September 8. 2013 02:47
WORKSHOP I – WET PLATE COLLODION 101
WORKSHOP I – WET PLATE COLLODION 101
3 Days of instruction by James Weber.
Class Dates Available:
September 27th - 29th August, 2013.
Wet Plate Collodion photography is the second historical photographic process, and is one of the last remaining photographic arts where everything is a hand crafted chemical/darkroom process. In the class, we'll be making tintypes(on aluminum) and Ambrotypes(on glass). In an age where everything has gone digital, it's nice to get back in the darkroom.
Day 1, Sept. 27th: We'll cover a little history of wet plate, converting cameras, making chemistry, learning how to flow the plate with collodion, and practice shooting/developing/fixing/washing. Basically, we cover all the skills you need to get started doing this yourself.
Day 2, Sept. 28th: With the introduction of the skills you need covered in day 1, day 2 is more shooting, plus we'll cover the various studio lighting options that are available to you, their benefits and difficulties laid out.
Day 3, Sept 29th: On Day 3, the class takes a trip in James' RV, where we'll go on location to work on daylight shooting. For those students that bought the three day package, they get to shoot one mammoth plate, 20x24.
March 30. 2013 01:08
Our friend James Weber who when not shooting fashion and beauty, has become a serious Wet Plate photographer. And like every American he too wants things bigger. To achieve that James did a great deal of research and came up with the idea of using an "Indoor Grow Room" as a camera.
check out his full story with more images videos and details here.
January 4. 2013 14:29
A week ago my friend James Weber did an editorial fashion shoot using Wet Plate Collodian process.
I shot video as well as acting as lighting technician.
This was a combination of Profoto studio strobes at around 9600 Watt seconds and ARRI's for an additional 6000 watts. This allowed for exposure times between 9-12 seconds for an ISO of 1. Not the kind of process for the feint of heart or those whose idea of shooting is to hold down the button as if they were making a movie and pray that you got the shot.
December 28. 2012 21:57
Last week I was helping out a friend with his editorial fashion shoot that he shot using Wet Plate Collodian process; by recording it on video.
I used a Red Wing Boom as a camera jib in order to get a few more camera options which is something I've been meaning to try for sometime.
As you can see it was easy to do simply by adding some basic grip equipment that most photographers would usually have on hand in their studios.
I used a: Bogen super clamp, a Manfroto magic arm, a knuckle and a 6" wall plate which I had previously drilled and tapped and attached to my Cannon HD video camera. Although anyone could just as easily use any combination of grip equipment to achieve the same thing rather than spending money on an additional piece of equipment just to perform jib movements.
For those wondering why I didn't just attach the magic arm to the end of the Boom pin by adding another knuckle, that because I use this same combination of grip as a steady cam set up so having a quick release option to from 1 to the other is a nice option.
This setup proved to work extremely well and afforded great stability; and also because the boom was on a rolling stand it allowed me to move around the studio and change elevation in nice smooth motions. A short edit of the video from this shoot will be posted in the coming days.
July 27. 2012 23:54
My friend James Weber has been itching to play with large format photography for some time.
Recently he went way back to the beginning of large format photography and has gotten into Wet Plate Collodion.
I’ve been a professional photographer for around 18 years now. In that time, I dedicated 6 wonderful years in the U.S. Navy as a photographer. This is truly where I fell in love with photography as a process and an art. Back then, it was all film. Black & white, color, darkrooms, chemicals..it was crusty and dirty, but it was fun!
The processes were harder to do, but really satisfying when it was done right. When I was in the darkroom and I saw the image coming up from a print in the developer, it really was magical.