Відео

Does anybody know where I can find the whole series of photos that she referred to as "prisoners"? Those particular ones that were shown are super nice.

Way too much artsy, wandering, useless footage . Would be much better to show more of the work and less nonsense and silly boring shots.

Daniel is the hero we (classic Porsche community) all need. Talented and committed professional with this passion is worth his weight in (whatever you value highly). Only regret is I don’t live close enough to be in your community. Cheers

Photography was the new art of the 19th century. But it is erroneous to believe the was used as proof of reality. There are different levels of reality and artistic syntax. For example, Oscar Rejlander and Henry Peach Robinson made combination photographs, and later there was Pictoralism, a movement using diffraction, rough papers and soft focus lenses, which made the photos resemble impressionist paintings.

As a large format user myself consider collodion to be most tiresome, boring and pointless activity (hobby for the sake of hobby), because in the time of one midiocre shot you can do tons of masterpieces on 8x10, 11x14 etc. Still your passion makes life go beyond.

Amazing work and passion for the craft aspect which is absent today in photography. I can relate to the size of the camera and wet plate process. At Knox College in 1971 the library had a collection of glass plates, some as large as 11 x 14 and hired me to make contact prints of them. Many of them were of steam locomotives and I was blown away by the detail and tonal ranges they had. I taught myself the Zone System by reading Adams books and the quality of the prints I was able to make helped me get an apprentice job with a renowned photographer and then a job in the Photomechanical Lab at National Geographic from 1974-77 where I operated a Lanston Monotype process camera which had a 40” x 48” film back. I learned to make halftones and color separation on litho film with contact screens and created my own exposure computer to calculate the three different exposures needed to shift the mid-tone and change the contrast of the reproduction like we can in digital using the middle slider in Levels. There’s no middle slider like that on B&W film why dodging and burning after capturing a full range of detail is necessary. To make the largest size wall maps we turned it into a giant enlarger putting the 52” wide roll film on the copy board and the halftone positive for the six colors used on the map on a sheet of plate glass where the film would normally go, using a carbon arc lamp with a motorized dodger as the light source. We developed the litho film up to 40” wide machine processor but the 52” x 72” sheets used for the largest maps were processed large stainless steel sinks by rolling and unrolling it, running from one side of the sink to the other. My favorite project while working there was reproducing original Edwin Curtis sepia photos of Native Americas from the NGS archives as CYM tritones using contact screens and litho film to duplicate the Sepia tone and resolution of the sepia originals for the NGS “Indians” book published around 1975. The proofing system I used for the maps required coating a 30” x 40” sheet of white mylar with a liquid diazo emulsion one color at a time from gallon jugs onto a spinning plate coater similar to coating photographic plates. It was an acquired skill that had to be repeated six times for each map proof-screw up one color and you started over, which I did more than once. Thankfully it was replaced with a DuPont Cromlin dry powder proofing system I became the operator of learning CIE-xyz color science from the guy at DuPont who invented and developed it. National Geographic was an amazing place to work but one had to wait twenty years for someone to grow old and retire to get promoted so I moved on into printing management where in 1980s while working as production manager at a magazine printer I had the opportunity to work with a dozen of Ansel Adams prints reproducing them as dual-black duotones using techniques I’d mastered at NGS, the job I got because I mastered the technical aspects of his Zone System-finding subjects which were as compelling as his? Not so much. 😂

Wow, fantastic video. Film really. Great storytelling, and you capture well the bug that infects a few of us…

nice work, Lindsey, a great and refreshing change from Nick Carver and other ULF\LF photographers interpretation of this location; esp. the contrast of the plates.

This is so true! If you want to change anything at your Porsche, buy another car. Stock cars are so pure and great!

Congratz, guys. Seven and counting.

This was brilliant. I just bought my first Porsche. My dream 911. While I’ve always modified cars, for some reason I find myself wanting to keep this as original as possible. There will be slight upgrades here and there for durability or CarPlay (lol) but mostly they’ve built a perfect machine that I want to keep running forever. Great film.

I absolutely love his humbleness and true love of animals. I attended a clinic of his in norco calif probably 20 years ago with my sister. Love him. ❤❤❤❤❤

Wow!

I love the whole scoping out compositions while in the parking lot. like you haven't even gone into the park yet and you're ready to start shooting. thats relatable. thats pure excitement.

I love to watch how you work Lindsey . and yes the last image is a beauty. I miss the pinky though... 🤟

Such an incredible mini-doc! This was very inspiring-- her passion and vision and acknowledgement of the performative aspect of the art, in addition to her "why" and the origin story of her project-- all of it just makes me want to go out and take pictures. But not on wet plate lol. That looks rather intense, and that mega-XL-format is mind blowing lol

Love your work!😉

what ISO this plate?

Just simply stunning.

And I thought sending my rolls of film off to a developer required patients. Fantastic video!

Oh my goodness! ❤ This is so amazing! I admire artists like this! Awesome photographs! Great short documentary!!! 👍

It's my dream to work like this, will you hire me?

wonderful photographer and fantastic work!!!

Fantastic,true photograph, great process and keep up your stunning work, love Large and Ultra Large Format Photography!!!!!

Love her work.

I think for me, there are two amazing (well there are many, but I'll mention two) things about this. The sort of concentration and zen state you need to get into to not mess anything up, and then because this is so large format, like super-duper large format, that this has no megapixel equivalent. Because of the process and the size this can only be reproduced by this camera and development, and probably the person mixing the chemicals. Its not "I used this camera and lens", "or this film". She makes the film and can nearly climb inside the camera. It reenforces the art of her photography from the very beginning to the final product, and anyone who does wet-film. They are like photography Chef's, lots of people follow recipes, but everyone makes the entre' just a little different. Just amazing.

Wow, beautiful, thanks for sharing. I love the anticipation of waiting for the result of the print and seeing it at the end. Much like the anticipation in the darkroom. I can still remember the image appearing in the developing tray from the first print I ever did! This film took my right back there.

Outstanding. A different level of commitment when you need a truck to haul your kit and need to dress like a hazmat technician. Beautiful work.

very inspiring!!! excellent work

Impressive composition and final image. Very nice work.

What gorgeous work, both in camera and off. Large format wet plate is a labor of love, the performance is often as important as the lasting image. Well done.

Wow!

Such beautiful work! Both with this mini doc and Lindsey‘s plates.

Want to do a print collab?

where is the full movie ?

Awesome video. Definitely got a new subscriber here.

This is such a great video, well done

Love the all in hands on approach to any craft. Can't imagine what these look like in real life

Amazing! As a history major and a photographer, this is 100% my jam.

Really lovely to see your process. Although at grad school I decided to keep with digital -and even when I shoot 4x5 I scan the film and process digitally- I have always been interested in the wet collodion process, and it is fantastic to see it played out. Congrats for your beautiful work!

nice, really good work.

How cool is that. Great video, I also do wet plate, so nice to see other people's work. Like most wet plate artists I see you have embraced failure, but in the end it's so nice to give someone something tangible to actually hold. It would be nice to see a video of your camera and studio. I use an 8x10 Century and working out of a condo is Mickey Mouse at best but it seems to work. Keep up the good work.