Collodion - Wet Plate Images

[windij]

One week shooting wetplate and I'm fairly happy with the result so far!
Attachment 101042
Clear glass ambrotype
Poe Boy collodion formula
Black Art Woodcraft 8x10 camera
w/ 8" no-name brass petzval @ f/4.5
10 sec, outdoors, overcast.
No head brace so a little soft

I really like this. The softness offsets the dark stoic feel of the sitter. Nice ambro.

[Mark Paschke]

PS: i swear i was trembling as pouring this one.. Next one is covered from corner to corner almost perfectly

Here ya go SergiR...... to go along with the other zillion wet plate videos, this is how you do it when you just don't care much and need to take 6-8 in less than 2 hours. shot this for some friends that are always trying to explain it to friends

[SergeiR]

Sergei, if you are in Dallas you could do a workshop with Frank Lopez if you want http://www.franklopez.com/
Or if you ever come to Austin, I'm happy to show folks the ropes.

Thank you for the offer - i might take you up on it ) I tried to get Frank's couple times but he was dissapearing after conversations and then i just gave up by time he would come back ( few months later).

[Tin Can]

Thanks for the video, really helps to see pacing and process.

Sooner, or more likely later I will try this.

Good choice in music.

Here ya go SergiR...... to go along with the other zillion wet plate videos, this is how you do it when you just don't care much and need to take 6-8 in less than 2 hours. shot this for some friends that are always trying to explain it to friends

[Henricus]

Here ya go SergiR...... to go along with the other zillion wet plate videos, this is how you do it when you just don't care much and need to take 6-8 in less than 2 hours. shot this for some friends that are always trying to explain it to friends

Sweet. Music selection on the money.

[nede]

hey,
been bothered by exposure time... never know where to start...in the end I was always overexposed.
So I no longer use my lightmeter, and do everything "au feeling"
this one is 4s exposure
industar37 300/4,5
cambo sc2
ferrotype 4x5

[Tin Can]

Nede, au realite', very good idea!

Excellent!

hey,
been bothered by exposure time... never know where to start...in the end I was always overexposed.
So I no longer use my lightmeter, and do everything "au feeling"
this one is 4s exposure
industar37 300/4,5
cambo sc2
ferrotype 4x5

[Scott Schroeder]

Mark, nice to see others work. Have you always subbed? My current glass cleaning technique might be of interest if it's because of lifting issues.
Nede. Nice plate. I like the eyes. If you are having issues with exposure you should keep an eye on the development. Try to stop quite a bit earlier than you think. You end up with better contrast and you highlights don't go too far.

[nede]

Thank you Randy

Scott, thank you for the advice, I have some problems to see details on the plate while it's developping, so I stick to 15s...I do it quite "blindly". I will stop early now!

thank you!!

[Scott Schroeder]

Nede, nothing wrong with sticking with a fixed dev time. I usually just jump in and take a guess at exposure. I'll then see how long it takes to develop and adjust the exposure from there. I know it can be hectic when shooting people but that's when you might have better control watching development and going longer or shorter. Then the next plate try to tweak that exposure a little bit more.
I've often cut exposure and lengthened development because the sitter couldn't stay still very long (especially if I'm shooting wide open and real close). If you are getting plenty of detail in the shadows you can easily cut exposure more.
Matthew Carey Lea says this about it:
"It follows from what has been said here and elsewhere that the operator must be governed in his development by a principle quite different from that which guides him in exposure. For whilst his exposure must be timed with a view to the worst illuminated part of the subject, the development will be guided by the high lights. These two principles are of such capital importance that they cannot be repeated too often, or mastered too thoroughly. They may be expressed in two rules, as follows:

— Expose the plate for the dark shadows, leaving the lights to be cared for in the development.

Develop for the high lights, keep the eye steadily fixed on the very highest light (the densest spot) of the plate, and stop whilst that is transparent enough to preserve its perfect moulding in the print to be made from it. The shadows are not to be watched in developing (except in local redevelopment, see below) ; they have been, or should have been, cared for in the exposure. Not that they are indifferent, far from it, but in point of fact, watching the high lights is doing the best possible for the shadows, the object of continuing the development as long as possible being to get out as much detail in the shadows as possible. Not they, however, but the high lights are to be watched, because we so ascertain the exact moment at which the development can be pushed no farther, but must stop under pain of producing chalki- ness and flat lights, which are simply ruinous."