November 2017 Portraits

[bob carnie]

Thank you Bob.
When I first did a workshop to learn wet plate, I imagined I would work ostensibly with tintype, not negs on glass. However, I am finding I am much more drawn to making glass negatives as I gain more experience with the process. Like you, I feel that having a glass negative as the output allows me much greater flexibility in terms of how I can use the plate. I expect that over time, I will be making far more glass negatives than anything; reproducibility is definitely important to me, and the less I have to rely on digital tools for creating final output, the better. (for me)

Yes I can see the possibilities to be much greater as you can contact and enlarge your glass plate, with the tin types one needs to scan to produce a workable file.. I also love the transmission of the negative which can translate to beautiful tonal laydowns. Do you find coating and working with negative any harder than the direct to tin?

[Andrew Plume]

Ohhhhh lovely.

terrific, really good

Andrew

[ScottPhotoCo]

Anna L., Actor. Shot on a Century Studio Camera #9 with a Wollensak 8x10 Portrait Lens at f11 on Ilford HP5+. Single beauty dish strobe just above camera lens.

Anna L, Actor, 2017 by Tim Scott, on Flickr

[paulbarden]

I also love the transmission of the negative which can translate to beautiful tonal laydowns. Do you find coating and working with negative any harder than the direct to tin?

The information available in a glass/collodion negative is much greater and more nuanced than what you can extract from a tintype, certainly.
Coating a piece of glass with collodion and sensitizing it is no more difficult than pouring a tintype plate, but there is a bit more work involved in cleaning a glass plate that you simply don't have to do if you are making a tintype on trophy plate. Glass has to be thoroughly cleaned and rubbed vigorously with calcium carbonate/alcohol paste to abrade and clean the surface, or collodion doesn't adhere well. You also need to grind off the edges of the glass with a sharpening stone, for safe handling and to help create an edge for the collodion to grab onto. Its extra work, but otherwise the rest of the process is essentially the same and just as easy.

[chassis]

Anna L., Actor. Shot on a Century Studio Camera #9 with a Wollensak 8x10 Portrait Lens at f11 on Ilford HP5+. Single beauty dish strobe just above camera lens.

Anna L, Actor, 2017 by Tim Scott, on Flickr

Striking.

[gimenosaiz]

Lars in the “tool shed” greenhouse. 8x10 Collodion on aluminum (tintype) shot with a magic lantern lens mounted (in cardboard!) on the Deardorff.

Bravo!!!! I love it ;-)
Thanks!

[John Layton]

Wow...Yes...The Eyes have it!

[alanbutler57]

Graflex Super D (1948)
Gundlach Portrait Petzval Ser A c. 1925
F8 1/300 sec.
Ilford HP5 @ 800
Xtol 1:1 constant agitation 20 min Jobo
Waxahachie WWII Weekend 2017

Letter From Home

[alanbutler57]

Graflex Super D (1948)
Gundlach Portrait Petzval Ser A c. 1925
F8 1/300 sec.
Ilford HP5 @ 800
Xtol 1:1 constant agitation 20 min Jobo
Waxahachie WWII Weekend 2017

Swing'in Over to the USO

[alanbutler57]

Graflex Super D (1948)
Gundlach Portrait Petzval Ser A c. 1925
F8 1/300 sec.
Ilford HP5 @ 800
Xtol 1:1 constant agitation 20 min Jobo
Waxahachie WWII Weekend 2017

Comrade Cutiepie