I’m very excited to have been included in Absurde Magazine’s May issue with so many talented artists.
Click the link below to see the magazine.http://issuu.com/davidh_psycho/docs/absurde-magazine-may-2013#download Photographer: James WeberStylist/Creative Director: Fredo MontesHair and Makeup: Chuck JensenPhoto Assistant: Rico ElvinaVideo: James SullivanCopyright 2013 James Weber Click on the images to see them larger.
So this is Little Smokey's(Weed Tent Camera) first time out of the house. My buddy Rico Elvina and I decided to give it a try on location . There was a LOT of prep...we thought we had everything together...we got in our Zipcar Minivan, Shiloh, and took off. 30 minutes into the ride, we were talking about what we were going to do and going over the checklist. It seems we forgot to bring a few things. He thought I got it, I thought he got it... 1. The aluminum plates...kinda important.
2. The TENT FRAME!!!! REALLY important.
OMG...WOW....lol.
So, we headed back into manhattan, laughing at ourselves...because what else can you do? We picked up the supplies, and headed out again. Now, sadly, this cost us about 2 hours round trip. We already spent some time in the morning mixing chemistry. This put us getting to our location about 4:30pm. Time is of the essence. So I thought, screw it. No test plates...just go straight into 20"x24"...guess the light/exposure. Meanwhile, I had never shot this lens in daylight before(and it's only the second time I've used this camera), but we would not have much light to make adjustments, so I decided to just go for it.
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That's Rico streaking across the frame. Rico shot all of the behind the scene images today. Many thanks for coming out, Rico. :)
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This is a shot inside the tent after it was all zipped up, so you can see the image as I'm seeing it in the camera. As you can see, the lens easily covers this 30"x40" foam core board.
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Tequila bottles make the best collodion bottles. :)
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Fixing the plate.
Here's the two plates I liked the most...even so, they had some chemical issues. It's par for the course every now and then, though. Sometimes, it's a blessing and you get good results, sometimes you don't. This time, it's a mixed bag.
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Even though there are some chemical issues here with the streaks, I still think this one is quite beautiful.
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Things were FAR from perfect on this one as the chemistry definitely went off the rails on this one, but once again, it's still quite interesting. I did learn some things about tray developing large plates that I'll take with me to the next shoot. This is definitely a long term play and things will tighten up as I get more experience with this size and working in the tent.
The day was chalk full of great learning experiences. The need for a checklist is paramount. For the RV trip this fall, everything will already be in there, but right now, everything has to be brought with us each time, and it's quite a lot of gear to take on location. I think my collodion recipe was off somewhat, and there were definitely developer issues. So it's off to making more chemistry and planning the next outing a little better. :)
Well after a long time of dreaming, thought, planning, and dedication, I've finally got the Giant Wet Plate built and ready for use. It's been a lot of fun trying to make this project work out. It all started when I got the first piece of the project...the 6.3 20in. Air Ministry Aerial lens and thought of the possibilities it created. HUGE thanks to Larry Baglio for helping me through the build and working out the details with me. It took us about an hour and a half to get it built the first time, but now that we've done it once, It might only take 15 minutes to set it up again.
See the beginnings of the idea here: http://jamesweberstudio.com/blog/?p=1665
I knew the lens had a huge light spread, so then it was just finding the enclosure that would work the best and go from there.
Christophe from New York Models was kind enough to send Vince(pictured below) over to the studio to make this test a good one. :)
Funny enough, the enclosure that worked the best turned out to be a "Grow Room" for weed....lol. The fun secondary benefits included some very nice openings that were meant for ventilation and lighting, but ended up working out as a great place to put the lens and the light. It's truly a light tight room and perfect for the shell of the Giant Wet Plate Camera.
Here's a shot of the inside with the lens and light. You can see the P-50 reflector in the shot above. The great thing about the placement of the light is that it's so close to the lens. This allows me to light up my subject with my Profoto Bi-Tube and 2 7a 2400 packs. It's 4800 watt seconds of power per shot. You can actually feel the air off of the strobe when it fires. It's pretty crazy the amount of light that it puts out. Collodion needs a lot of light to work, so this, plus a little extra time after the flash is enough to get a great image. The ISO is around .25 to 1.
The inside of the camera is also the darkroom. Because the plates are so big, they have to be tray sensitized(silver nitrate), developed, fixed, and washed.
The Siver Nitrate and development is done within the camera turned darkroom.
So strangely enough, the focusing and shooting of the camera are done INSIDE the camera. :) The backplate moves back and forth manually inside the camera to focus. You see exactly what you get right in front of you.
When zipped up, it's completely light tight.
Here's the start of the process, where you pour collodion on the plate...
pour from James Weber on Vimeo.
After you shoot the photo and have it developed, you have to then fix it. Here's the first big plate that I shot with the camera.
Wet-Plate-James-Weber from James Weber on Vimeo.
I'm very excited about the possibilities the camera creates. I'm planning to continue my portrait series and eventually, take it on the road to do some big landscape Ambrotypes, Glass Negatives, and large Aluminum plates. The possibilities are endless...
Portrait of Vince Dickson. © James Weber, 2013
Until next time...
Continuing on with the Wet Plate Portrait Project, "Faces". I had two great guys come over from Fusion Models.
This is Caleb from Fusion Models. I looked at Caleb's book. I saw the potential for him to be stronger, more visceral in his images. I told him I wanted to project strength. That he did! I wouldn't want to run across this guy at night. :) He did an amazing job.
8"x10" Black Glass Ambrotype
8"x10" Black Glass Ambrotype
We did all of these 5x7's to get the lighting just right and ended with the 8x10's above.
5"x7" on Black Aluminum
5"x7" on Black Aluminum
5"x7" on Black Aluminum
5"x7" on Black Aluminum
This is Marc @ Fusion Models. I had shot him a few years ago, so it was nice to see how he had grown in experience.
5"x7" on Black Aluminum
These last two were my favorites. He's got such a great direct connection with the camera in the first, and the second reminds me of one of the gangsters in the movie, "Far and Away" .
8"x10" Black Glass Ambrotype
8"x10" Black Glass Ambrotype
It was a fantastic day all around. The chemistry wasn't giving me any trouble and the guys were awesome. I'm looking forward to some more shoots that go this well.
Ok, I've become a little obsessed. I guess when you go off into something new, it starts off small, but ends up becoming more than thought it would be when you started. It's frustrating, messy, complicated, fairly expensive, but OH, SO enjoyable when it works out well. I didn't realize how much I missed the darkroom and getting my hands dirty until I found wet plate. The process is wonderful. It slows you down and makes you think about exactly what you want to do. There is no rushing into anything. My friend Rico Elvina was kind enough to come by one of my shoots and take a few photos to show what goes into making tintypes, ambrotypes, and glass plate negatives the way they did in the late 1800's. Since then, I've been a little busy getting all of the tools I needed to shoot wet plate. You have to be 1/2 alchemist and 1/2 photographer. There's a lot of chemistry that goes into just preparing to shoot. Some of it is quite hazardous. Wear your safety goggles at all times making the chemistry. :)
A little video of me showing all of the chemistry needed in the process. I was mixing up a new batch of developer and collodion this day...shot on my iphone.
IMG 2976 from James Weber on Vimeo.
Ok, the music is a little dramatic, but I had to set the tone for the scene...haha. ;)
Preparing the plate with Collodion...
In the image above and below, I'm pouring collodion on the glass plate and am pooling the excess into my little patron bottle. This creates the base upon which the silver nitrate can attach to the plate and make it light sensitive. Patron bottles are the best thing to use as they are really strong and have a nice wide mouth...and you have an excuse to buy them full...hahaha. The box next to me is called a, "Dark Box". It's where you load the sensitized plates and develop them.
Showing my model, Anna the process. I Loved the coat she was wearing. It's very, "Game of Thrones". :)
While I'm waiting for the silver nitrate to take hold(3 minutes in the tank for ambrotypes), I get the subject in focus.
To focus, you push and pull the back plate until the image is in focus where you like.
The image is upside down and flipped horizontally as well. Type reads backwards in the final image.
Above: I've got a headlamp on with a red filter on it for use in the dark box. Collodion is not sensitive to red light, so it's the only light you can use to see what you're doing in the dark.
Me with my Anthony Imperial Climax 8x10 camera. The lens is made by Voightlander and is circa 1875.
The light I use is extremely bright. It sounds like a gun going off when the light fires. You have to use a LOT of light in wet plate, as collodion is about 1 ISO, or needs 8 times more light than a normal camera at 100 ISO.
Ok, my apologies in advance. :) It's not the most flattering photo I've ever taken...lol. This is me inside the, "Dark Box" developing the plate. This has to be done in a dark room or dark box. The good thing about the dark box is that you can put it in the back of an SUV and take this show on the road...
Now the fun part...fixing the image and seeing it for the first time.
To see the image, you have to put a glass plate negative or ambrotype in front of something black. The tank behind the image is the Potassium Cyanide Fixer. Really dangerous stuff. You have to be careful not to ingest it. It's poisonous. Respect the chemistry at all times...
Here are some of the plates I shot of Anna that day...
8"x10" Clear Glass Negative
8"x10" Ruby Glass Ambrotype
8"x10" on Black Aluminum
8"x10" on Black Aluminum
There was a second model the same day, but unfortunately we only got off 2 shots. Something was wrong with the chemistry. Her name is Kate and I hope to have her back again soon to finish up our shoot. :)
8"x10" on Black Aluminum.
I've just started this portrait series, "Faces". I don't know where it's going to take me, but I don't have too many parameters to confine it. My main focus it to shoot very natural images of people. Not a lot of hair/makeup. Try to get something in them to come out on the plate...strength, vulnerability, sadness. The eyes are the windows to the soul. Every now and then they let something out. Hopefully I can capture something in them.
To see some of the guys I've shot for the project, you can see them here: http://jamesweberstudio.com/blog/?p=1941
Many Thanks to my good friend, Jesse Mata, who is also a wet plater and has given me so much help and support with this process. He has also lent me his 11x14 camera to play with...should be even more fun. :)
Would you trust this guy?? haha...I took this self portrait...my "Yoda in the woods" shot on John Coffer's farm. This was where I learned to shoot Wet Plate. I wrote about that experience here: http://jamesweberstudio.com/blog/?p=1376
Thanks, James
Hey there everyone,These images are the first in my attempt to shoot a fashion editorial in one day using the wet plate collodion process. The stylist(Fredo) and I got together and decided on a few things. We wanted to do a story that had a Josephine Baker influence to it. We also wanted to give it a period feel, but using designers of today. For instance, the corset on her is made by THE BLONDS. Their works are usually seen on stars such as Christina Aguilera and other celebrities. In person, this piece is bright, silvery blue...not very period. It photographed in collodion wonderful though. Another of my influences in photography in general has been Paolo Roversi. His photography always has a timeless feel to it. I wanted to channel some of that, if you will. :)
In the end, we got much of what we wanted in the final look and feel of the images. The closeup image in particular is striking because of the collodion mistakes/artifacts in it. Sometimes the process reaches out and decides to change something. Sometimes it's good, sometimes it's not.
We shot about 25 plates in a day, which is a LOT for wet plate, but it's still way under what one would normally shoot. That's not even a traditional roll of film at 36 exposures...
I have to thank my friend, Jesse Mata as well, who helped pour the collodion and develop as well so we could keep it moving quickly. Without him, this shoot would not have happened.
8x10 Ruby Glass Ambrotype
Technically, it was a success as I was able to use strobes for the first time with repeatable results. In previous testing, I found that one to three strobes at full power just wasn't enough light. I ended up using 4 Profoto 7a packs tied to 2 profoto bi-tubes, generating 4800 watt seconds of power per head for a total of 9600 watt seconds of power per flash(only one needed). That, mixed with a little time exposure of 5 seconds or so to add in some of the ambient light(2000k Arri), and there you have it. As this was my first test in this kind of shooting, I believe it was a successful one. I'm looking forward to planning another one and taking the next one of few steps forward...possibly on location next time to give it more atmosphere. I have to thank Jesse Mata profusely as he assisted me during the shoot, helping pour plates and develop so that we could get more shot in the day. The only thing I'd like to change next time is doing it with fresh chemistry. I'll have more latitude in my exposure times and power needed.
8x10 Clear Glass Negative
8x10 Ruby Glass Ambrotype
8x10 Black Glass Ambrotype
8x10 Ruby Glass Ambrotype
Photography by James Weber
Styling and Art Direction by Fredo
Hair and Makeup by Chuck Jensen
Model: Gift @ 1.1management
Wet Plate Assistance: Jesse Mata
Video: James Sullivan
It's quite a process getting ready for wet plate shooting. There's setting up the Dark Box, getting all of the chemistry together, setting up the fixing/washing area, getting the plates ready, etc...but there's no other style of shooting that is like it.
Here's some photos from the set:
I'm shooting with an Anthony Imperial Climax 8"x10" Camera. Behind me is the dark box that I built as a DIY project. It's where I sensitize the plates with silver nitrate and develop the plates as well. It's a mini-dark room.
Here's some of the plates that we shot throughout the day. It's a mix of Black Glass and Ruby Glass Ambrotypes and Clear Glass negatives.
That's all for now...on to plan the next one...
James