Building a tripod

As you know, I bought an old camera with which I hope one day to take wet plate collodion pictures. Before that, I need to do two other things: figure out if the plate holders that came with it are plate holders or film holders (I haven’t checked yet because it would be too depressing if they were film holders, although it probably wouldn’t be impossible to adapt them); and obtain a tripod suitable for the camera.

Oh, also organize a light-proof cloth, and darkroom equipment and supplies. So, five or so things.

But I have been concentrating on the tripod lately.

The problem is, the base of the camera has two screwholes, not just one. Meaning any normal tripod with a single screw is not going to support this camera stably (which might explain why the wood around each screwhole is cracked).

So no normal tripod would work, unless I interposed some sort of two-screwhole plate between the head of the tripod and the camera.

I browsed the Internet seeking a solution. Large-format tripods are expensive, even on ebay. I found a video on youtube showing a fellow apparently making a wooden tripod on the concrete floor of a garage somewhere in India, using only a hand saw. I found another site selling plans for wooden tripods for wet plate cameras.

He wanted eighteen dollars for the plans. The good thing about this tripod was that the top part was sort of a wooden plate, a little table top where the camera sat (instead of the usual modern tripod head), with three legs.

It would be easy to drill two holes in the appropriate place in that top and mount the camera. But I am too cheap to buy plans. Instead, I stared at the photo on the website for a long time and thought about what the design needed in order to be 1) stable and 2) adjustable. There is nothing that is more fun than figuring out something like that. This was a few weeks ago. I bought the wood I thought I’d need and started tinkering with it.

It’s mostly done. It needs to be sanded and painted, then assembled. I need to get different-sized screws for the legs (the first ones I got were too fat). Most of all, I needed the right screws to fix the camera to the top plate.

I looked at the hardware store first, but they didn’t have screws that fit. The thread was all wrong. Too coarse. Maybe not metric. The salesman recommended a professional screw store. I drove there but they weren’t open on the weekend, nor at any other time that worked for me.  But I had an important piece of information: there is such a thing as professional screw stores.

So I found one in Vienna and went there today.

I called first to see if they were open at lunchtime, which was good, because a gravelly-voiced man told me No, they are not open at lunch. So I went there after lunch. I walked around looking at graffitti, and calling my wife, and texting my daughter until the shop opened up.

On the phone with my wife, I made screw jokes, then she made screw jokes, then explained to me that she had been making screw jokes because she thought I wasn’t getting her screw jokes and hadn’t noticed that I had made screw jokes too.

That’s how subtle I am.

Then I went in the screw shop which was awesome. It was a normal-sized shop, full of shelves. You walk in and there is the counter already and maybe room for two or three customers to stand and the rest is shelves of boxes of screws.

And a woman who looked to be about eighty. She ignored me when I came in the shop because she was doing something important behind the counter. I don’t know what, she got lower and lower and then was out of sight for a while. Finally she stood back up.

I need screws, I said.

The woman had a wart on her nose and a white hair was growing out of the wart.

I have an old camera. I need two screws to hold it to a piece of wood. This is the base of the camera, see the screwholes? I said.

She shook her head. Those don’t look metric, she said. (She also had a gravelly voice, but it was not the voice I had heard on the phone.) What did you say it was, a sewing machine?

She had some of her lunch around her mouth, caught in hairs, and was eating more of it, with a spoon, out of a small plastic container. It looked very much as if she had made it by gelatinizing small children with lye.

The piece of wood is 1.8 cm thick, I said.

Sewing machine, she said.

Camera, I said.

You could be in luck then, she said. Tripod screws are normed.

She went to a shelf and brought a box of screws that fit, on the first try. How long? She said.

Well, the board is 1.8 cm thick.

Here, measure them, she said. She handed me a folding yardstick thing. Sewing machines aren’t normed. They take all different screws.  They could be any size, she said.

I told her I needed longer screws, she brought me some, I paid for them and here I am with two screws in my pocket.

Actually, they look like bolts, but screw is more fun to say.

Now all I need are bolts for the knees of the tripod legs, and I’m set. The world is my oyster.

The coolest thing I’ve done since 1988

Natali, Laurent, and Agnes

Natali, Laurent, and Agnes

(I also gush a little about wet plate collodion here on medium.com.)

Vienna photographer Agnes Prammer uses a variety of technologies, including wet plate collodion. I wrote about meeting Agnes last October. Since then I have been bugging her to give a workshop.

Last weekend she did and I signed up and the universe did not smite me and I went and this is the story.

Wet plate collodion photography, executive summary: coolest photographic technology ever.

How it is done: collodion solution poured over metal or glass plate to form thin layer. When it gets a little tacky, but not dry, it is put in a silver nitrate bath. This gives you a light-sensitive emulsion. The plate goes into a plate holder, that goes into the camera, the lens cap is removed (there is no shutter), the plate is exposed, the lens cap is replaced, the plate holder is taken to the darkroom, where developer is poured over it, (these steps must all be completed before the plate dries out, hence the name) then once it develops washed off with water to stop the process, then put into the fixative solution, then a water bath, and you’re done.

It’s that simple.

The first day was devoted to technical and theoretical stuff, the second day we went outside to a park by the Alte Donau and took pictures.

I won’t go into the technical and theoretical angle here, it’s all available online if you’re interested, although it is very useful to hear face to face in a workshop. A couple of interesting facts, though: it dates back to the 1850s; collodion contains ether, that explosively flammable party drug of the 19th century; fixative solution sometimes contains cyanide (which we did not use thank god).

The image at the top of this post is my first attempt at wet plate photography. It shows the other participants, left to right: Agnes’s assistant Natali, Laurent, and Agnes.

Look at that picture. Don’t you just want to give them a hug? I sure did, when I walked into the studio where they were sitting around the table talking about ether and cyanide, but acting like Lennie Small is a bad idea in the first impressions department so I held myself back.

My second plate

Natali and Laurent

Weather was changeable. Mostly cloudy, a little windier than necessary, the second day. We shot in a park near the Alte Donau, water off the Danube by the Vienna International Centre where there are a lot of parks, boats, swimming, etc. We started off by mixing developer and for some reason no police showed up to ask what we were up to, sitting around a picnic table with our chemicals and rubber gloves like an early episode of Breaking Bad.

Then we took pictures with Agnes’s antique camera and developed the plates in her portable darkroom, which she made from a baby carriage. The camera, enormous, with a black cloth you put over your head to see the frosted glass plate when you compose and focus the picture, is a great ice breaker. Quite a few people stop to ask questions.

Natali

Natali

Wet plate collodion photography is a slow, fussy process. At the fastest, you can get a plate prepared, shot and developed in about fifteen minutes. I got three made all day, and they all are ruined by a variety of technical mistakes I made – pouring the collodion wrong, poor composition, poor focusing, pouring developer wrong, developing for too long, overexposure, light leaks in the darkroom, and a number of other things.

All the same, they are the best photos I have ever taken. Wet plate photography is my new favorite art form. Even in my inexperienced hands, it captures something magical and wonderful about humans that other forms of photography miss – and you should really go look at Agnes’s website to see what a talented photographer can do with it.

When I got home Saturday night, I went for a walk along the creek with my wife and gushed about the workshop and the people I had met.

“It was the coolest thing I have done since I took a pee with Boris Yeltsin at the Moscow airport men’s room in 1988,” I said.

“That’s what you said after you did your public performance of your composition for theremin, soprano and cash register a few years ago,” she said.

“I think this was even cooler,” I said.

Then something else happened. It got dark and the world came out and I saw it all — everything I looked at I saw: green fields of wheat white in the dark, the moon reflecting in the creek, the black shrubs and blacker path. The church steeple and the wino sitting at a picnic table under the half dead wild cherry tree and the bugs swarming the floodlights of the tennis club.

I saw it all with new eyes, thanks to doing something new, I guess.