All of these images shown below are 11x14 plates.
Friday, August 3, 2012
Some new images, taken with my Mammoth Camera
It's been a while since I last posted on this blog and that has to change. I have gone through a lot in the last few months and it is about time that I got back on the horse and started networking and showing my work. So, in the spirit of that thought, here are some of the wet plate collodion shots I have taken in the last few weeks. More to come...
All of these images shown below are 11x14 plates.
All of these images shown below are 11x14 plates.
Sunday, January 29, 2012
Waiting for Spring...
So the days are finally getting longer. It's about time. This Winter has been a real downer what with all of problems recently and my wife's health. It would be nice to just have a day to myself where I could take off for the coast and shoot some pictures and just relax. Hopefully this spring I will finally get such a day.
I have been getting orders again, which is wonderful and have been marketing some student grade cameras, which have been selling well. I decided to make these cameras because of the lack of decent options for people wanting to try wet plate on a budget. With the economy in the toilet, how realistic is it that someone is going to want a $800-$1000 camera for their first try at the hobby? So I designed and built a "student grade" camera. These sell for between $250-$400 (depending on size) and are wonderful, serviceable cameras for the beginner. Simple, easy to use and clean and cheap to buy.
I have been getting orders again, which is wonderful and have been marketing some student grade cameras, which have been selling well. I decided to make these cameras because of the lack of decent options for people wanting to try wet plate on a budget. With the economy in the toilet, how realistic is it that someone is going to want a $800-$1000 camera for their first try at the hobby? So I designed and built a "student grade" camera. These sell for between $250-$400 (depending on size) and are wonderful, serviceable cameras for the beginner. Simple, easy to use and clean and cheap to buy.
Sunday, January 15, 2012
Faces to the left... Faces to the right....
Recently I was chatting with another wet plate artist and we started talking about a strange phenomenon in the world of modern wet plate; the fascination with the face.
A google image search for "wet plate collodion" will reveal a disproportionate amount of close ups of peoples faces if the plates are contemporary, with virtually none of that subject being apparent in images from the time of the techniques invention. The reason for this I believe is the process itself. Wet plate is intensely procedural, requires steps to be taken in a certain amount of time in order to come out at the end with a finished image. There are chemical balances to consider, timing and techniques to master before a good image can be made. With this in mind, I think the reason is that too many WP artists focus so much on the process itself that what their camera is actually focused on ends up being less important to them; the end result is endless stacks of stoic mugs in close up.
It's sad really; the photographers a century and a half ago were the complete opposite of this. They were so happy that such a technology was developed to capture an image that what they captured was their chief concern, not how they captured it. One only need to look through a history book about the latter half off the 19th Century to see that photographers were busy shuffling their equipment out into the field to capture amazing moments of their time. The rising cities, the fall of the Native Americans, the meeting of the transcontinental railroad and the building of America. Imagine how interesting those history books would have been had all of these wet plate artists and early process photographers just shot close ups of peoples faces. We would have missed the telling images of the Civil War, the sheer majesty of the great plains, untouched wilderness and the beauty of a harbor filled with sailing ships.
This is a great process and it deserves more from its revival than just countless images of nose pores in extreme detail. Get creative and innovative. Be the first to capture a blurred pit crew at a Formula One race with wet plate; or pack your gear into Yosemite and get some amazing scenic shots. Get the hell out of your studio and quit nit-picking the process. No more excuses, no more fiddling... you've got the technique down, now go out and do what they did 150 years ago. Be excited about the image, not how you made it.
A google image search for "wet plate collodion" will reveal a disproportionate amount of close ups of peoples faces if the plates are contemporary, with virtually none of that subject being apparent in images from the time of the techniques invention. The reason for this I believe is the process itself. Wet plate is intensely procedural, requires steps to be taken in a certain amount of time in order to come out at the end with a finished image. There are chemical balances to consider, timing and techniques to master before a good image can be made. With this in mind, I think the reason is that too many WP artists focus so much on the process itself that what their camera is actually focused on ends up being less important to them; the end result is endless stacks of stoic mugs in close up.
It's sad really; the photographers a century and a half ago were the complete opposite of this. They were so happy that such a technology was developed to capture an image that what they captured was their chief concern, not how they captured it. One only need to look through a history book about the latter half off the 19th Century to see that photographers were busy shuffling their equipment out into the field to capture amazing moments of their time. The rising cities, the fall of the Native Americans, the meeting of the transcontinental railroad and the building of America. Imagine how interesting those history books would have been had all of these wet plate artists and early process photographers just shot close ups of peoples faces. We would have missed the telling images of the Civil War, the sheer majesty of the great plains, untouched wilderness and the beauty of a harbor filled with sailing ships.
This is a great process and it deserves more from its revival than just countless images of nose pores in extreme detail. Get creative and innovative. Be the first to capture a blurred pit crew at a Formula One race with wet plate; or pack your gear into Yosemite and get some amazing scenic shots. Get the hell out of your studio and quit nit-picking the process. No more excuses, no more fiddling... you've got the technique down, now go out and do what they did 150 years ago. Be excited about the image, not how you made it.
Monday, January 9, 2012
A video short about my work....
This short documentary was directed, edited and entirely produced by my daughter for her Video Documentary class final at the Portland Art Institute. Thanks to my baby girl for picking me for her project!
Dana Geraths - Wet Plate Photographer from Kia Anne Geraths on Vimeo.
Sunday, January 8, 2012
The Mammoth Camera.... nearly complete.
Below are some photos of the Mammoth Camera and how it looks so far. It has been slow getting it together what with other obligations in the shop, but this will be ready to go when the weather begins to get warmer. I have big plans for this camera and I am looking forward to taking it for a spin.
The carriage has several features that add to the ease of use of this massive camera. I designed it so that it holds the camera to nearly exactly my eye level. This makes it much easier to eyeball the shots I want to get before moving the camera into position. The carriage's flat bed which holds the camera is a two layered plank system with a hinged front end so that the camera can be tilted from a level position (shown) to any downward position by simply lifting the back of the bed and locking it in place. The tail off the back of the carriage can be changed in position with the simple pulling and repositioning of two pins. This allows me to change the angle of attack on the tail, tilting the camera upward to any degree I want. When the pins are placed in their highest position, the tail is horizontal to the camera bed; the tail then acts as the yoke to the carriage, allowing me to push or pull the carriage along with one hand without any problems at all. Even though the entire set up as shown weighs nearly 400 pounds, it is remarkably easy to move and position.
The camera itself is an original 1888 Anthony Climax Portrait Camera (I didn't name it) capable of shooting plates up to 16x16 inches. I was lucky enough to get this camera from the U of O through their surplus program. The lens is a wonderful RJ Beck with a 24" focal length. The bellows are all original and in fantastic condition. I have not made the wet plate conversion back but will be starting on it shortly. I made the carriage out of solid Pine and Ash and added a bit of Victorian flare to the design. Anyone can stick a big camera on a wheel barrow and call it good, but why not make it look nice?
The carriage has several features that add to the ease of use of this massive camera. I designed it so that it holds the camera to nearly exactly my eye level. This makes it much easier to eyeball the shots I want to get before moving the camera into position. The carriage's flat bed which holds the camera is a two layered plank system with a hinged front end so that the camera can be tilted from a level position (shown) to any downward position by simply lifting the back of the bed and locking it in place. The tail off the back of the carriage can be changed in position with the simple pulling and repositioning of two pins. This allows me to change the angle of attack on the tail, tilting the camera upward to any degree I want. When the pins are placed in their highest position, the tail is horizontal to the camera bed; the tail then acts as the yoke to the carriage, allowing me to push or pull the carriage along with one hand without any problems at all. Even though the entire set up as shown weighs nearly 400 pounds, it is remarkably easy to move and position.
On the tail is a small foot stool. This stool is made of Ash with a very nice dark Cherry top. It has grooves on each side that pins in the tail slide into. This allows the stool to be stowed up against the tail when not in use (left), but can easily lock down when in use (right) for a nice and sturdy place to stand when focusing the camera or removing the plate holder slide. This is exceptionally handy if the camera is tilted downward which puts the back much higher in the air.
I designed the carriage to be sturdy and solid but with narrow enough lines to both give a period correct look and not be so overbearing as to take away for the camera itself. I wanted the camera to be the focus of the set up and a bulky, tank like carriage would have taken away that effect. From the front the carriage is sleek and very Victorian in look, with gold filigree trim and black "cast iron" colors.
The wagon wheels were Amish made, solid hickory with cast iron hubs and steel axle. The wheels have rubber on the tread which is not period, but unfortunately required in some venues.
I designed the name graphic to give the carriage a bit of character. It was done with a cut stencil then hand stippled with gold paint. Newport Photographic Co. is the name I recently registered for the photographic equipment building part of my business. For some time I had been building under my exhibit shops name (Yaquina Exhibits) or under my photography businesses name (Yaquina Photography); but neither business really relates. Y. Exhibits builds museum related exhibits and displays and Y. Photography is the business name I use when actually taking pictures, both modern or period. Since I am building a website for the cameras and related equipment that I build, it only made sense to give that facet of my work it's own name... and so Newport Photographic Co. was born. People have an easier time pronouncing it as well. ;^)
More to come soon....
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