This is my second image from my new project Revelations. The project Revelations is dealing with insights that are being washed on the shore of consciousness in the midst of woodland, the stillness of the mind. Expect a book in two years.
Technically (almost) everything is handmade, from mixing chemistry for glass plate negatives to coating of paper, developing, processing, down to retouching the negative with graphic pencil. I do buy glass at a glass cutter 🙂 This image is a contact copy from a wet plate collodion negative, printed on glass as a carbon print. These two processes are dating back in 1850’s and beside that they are the most archival processes, they are also the best photography as a medium can offer.
The carbon print is transferred on glass. Carbon print on glass has a very unique characteristic. The image appears almost like 3D, because the image is made by the relief of the pigmented gelatine, meaning the blacks are made by a thick layer of pigmented gelatine and whites are made with thin layer of gelatine. I know many photographic processes and this is my favourite one.
I, Borut Peterlin, have devoted all my life to photography and I have a BA degree in Fine Art Photography from Famu, Prague, PostGraduate Diploma at London College of Printing, I was working with Oliviero Toscani at Fabrica / United Colors of Benetton and I was photoeditor and photographer at Mladina weekly magazine for about ten years. In 2001 I’ve started Fotopub festival and I was an art director for eight years. Most of my knowledge in the 19th Century photography processes originates from workshops with Mark Osterman in George Eastman House, Rochester, USA and I also took color carbon printing workshop with Calvin Grier. I have great interest in education and although I have many seminars at colleges, I keep myself away from academic waters in favour of a freelancing career. I share my knowledge passionately either through seminars, workshops and also via my YouTube channel.