Getting serious with collodion

Following the workshops at Lacock last summer and Double Negative this spring I have been waiting for the UCA holidays to get the time to start making collodion images in my own darkroom.  While it's possible to work in a portable tent darkroom or even out of the back of a car (as Richard Cernan Jones and Sally Mann have shown) you need to be very organised and have your technique well sorted. It's definitely better to have as much space as possible when you start 'solo'..

I've been assembling the various bits of equipment for this for a long time. Much of it is the kind of stuff used in other alt. processes; the main differences being the use of glass. 2mm picture frame glass is favoured as it's in plentiful supply, though original period plates are often a little thinner.  Plate holders and racks have to be sourced or made and glass cut and cleaned.  (NB: I will write a collodion guide sometime in the future, where I'll list everything needed and how the process is done in detail. There are plenty of guides available already but by writing my own I will help my own understanding).  The silver nitrate bath requires quite a bit of maintenance: Filtering, 'sunning' and testing for pH and specific gravity and dedicated glass beakers, filter funels and bottles are needed. Another investment is a small fridge. I've never had this luxury before, keeping film etc, in the ordinary kitchen fridge, but collodion gives off fumes which would taint the food.  I'd NEVER store any photo chemistry alongside food. It's just not a good idea. - especially when a tabletop fridge sells for less than the price of a box of B&W paper.

First plates:

I used my Thornton Pickard quarter plate for initial tests. This camera is a single lens reflex design with a wonderful lens. (I'm holding it in my self portrait from the John Brewer workshop). It has the advantages of being quick to set up, compose and focus, plus the wooden plate holders are already designed to take glass plates. Being quarter plate (3.25" x 4.25") the plates are small and therefore cheap: Not much collodion per image!  The disadvantages are that small plates are more difficult to pour and the plate holder proved difficult to load with gloved hands. I've since modified it.  I set up a nice simple image and worked on it.

One of my first tests.  Quarter plate. ambrotype (collodion positive on glass)

Film speed is widely described as impossible to define. It varies with the age of the collodion, the recipe used, the developer and the UV content of the light.  Conventional light metering is therefore not much use. The method is to guess an exposure, then adjust based on the result of that. I was lucky to get an image first time, and with a couple of mild tweaks I got a good exposure.

Gremlins strike!
Before I had time to feel pleased with my initial success the problems started.  Moving the camera to attempt a tribute to Fox Talbot's ladder and haystack image I set up a picture of the ladder against the hedge. The result, while striking isn't what I had in mind!  I want to be able to make really clean, blemish free images and then introduce these artifacts at will.

Stairway to Heaven?  A catalogue of collodion defects.

The difficulty I had was suffering multiple problems at once. I had dirt or other chemical contamination on the plate causing "oysters" - marks on the edges, I had problems getting the developer to coat the plate evenly and I had flecks of dried collodion in the freshly poured surface. Couple these with difficulties with exposure (my instinct was to give too much exposure and develop for too long: I've spent so long with traditional film it's hard to deliberately "under"expose.!)

This also highlights the problems of working alone. With an expert by your side, the problems are correctly identified and a solution suggested. It's easy to do what you're told and imagine you're learning more than you are. On your own you have to work methodically and make lots of notes. - I should know this: I tell students to do it all the time!  Eventually I managed a couple of good, clean plates including this one of "Buttercup" my vintage Sunbeam bicycle:

Sunbeam bicycle. a quarter plate Ambrotype

A week or two later Anna joined me for a couple of days and we worked through all the same problems: Frustrating when I though I'd solved them. The big difficulty we had was getting the developer to flow nicely over the plate. Eventually after many experiments we discovered that by adding a little more (20% or so) alcohol to the developer (we were using John Brewer's excellent pre-mixed dev solution) it flowed much more evenly. We also diluted the dev quite a bit which gave more control (in hot weather the image 'comes up' almost too fast to control). The last modification was to adjust the safelighting. It's vital to be able to see what's happening...

One of the cleaner images we managed. Anna's vintage plate camera has a great lens, (uncoated of course) which gives this soft effect when photographing into the light. This is a whole plate Ambrotype.

My second guest this summer was Greg Jones. Another UCA friend and colleague, Greg has lectured on the history of photography and was keen to witness the process. Of course it couldn't just be a demonstration: I got him pouring plates and sitting for a portrait. He also made one of me:

Ambrotype half plates

The picture above shows how Ambrotypes work. The image is a very thin negative on the glass plate, which when viewed against a dark backing becomes a positive. Most of us have experienced this effect with conventional film negatives.  Ambrotype images will print, albeit with some difficulty. Skill is needed to bring out the tones in what is effectively an under-exposed neg. (scanning is much easier but the temptation to manipulate the curve is hard to resist. Note that few published Ambrotypes look as good as the scans posted online!) The emulsion is extremely fine-grained so detail is generally restricted to the quality of the lens. The two portraits above were taken with a Petzval lens taken from an old magic lantern. They are wonderfully sharp at the point of focus and have a curved field of focus unlike the flat plane of modern lenses. Used wide open (magic lantern lenses seldom have aperture controls) the exposures were 1 second at f/3.5.

Greg Jones 2014.  note the diagonal lines caused by the collodion forming ridges as the excess was drained from the plate.

A rare Carte de Visite

This is slightly off -piste for this site but it's such a great find I wanted to share it: A 50p carte de visite from a local antique shop. I first noticed the slightly odd pose; it was only on closer inspection that I realised it's a double exposure and the chap is actually deep in conversation with himself.

This is relatively rare but by no means unheard of. Cartes de visite were cheap enough for people to have fun with them (many albums have matching back views on the page following a portrait for example).

If you look closely at the background you can see the join. These images were typically made using a sliding plate over the camera lens, covering half the image at a time. On this occasion the camera has moved ever so slightly so the two sides are misaligned. It's an easy enough effect to do: You just need a plate which slides to exactly the same point in front of the lens from either side. (note that it doesn't have to be the centre of the frame, as demonstrated by this picture).
Cokin filters used to sell a device for doing this (Cokin no. 346 Double Exposure Mask) and there are plenty on auction sites if you fancy trying it. Alternatively a bit of ingenuity with some cardboard should do the trick!

Videos from George Eastman House

Here's a nice set of short (5 min or so) videos from George Eastman House, Kodak's archive and historical centre. Each gives a brief overview of the process with footage of people (usually Mark Osterman) actually making an image. They are very short and sweet but they are a good place to start if you are researching a process and don't know what's involved. If you haven't come across a Woodburytype for example, This explains it quickly and clearly...

1. The Daguerreotype 

https://www.youtube.com/watch?v=cmm90yhhuJM&list=PL4F918844C147182A

2. The Collodion process

www.youtube.com/watch?v=--PAAJZRbn8&index=2&list=PL4F918844C147182A

3.  The Albumen print

https://www.youtube.com/watch?v=Cq1RvahEPSk&list=PL4F918844C147182A&index=3

4. The Woodburytype process

https://www.youtube.com/watch?v=yWAE2uBLRz4&index=4&list=PL4F918844C147182A

5.  The Platinum print

https://www.youtube.com/watch?v=6DFZ3wfft44&list=PL4F918844C147182A&index=5

6. The Gelatin Silver print

https://www.youtube.com/watch?v=iSBFrPWPS80&index=6&list=PL4F918844C147182A

Collodion with John Brewer

Anna Linderstam and I recently had the opportunity to attend one of John Brewer's workshops on wet-plate collodion.  John is undoubtedly one of the UK's most active and prolific collodion workers and he has taught a huge number of workshops over several years.  This one was over two days at the Double Negative darkroom in Hackney.  http://dndr.org.uk/

I won't repeat the full details of the process here (see my post from last year's Lacock Abbey workshop for that) but it was interesting to compare the workshop schedules and methods. no two collodion photographers' methods are identical and John's methods are different from Betsy Reed's or Richard Jones'.  Over the two days of the workshop we made both ambrotypes (positive images on glass) and tintypes (on black anodised aluminium)

Sadly the wilds of Hackney were just too far from Hampshire for me to attempt to bring the "Behemoth" 20x24" camera, much to John's disappointment. He is a camera and lens enthusiast in the best possible way: He (like me) is interested in the quality of the image produced rather than the technology itself, though he is very knowledgeable, particularly on early portrait lens design.  He gave a clear explanation of the differences between Rectilinear and Petzval designs, along with a lot of useful information on what to look for in a lens for collodion work. he brought along a wide variety of equipment and was generous and trusting in allowing us to use it.

Double Negative's facilities are, frankly a bit scruffy, but owner Sebastian Sussmann is enthusiastic and knowledgeable, generating a bohemian, creative atmosphere which is popular with the photographers who use the place.  Everything is set up for alterntative processes with spaces for preparing plates, processing images and drinking tea.  Having an outside area to photograph in only a few steps from the darkroom facilities is a real requirement unless you are very expert at this process and it was great to be able to move from camera setup to darkroom and back in a few seconds.

While others on the course made a fantastically inventive series of images from portraits to still lifes, Anna and I decided to stick to a simple portrait setup. Removing a lot of the variables induced by changing the shot meant we could concentrate on the technique. There is so much skill involved in coating the plate, judging the lighting, exposing and processing and it can only really be learned from practice.  After a demo from John (the beautiful Ambrotype below) we made plate after plate, refining the technique and (hopefully) picking up some of the skills.

Anna Linderstam by John Brewer 2014

Cat Wrestling.

One image I wanted to make involved the studio's adopted (and apparently nameless) cat.  My partner Catherine has a small collection of cartes de visite of people holding (or attempting to hold) animals. The long exposure, coupled with the cat's reluctance to keep still mean that the best of these show a person clutching a furry blur!  We decided to have a go. Anna's dance training means she is very good at keeping still for a ten or twenty second exposure. The cat, while reasonably well behaved wasn't as good:

Studio cat...

...reluctantly photographed....

Using the 10"x8"

We started, as at Lacock by making quarter plate images at 3.25" x 4.25" but John encouraged us to go larger as soon as we'd mastered the basic technique.  I have a beautiful folding field camera made by the London Stereoscopic Company in about 1899. It's unusual in that it takes full 10"x8" plates (or modern film) whereas most old plate cameras take "whole plate" sizes at 6.5"x8.5" or smaller. It has a terrific plate holder which has mahogany inserts allowing the use of any standard plate size. As John was set up for cutting whole plate sizes we mostly made these.  Surprisingly it is easier to pour and process a larger plate than a little one.  The only disadvantage of my 10x8" is that while it has the two original matching lenses it was sold with, they are 'rectilinear' designs.  These are technically and optically very good, but relatively slow at around  f/11 maximum aperture. Petzval lenses made for portrait photographers have more distortion and less depth of field but they are fast:  A good portait lens can be f/3 or so. (NB: many people also consider the distortion and lack of depth characteristic of the Petzval 'look' advantages too)

I'm fortunate in having a plate holder which takes a variety of sizes. If you are thinking of doing this or any other process which uses glass plates it is possible to adapt a standard 5x4" or 10x8" film holder. I'll post something on these pages soon describing how to do it. - or Google the wonderful Scully & Osterman site for their article on plate holder conversion.

Head clamps and the portrait experience.

We made our images outside in the mews space between the buildings. In this open shade the light is good (full sunlight is generally too contrasty for good portraits) but the exposure times were generally 10 seconds or more.  One piece of authentic Victorian-style equipment which helps is a head clamp.  Contrary to popular myth it doesn't clamp the head in place but provides a point of reference to rest against.  The simplest design is just a curved Y-shape on a height-adjustable stand. Once the sitter has established a pose the device is positioned so the smoothed ends of the Y just touch the back of the head. It's then relatively easy to keep still just through the feeling of the stand.

Anna posing for a portrait.  Note Sebastian adjusting the head rest behind her.

What was interesting was the experience of sitting for a portrait. A long exposure seems to take an age while sitting stock still, but there is a definite feeling of actively generating one's own image. It's as if somehow we don't just consent to be photographed but project ourselves through the lens onto the plate. Once experienced it gives a new insight into the intensity shown in so many Victorian portraits.

Tintype of Peter with another favourite camera:  a Thornton Pickard quarter plate reflex. 

Processing.

Development is bizarre by modern darkroom standards.  A very small amount (maybe 50ml) of solution is swiftly poured over the plate which is then rocked gently for no more than about 15 seconds. The solution must then be removed as quickly as possible under gently running water, whereupon it is safe to view under white light, ie BEFORE fixing. Trying to judge correct development by conventional standards leads to a lot of confusion as we are aiming for a thin but contrasty neg to generate a good positive - the reverse of traditional silver gelatin thinking. John's advice was to "forget everything you know about silver photography"!

Fixing can be done using traditional hypo (sodium thiosulphate) fixers as this is easy and safe. many practitioners won't use anything more dangerous but John Brewer happily uses potassium cyanide.  This is extremely lethal if misused but, he insists perfectly safe in the right hands. The cyanide fixer definitely gives a brighter, creamier white tone to ambrotypes but only attempt it if you're sure of what you are doing!

Finishing techniques.

John drying a plate. Cheap electric hairdryers are ideal.

While Betsy favoured Renaissance wax, John prefers to stick (literally!) to the traditional gum sandarac and lavender oil varnish to protect the final image. His reasoning is simple: We know it works and lasts as we have 150 year old images made this way which have not deteriorated. Renaissance wax is apparently good enough for protecting metals in museum exhibits but we cannot be sure it will perform as well in the long term.  The varnish is poured over the plate as with the collodion (a rather messy and sticky process) before being dried. Hairdryers are the preferred method for speed but an old fashioned 'hot box' print dryer with wire racks does a good job too.

Finished ambrotypes need a black backing. If framing etc. then a black card or velvet backing is fine (and can be removed if need be for conservation or printing) but to make a self-contained image then one of the easiest things to do is to spray the back of the glass with aerosol black cellulose paint. It's recommended that you try different brands but Tetrosyl is favoured apparently as effective and cheap.

Thanks again to John for sharing his wealth of knowledge and for being so generous with his equipment and materials. Thanks also to Sebastian and Double Negative Darkroom for hosting the workshop and for keeping us supplied with tea and banana cake. As I've said before it really isn't practical to try and teach yourself the collodion process. You really need a proper workshop run by an expert and John Brewer is most certainly that. Highly recommended.

UCA Case Space Camera Obscura

Well that was fun!   The conversion of the Fine Art dept. Case Space into a camera obscura in finally happened in the last week of April 2014.  Despite being at a less than ideal time of year (the start of Term 3 when students and staff were all busy with hand-ins and degree show preparation) a large number of people experienced the project, much publicity spreading by word of mouth.  A couple of unit leaders on Film as well as Photo and Arts & Media made announcements in lectures that this was not to be missed!  - Many thanks to those people for spreading the enthusiasm.

I’ve never seen so many students getting so excited by a workshop event as this. People left inspired and calling friends to share the experience.  Thanks to Paul Vivian for finding the slot, giving us as much time as possible in a busy schedule but four days wasn’t really long enough!  Hopefully we'll be back, for a longer time and even with a portable version? - watch this space...

If you missed it:

Here is the image of the courtyard as projected on the back wall of the room. The room is about 2.4 metres high:

if you get a stiff neck trying to turn your head around (we large format photographers can see upside down of course) here it is inverted:  This gives a reasonable impression of the quality of the image. The image circle is so vast that a lot of light hit the walls, ceiling and floor, washing out the colour and contrast. We couldn't alter the white walls but black would have been much better. Instead we did what we could by building a fairly crude internal lens hood/snoot from card which cut a lot of the stray light.  The lens is a 102 inch (8 feet 6 inches) / 2600mm focal length so infinity focus would be some way in front of the wall. As it was, the length of the box being about 11 feet meant that the point of focus was around 40 feet or 12 metres in front of the box. As this is about the distance to the middle of the courtyard it was ideal. People sitting on the coloured metal chairs  were crisply rendered, while the tree trunk and the sky were either side of the point of focus and softer.

Reactions were terrific. - we should have kept a visitor's book for the comments.  In an age of instant digital imaging, giant screens and saturated high definition colour, people were still amazed and delighted by a simple optical effect. One person commented that the colours looked "like film",while another asked if the image was "live" - They may sound daft but if you experience the image it kind of makes sense; You know what you are looking at is real but we are unused to seeing it unmediated by technology.  

Sadly, schedules meant that there was no chance to make the planned Harman Direct Positive prints as the darkroom is unavailable while the shows are on, but Tracey managed a couple of successful experiments with pre-prepared cyanotype paper. Hopefully this was just an initial test and next time we'll make it bigger and better.

VIDEO OF THE CAMERA OBSCURA IN ACTION:

This is in rather wobbly iPhone-vision (I'm really not a film maker as you will see!) but it does give an idea of the experience: 

Visit from a local celebrity.

I was delighted to meet up with Moira Blackwell on Tuesday.  Moira is a graduate of the UCA BA Photo course and an active and successful photographer with many published art projects to her name. She is also co-author of the Binky Bear books: photographic children's stories published and sold worldwide. See http://binkybear.co.uk/about-us/.  Moira (and Binky) just happened to be visiting UCA and as a friend of bears I was happy to meet him and help Moira make some photographs inside and outside the camera obscura.

Thanks again to everyone who helped with this project and who came and experienced the finished camera obscura.  The enthusiasm and excitement generated was infectious and the whole experience was uplifting. May we never lose that sense of wonder...

Camera Obscura project is GO..

I'm delighted to announce that we finally have the go-ahead for building a camera obscura in the 'Case Space'  

building in the courtyard, thanks to Paul Vivian who has given us the week of April 28th - 2nd March. 

I have teaching commitments on the Monday but we intend to set up on TUESDAY 29th APRIL.

We should be operating for the rest of the week, hopefully longer.

Many of you will have seen the basic principle demonstrated before (in my 'Lens' lecture in week 1 or elsewhere). If you've never seen one then you've missed something magical! - Do come along and experience it.  There is a strong performance /installation aspect as the 'audience' is literally inside the camera and the subjects cannot  be seen. There is scope for making images, either by photographing the image as projected inside (a la Abelardo Morell) or by chemical means. - exposing sheets of paper etc.

All ideas are welcome.

CALL FOR VOLUNTEERS

If you're interested, drop me an email on my UCA email prenn@ucreative.ac.uk. Let me know if you have any specific skills like carpentry or heavy lifting;-) or, most importantly if you have a great idea for how to use the camera obscura. - The facility will be there for you to explore and use. 

Peter.

Urmson-Burnett Photogram Prize

A photogram is an image made on a light-sensitive material without using a camera or an image forming lens. Most commonly made in a darkroom, objects placed between a light source and photo paper cast shadows which are developed and fixed, as with normal photographic print. More adventurous artists have taken the process outside, working in the landscape at night with artificial light sources. It is also possible to create photograms using other photographic processes like Cyanotype, Salt printing or Van Dyke.

This new national prize competition and exhibition celebrates the creative potential of images made without lenses.

The Urmson-Burnett Photogram Prize is a biennial, open submission exhibition, which takes place in Salisbury in February 2014, and is followed by a prestigious central London show at Silverprint, the sponsors.

Main cash award: £500

Additional Student Prize: Silverprint Cyanotype Kit and Silverprint Solar Paper

Also the opportunity to sell work through the gallery.

For full details see the Silverprint website or follow this link:

http://us2.campaign-archive2.com/?u=42f2b55cc98e6b5d3e6e06693&id=e15b3083cd&e=e1371083a7

Wet Collodion at Lacock

Lacock Abbey. Peter Renn 2013

I've been interested in the Collodion process for a long time. I've designed my 'Behemoth' 20"x24" camera to take glass plates or tintype sheets, and I've a couple of cameras in my collection specifically bought or adapted with it in mind. As a way of making very large negatives it's not the easiest, but it does offer a lot of advantages, not least being a unique, very beautiful image quality. The positive images have a subtle, silvery beauty which is especially seductive.

While many processes can be learned from books, almost everything I've read on collodion says it's very hard to teach yourself this way. A lot of what's involved requires hand skills and dexterity; things which can be picked up with expert coaching, and troubleshooting problems, which again can only really be tackled with an accomplished practitioner at your side. The tutor for this workshop was Betsy Reed of the Vacant Chair photo studio, and experienced practitioner who works mainly in the US. She is currently at Lacock as Artist In Residence.
http://thevacantchairstudio.wix.com/homepage#!

We were also joined by Richard Cynan Jones, a photographer who specialises in 19th century processes. Richard brought a fine selection of his own kit along and was especially generous and helpful assisting Betsy and teaching the small group of five of us on the course.
http://richardcynan.wix.com/collodion

Roger Watson is Curator of the Fox Talbot Museum and an expert in early photography. He gave us an introduction on the history of the collodion process and showed us a lovely selection of original 19th century images. He was on hand all weekend giving us the benefit of his knowledge and the historical context of what we were doing.

THE PROCESS
I'll write a more detailed account for the Alternative Processes Manual later but here's a brief overview:
Glass plates are first coated with collodion, a sticky, varnish-like substance. The plates are then sensitised in silver nitrate solution for about three minutes. The coated plates need to be exposed and developed before the collodion dries, which in hot weather can be as little as ten minutes. Under red safelighting, the plate develops in a matter of seconds with little more than a splash of ferrous sulphate-based developer, and one rinsed is no longer light-sensitive. Fixing removes the unexposed silver halides and the image turns from negative to positive before your eyes - a magical process!

The processed plate, once dried is varnished to protect the image silver from tarnishing. Placed in front of a black backing, the image is seen as a silvery-grey positive. This is an Ambrotype.

Blackened metal can be used instead of glass to make a Tintype. The traditional metal is to 'Japan' steel by coating it with a black asphalt-based solution but many practitioners use anodised aluminium sheet as an easier alternative.

The Ambrotype will print as a conventional negative if contact printed or placed in an enlarger, though it's rather 'thin' to be ideal. Altering the development however will produce a negative with much more depth for printing.

PREPARING PLATES
The chemistry is pretty expensive so it makes sense to start small.  We practiced with quarter plate (3.25" x 4.25") and half plate (4.25" x 6.5") sheets of glass. The glass is very thoroughly cleaned and edged with albumen (egg white) solution before collodion is poured onto the plate, which is tilted this way and that to make sure it's evenly covered before the excess is returned to the bottle. Easy, right? - No!  It took a lot of practice to judge the right amount to use and to have the confidence to pour and tip the plate to get an even coverage. The collodion starts to set immediately and it's all too easy to get ridges, dribbles or uncoated spots. Practice, practice, practice...

As soon as the collodion is poured the clock starts ticking as everything must be done before it dries out. Three minutes in a lightproof bath of silver nitrate solution sensitises the plate, which is ready for the holder once the drips have been wiped from the back and edges.

EXPOSURE
The plate holder is like a large format 'darkslide' (indeed you can adapt these for plate glass work). It goes straight into the camera (previously set up) and the exposure is made. It's slow by modern standards but exposure times in open shade were typically 4 seconds at f/4. The camera is a modern reproduction of an old design, but the lens is a genuine nineteenth century one. The emulsion is not sensitive to the red/yellow end of the spectrum but it is affected considerably by invisible ultraviolet light.

Betsy Reed and Richard Cynan Jones set up a test shot

The exposed plate is quickly returned to the darkroom before it dries. The Fox Talbot Museum's darkroom is a delight: Set in a mediaeval barn it's beautiful, well equipped and air conditioned!  We also used Richard's wonderful portable darkroom tent: This uses several layers of red calico fabric to make a working area naturally lit with red (safe)light.  The plate is developed with a mere splash of chemical and the image pops up in a few seconds. Fixing can be done in plain Hypo (sodium thiosulphate) solution but Betsy favours a Potassium Cyanide fixer to give a brighter image with a warmer tone.  Potassium Cyanide is MUCH more dangerous to use however!


We started with portraits. The vast majority of 19th century tintypes and ambrotypes were made of people.  This is mine, made at the back of the barn and showing one of my fellow workshop students: Evelyna:




The marks around the edges are from imperfect coating of the plate, the faint parallel lines are ripples in the collodion and the greenish area on the right is a chemical mark, possibly caused by incomplete fixing (though overfixing can bleach the image rapidly so you take it out of the fixer as soon as it looks right!)
However, so long as the marks don't obscure important parts of the image most users feel they add to the effect.


The chemistry is simple enough in terms of formulae but the process is susceptible to so many variables it seems more like alchemy at times!  On Saturday afternoon the silver nitrate bath started playing up, finally diagnosed and corrected by Betsy and Richard who worked well into the evening to solve it. All was well the following morning, ready for us to take the camera further afield.

A PORTABLE DARKROOM

what is bright orange and has eight legs?

Richard was kind enough to bring his portable dark-tent along so we could work 'in the field' on Sunday. This splendid construction is a kind of tented table, covered with several layers of orange/red calico. This allows just enough reddish light in to be able to see without fogging the plates.

Set up in the shade of the ancient yew at Lacock Abbey, we had an ideal 'base camp' to work from. If you look closely you can see two pairs of legs sticking out below the red cloth. There is just room for two people.  The inside looks like this:The chemical bottles are in pockets on the left. The black thing with the drip marks in the centre is the silver nitrate tank. The empty plate holder is on the right in front of the white square sink. There is a water bag above for rinsing the prints which feeds via a rubber tube.  It's very hot in there but it works well.

I managed a better collodion coating this time and made the image at the top of this article. It was satisfying to make a photograph like this at Lacock, which is such an important place in the history of photography. The oriel window directly below the chimney is the one in Fox Talbot's famous image.- the world's oldest surviving paper negative:

Fox Talbot; Lattice window at Lacock. 1835

The weekend was a hugely enjoyable experience.  I loved being on the receiving end of tuition for a change, I learned a great deal and came away inspired to make more images.  My heartfelt thanks to Betsy, Richard and Roger for their patience, their skill and their enthusiasm.

I will display a selection of images made on this workshop in the G30 finishing room soon.  I will also be conducting more experiments and hopefully doing a demonstration before too long.

Peter.

Class of 2013

Camera Obscura project

A camera obscura (literally 'darkened room') is a wondrous thing: Anybody who has experienced the camerae obscurae* at Bristol, Edinburgh, Greenwich or the Photographers Gallery in London or elsewhere knows the astonishing effect of seeing a live, moving, silent image of the outside world in a darkened, secret space. It's an experience hard to explain but never forgotten...

*yes, that's the correct plural. It's a Latin term)

... and we're going to build one in Farnham!

It's possible just to use a pinhole (or, at this scale a hole about the size of a penny) but it's much, much better to use a lens.  I have acquired a 102" (that's around 2600mm lens which will create an image 8 feet or more in diameter. It's a single meniscus (like a giant contact lens) which I've mounted into a frame for ease of attachment to other structures. Initial tests show a very sharp, bright image and a reasonably flat plane of focus.

A true camera obscura is a room which can be blacked out completely. any light leaks weaken the effect considerably so what we need is a light-tight box.  As luck would have it the Fine Art dept. have just such a thing in the courtyard: The "Case Space" is a mini-gallery and resource, which course leader Paul Vivian is keen to lend out to interesting art projects. - and he's happy and enthusiastic for us to use it for this!

The plan is this:

At present, the Case Space has one small window set into the door. blacking this out will result in a fully dark space which is almost ideal in size. It's about ten feet (120") long which will allow some room for focussing (the lens-image distance will be 102" for infinity, but we will need to extend this distance to focus on objects in the courtyard as they are closer).

For initial tests, I propose to fit the lens in to the window space (see the photoshopped image opposite) and project onto the back wall. If this doesn't give enough focussing depth then we may have to build a temporary structure with a bellows or sliding box arrangement in front. The easiest way to do this is probably to build it into a replacement door.

Once the lens is fitted, the image can be projected onto the back wall. This can simply be painted white or a piece of white paper hung in place.

Obviously the box is fixed in position so the view is fixed.  Attaching a mirror would let us move the  angle of view slightly so as to look around. - Or it can be angled to look straight up, making an image of the sky.

Extending the use.

As a sculptural, aesthetic contemplative object, the camera obscura can stand alone. Just experiencing the image is enough for most people, but we can do more if we wish.

An early use for the camera obscura was as a drawing aid as this image shows:

If we hang large sheets of paper in the image plane, the image can be traced by hand as the chap above is doing. It will, of course be perfectly accurate in its perspective. Objects (or people!) can be arranged in front of it specifically to be recorded.

Another idea is to use photo paper. - capturing the image this way will make the box into an actual camera (and as most of you know I like absurdly large cameras!)  There should be room inside to fit processing troughs so the camera would become its own darkroom.  This adds a fascinating performance /installation aspect.

Timescale:

Paul has said he should be able to offer a choice of dates sometime early next term. This would be ideal as we want to be doing it with as big an audience as possible. It also ties in nicely with first year lectures on the lens etc.!

CALL FOR VOLUNTEERS.

At this stage I'm not sure how much work is likely to be involved to make this happen. It could easily turn out to be minimal, but if we want to be more ambitious, with making images etc. more people will be required.

If you're interested, drop me an email on my UCA email prenn@ucreative.ac.uk. Let me know if you have any specific skills like carpentry or heavy lifting;-) or, most importantly if you have a great idea for how to use the camera obscura.  I'll keep a list of interested people and contact you as and when the plan starts to come together.

Peter.