE! Join me if you can, it’s at 1000 hrs MST / 1800 CET time. I’m covering James Reilly’s book - the chapter on Albumen printing!