Take time, calm down, observe… Take time to lie down and dream, take time to make use of slow photography, take time out of time. This work, as well as the other Ambrotypes series I've made, is a multi level paradox.
Much as the recent revival pre-prohibition cocktails has changed how alchohol is served over the counters of barrooms across America, Lena Ambrose and Anselm Wether are reviving exactly the sort of photographs which have been traditionally served under them. Ambrose & Wether create wet-plate collodion erotica - tintypes and ambrotypes - with a century-old cameras, Victorian-era chemistry, and an eye an antique sensibility.
Harry Fly Taylor is an artist who works in photography.Based in Wilmington NC,and prefers old processes,old cameras and is always searching for and creating the mysteries only found in a good photograph. See more of his work at www.harrytaylorphoto.com And did I mention he does weddings? www.flyweddings.com See www.harrytaylorphoto.com
a start to finish of the process. the final image isnt the best but hopefully this video will inspire others to try their hand at this, or something similar.
the lights, and the wet plate holder are self made, and so i would just say, theres nothing to stop you if you REALLY want to do something. you just have to find a way around the obstacles and then use the success to push you on and up.
We took a trip to the Mission District in San Francisco, California to talk to Michael Shindler, co-founder of Photobooth. Photobooth serves as both a retail space for classic camera gear, a gallery and most interesting a tintype portrait studio.
This series of portraits were made using the wet-plate collodion process, an early form of photography first pioneered in the 1840s by Frederick Scott Archer. Images are made using silver, glass and lots of patience.
Center for Alternative Photography. 36 East 30th Street, New York, NY 10016 • Phone: 917-288-0343 • Email: firstname.lastname@example.org · Center for Alternative Photography Instruction and education in early photographic processes ...
Fred Fraser...Wet plate photos are created on glass sheets of varying sizes but for portrait work the sizes are most frequently 5x7 or 8x10 inches.
Using a combination of chemicals in the darkroom each plate is made light sensitive minutes before the exposure is made in the camera and then returned to the darkroom immediately after exposure for development — the light sensitive emulsion created in the darkroom must stay wet during the entire procedure, hence the name "wet plate" photography.
Part of the charm of the wet plate look is the inherent unpredictability of the process. The way in which the various chemical treatments flow across the glass plate in the darkroom create a texture and variation in the tonality of the image. The effect is not repeatable from plate to plate giving each photograph a uniqueness that is not available from any other photographic process.
The photo is visible for a preview within 10 minutes of the exposure but takes approximately a week before the emulsion has cured and the finishing touches can be applied to the glass plate. Print (paper) copies can be made, but the decision to make print copies must be made before the plate is finished and delivered.
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