Allium, direct late morning sun. f3.5, 3 seconds (flowers moving slightly due to very light breeze. Bohemia collodion, sugar developer 12-15 seconds.

Shot on black aluminum plate, 13x18cm (5x7in). It is hot out this weekend, supposed to hit at least 32c today (about 90f) so I used sugar developer, which slows down development, because my normal developer has been working very fast lately anyway, resulting in overdeveloped plates. One aims for 15 seconds developing time, and for previous plates with normal developer the midtones were out after about 8 seconds, and if I went longer I ended up with fogging etc. The sugar in the sugar developer mechanically (I believe) slows development, useful in hot weather.
The two plates I shot today of the allium in my back yard took 12-15 seconds and were, overall, of satisfactory quality, at least no overdevelopment.
The only two problems I ran into this morning, besides something or someone spilling a small beaker of developer (the cats were around, and someone was watering the garden) were: 1) there was a slight breeze, which resulted in the long-stemmed, heavy flowers swaying/moving and so blurring during the 2-3 second exposures. For the second plate, shown here, I stopped the largest flower with my hand before shooting, but it still moved a little.
2) The second problem was the plate itself. There is a scratch at the middle of the left edge. I would assume I had done this removing it from the silver bath, or in the plate holder, but other plates from the same source also have this scratch. Also there is a sort of texture to the plate, that kinda grid pattern on the right side, which I think is connected with the protective plastic layer over the plate, or something else from the production process. If this turns up with many more plates I shall find myself forced to contact the seller.
Otherwise, I am happy with the image.

Initially I wanted to take a picture of the rosebush in the flower bed in front of the house, but it was too windy – the roses would have blurred too much with a 2 or 3 second exposure.

So I picked some roses, put them in a vase and took pictures of them on a table against the wall of the neighbor’s shed, which is white-ish stucco.

I tried a couple different collodions. The first picture uses a newer collodion, which is quite a bit faster than that used for the second picture, it being both a different formula and about a year old – normally, I believe, one uses collodion up after a few months because it gets slower over time and also maybe unstable, but I’m not sure.

I’m just trying different things out. It went well today, I was happy with the first picture, which was only a test really. Less happy with the second, which came out a little dark. They will both get darker again when I varnish them tonight.

Roses from the bush in front of the house, in glass vase on grey table in front of white wall. Bohemia collodion (IIRC), f3, 2 seconds, aluminum plate, partly sunny.

Roses from bush in front of house, glass vase, grey table in front of white wall. Partly sunny. f4.5 or so, 3 seconds, Old Workhorse collodion (about a year old).

Bouquet, Bohemia collodion (new batch), f11 at about 6 seconds, full sun

Bouquet, Lea’s portrait collodion (new batch), f11 at about 7 seconds, full sun.

Linnaea amabilis, Lea’s portrait collodion (old batch), f11, about 8 seconds, shade.

Barbecued for lunch today. Tried chicken breasts stuffed with feta and garlic, was good although maybe too much garlic.

After lunch it rained for a while, then when it stopped I set up all my wet plate stuff and shot a few plates. Learning from past mistakes, I went slower this time and got a couple plates that I think are okay, of a bush and a bouquet. Was too windy to shoot much, the bush is blurry as you can see. Too windy for portraits, which was good because the family currently is unwilling to pose for portraits. Not even the tortoise holds still long enough.

I’m eventually going to need a new camera, brass parts are starting to fall off the one I have. Nothing essential yet, but it’s only a matter of time…

That was my first mistake. Hurrying summons the fuckup elves. Never hurry, I know that, but I forget sometimes. Let’s see, what were my other mistakes this time around? First picture of the kid, the plate turned out black and she asked me if I had remembered to pull out the slide (a mistake I made with her in the past). I had not. Second picture turned out better. Third also. Fourth, with her sister and mother, turned out poorly due to hurrying with the posing etc.

I will not post that one.

Finally, putting stuff away, I hurried again and dropped two plates, one of which scratched – my favorite one.

Also, although I made a test plate, and exposures were better this time, I still either over-exposed or over-developed. I mixed new developer last night and it might have been that.

Someday I look forward to having the whole day to shoot in leisure. Maybe someday soon. Anyway here are the two pictures of Tess on her 18th birthday. I had fun. Thanks for being patient and a great assistant, Tess, not to mention great model.

f5.6, 3 seconds, overcast day. maybe overdeveloped? also dropped to the floor, scratched.

f5.6, about 4 seconds, overcast day. overdeveloped? overexposed? also dropped to the floor, but a little luckier.

It was very sunny today, and I am beginning to think overcast days are better for wet plate. Four finally, sort of, turned out and are posted below, from best to worst (IMO).

I am beginning to get tired of shooting pictures of flowers, and looking forward to going somewhere and doing landscapes or portraits.

Kerria japonica, full sun, 4 seconds at f11. 13x18cm (5×7 in) black aluminum

The photo above is the kerria japonica bush in my back yard. I have always loved kerry bushes; my uncle, who lived next door, had one near the hole in his wall the honeybees flew into, and I spent many hours sitting there watching them. I love how this picture turned out. It has fewer specks in person, a lot of the dirt is from the scanner, I think.

Bush, full sun, f11 4 seconds. 13x18cm black aluminum.

I was hoping the contrast would have turned out a little stronger with this bush (above), I like the patterns and the potential for creepiness. (Actually, the more I look at it, the better I like it.)

Roses (dry), aluminum foil background, full sun. f11, 4 seconds. Wet plate collodion on black aluminum, 13x18cm (5×7 inches).

This picture is my first experiment with aluminum foil. I was hoping it would turn out blurrier in the background, but I guess 4 seconds were not enough. I have seen photos by other photographers who move aluminum foil around during the exposure for a misty or smokey or glow effect. In this picture, it just looks like a piece of aluminum foil stretched between two rods…

Roses (dry), full sun, f11 4 seconds. 13x18cm (5x7in) black aluminum.

A picture of roses in a vase a friend invented – it is basically a plastic collar you screw onto a pickle jar and voila, vase. I think it’s brilliant. The vase. The photo less so. Oh well.Fail better, right? Thanks, fuckup elves!

Shot today: Valentine’s bouquet. Old Workhorse collodion, 14 seconds, f4, overcast day.

Shot today: Valentine’s bouquet, Lea’s Portrait collodion, f4, 7 seconds, overcast day.

This is the second plate I took of the same red-and-white roses that day – in a glass vase on a table in front of a wooden fence. Outdoors, drizzling and wintry and starting to get dark, so the exposure on this one was 90 seconds. Same wooden German travel camera from sometime in the early 20th century, Carl Zeiss lens. (I guess I can stop writing that since this is the only camera/lens I currently have.)

f3.5, 90 seconds. Lea’s Portrait collodion #2, ordered from Mamut in Prague, and the first time using homemade developer (I spilled the last dose of store-bought developer I had). Black aluminum plate 13x18cm (5×7″).

This picture is a lot softer than the previous one, which is largely due to the different collodion recipes used, I think. It has a lot of streaks on it, which I am assuming are from the new developer I am using – maybe a different formula? Could also have something to do with the temperature, it was getting cold and although I poured everything indoors, the plates were outside for a minute or so each.

Weather is grey and drizzly and no one in the family wants to sit still for the minute or so it currently takes for an exposure in those conditions. These are some dried red/white roses in a vase on a table in front of a wooden fence. Taken with a wooden German travel camera from sometime in the early 20th century, Carl Zeiss lens. f3.5, 75 seconds. Old Workhorse collodion (IIRC), and the second-to-last dose of developer I ordered from Mamut in Prague. Black aluminum plate 13x18cm (5×7″).

Dried flower wreath, full sun, f5.6, 8 seconds. Old workhorse collodion.

I also did my first glass plate today, a portrait of my wife. It turned out reasonably well. Collodion lifting a little here and there around the edges, not sure why, maybe insufficient cleaning of glass before pouring.

Woman: (rings doorbell) [Insert doorbell sound effect here]

Man: (comes around corner from back yard) Oh hi. Beta’s out for a walk with her mom. Dunno when they’re going to be back. You can wait for them if you want, or I can give her a message.

Woman: Hi! She was going to loan me a backpack. I can come back later.

Man: Ok. I’ll tell her you stopped by. See you. (goes back to messing around with antique camera in back yard)

Woman: Ok. Bye. (leaves)

I (the dreamed I, the I of the nightmare) was trying to organize chemicals. It is necessary to have one’s chemicals organized if one is going to take some pictures using the wet plate collodion process. None of the containers were labeled, and everything was a clear liquid. So the I in the dream was trying to identify chemicals by scent – to tell the developer from the silver nitrate solution by smell.

Strangely, there was no collodion in the nightmare, at least not the part that I (the waking I, the I dreamed in my waking life) can recall. That is the only chemical used in wet plate collodion photography that I can identify by smell, because it contains ether, so it smells like the hospital smelled when when they took me there the time grandma (accidentally) poured boiling oil on my foot, or the time we took my little brother there because he swallowed grandma’s thyroid pills/stuck a raisin up his nose/got his hand caught between the chain and the gear of a combine/pierced his fingers with the wires that made the tinkling music inside a jack-in-the-box.

I could go on.

There I (the dreamed I of the nightmare) stood, in black velvet darkness, sniffing a variety of bottles, swirling the clear liquids inside, hopeless and frustrated.

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.

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

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.

Vienna collodion wet-plate photographer Agnes Prammer with her camera.

This is Agnes Prammer with her collodion wet-plate camera.

It started this summer. I read an ad online looking for models. Men over 60 with beards, and pregnant women.

I thought that sounded like an interesting combination, and in my optimism (I met 2 of the 5 requirements, being a man with a beard) contacted the photographer.

And that is how I found myself…

…wait, I also wanted to insert somewhere towards the start, ‘earlier that summer my family and I were wandering around Vienna late at night and looked inside this one large building full of… stuff, and pillars, and mysterious light, and I thought at the time how full of surprises and interesting architecture Vienna is and what kind of life must that be that has one frequenting such buildings?’

Done.

So I contacted the photographer and she said sure, she’d take my picture for her project, and I programmed the address into my GPS and drove there.

The first interesting detail in this interesting story is the fact that the address does not exist. The proper address is number 6, and the GPS took me to the right place, but the number over the door is an 8. Mysterious, right? Also it turned out to be the mysterious building we had seen earlier in the summer, the studios of the academy of fine arts.

Luckily the photographer was waiting for me outside, which is proper etiquette when your address is imaginary.

The photographer’s name is Agnes Prammer. She does collodion wet-plate photography, which to my understanding is the (American) Civil War-era process that produces negative images onto glass or metal plates using a liquid emulsion. Tin type photos are one example of this, I guess. Agnes became interested in collodion wet-plate photography while in the United States, where the technology has been revived (or popularized) by Civil War re-enactors, among other people.

She explained her project to me, I changed into a sweater she wanted me to wear for the photo, and she took me to her studio, which was a stool on the sidewalk outside the academy, with a black backdrop. Wet-plate photography requires long exposure times so usually is done outside in natural light.

Agnes uses an antique camera. I thought it would be neat to take pictures of her for this blog post with my daughter’s Polaroid camera for double retro-technology points, but I couldn’t get the Polaroid to work ( you have to push the button repeatedly, it turns out) so I took these photos here with my smartphone, which gets irony points instead.

Agnes’ camera is the real deal – you sit there in the sun trying not to perspire in a borrowed sweater while she (under the black sheet, to keep the light out so she can see the image) focuses on a frosted glass plate in the camera. Then she goes into the darkroom, puts emulsion onto a metal plate (like most wetplate photographers, she gets her aluminum plates from a trophy supplies company in the United States) (some use glass plates, but they are fussier and of course fragile) which takes about 5 or ten minutes, then carries it back to the camera in a plate holder. The plate holder trades places with the frosted glass focus thing and the camera is ready to go.

The camera is very simple, and has no shutter. There is a lens cover (Agnes uses a cardboard box) which is removed to take the picture and put back to stop the exposure. That day, in the bright sun, Agnes used an exposure time of 10-15 seconds. Then she took the plate holder back out of the camera, and ran back to her darkroom to develop it. That took about ten minutes.

In other words, it takes about twenty minutes per photo. The plate must be exposed and developed while wet, so it can be kind of a rush depending on temperature.

Agnes Prammer in her darkroom.

Agnes wasn’t really happy with the first picture so we did it again.

Wet-plate cameras are great ice breakers. While Agnes was back in her darkroom getting the next plate ready, everyone who walked past asked me about it.

I couldn’t tell them much, sorry.

Agnes doesn’t always use her darkroom. Like many wet-plate photographers, she has a portable field darkroom. I am kicking myself for not taking a picture of it, because it is awesome. She made it out of a baby carriage.

Agnes eventually came back out and got set up again. While she was getting set up, Roland Neuwirth walked past on the other side of the street. I am a big fan of his, but I ignored him because he is over sixty and has a bigger beard than I do, and I feared if Agnes noticed him she would kick me to the curb.

The second photo turned out better and we were done. Agnes gave me a tour of her darkroom and let me watch her develop the plate. This is how it works: collodion is a solution containing ether. It is poured over the plate to get an even film; when the ether evaporates, it leaves a tacky transparent film (it is also used in medicine to cover wounds). The plate is then placed in a silver nitrate bath. This is why Agnes is wearing gloves in the darkroom photo. Back in the day, wet-plate photographers were known by their black fingers. Then the plate is put into a plate holder, and exposed in the camera, and developed, all while still wet.

In a way, it is a form of instant photography, if you consider 10-20 minutes instant. And in fact, it still survives (more or less, in a relatively similar form, anyway) as instant street photography in the Afghan box camera (AKA kamra-e-faoree) in Afghanistan.

What I am not sure of is whether wet plate photography is resurging, thanks to Civil War re-enactors and antique technology buffs, or if it only seems that way to me because I am googling it and finding tons of information and projects. Maybe it was there all along.

Here is a Wired article on John Coffer, who has been doing wet plate photography for years now. He eschews the automobile and travels by horse, and lives in a house with no electricity or running water. Here is his website.

The technology is interesting because it is so simple. There is no shutter – it is basically a camera obscura, as my daughter Gamma says. If you can get a lens, you could theoretically make one yourself. Ian Ruhter made one out of a van to make impressive large-format tin types. You make each plate yourself, with chemicals that will get you high (ether) or kill you (some techniques use cyanide). This is another reason it is a good outdoor activity. At the same time, the results are superior to modern film photography, because (Agnes tells me) there is no grain because it is a liquid emulsion.

There will be a workshop next spring and I can’t wait to go.

One must hold still for about 15 seconds, depending on the light, and focus one's eyes on a single point when being photographed this way, so I stared at one of the windows in this building across the street.

One of the photos Agnes Prammer took of me.