29 Unique And Interesting Photos To Give You A New Perspective On Photography, As Shared On This FB Group

A year ago, I made my first iron-process print, from a digital negative of an image of especial importance for me. A year and many hundreds of prints later, I circled back and reprinted it this week. I still have work to do, but I am reaching a point where I feel as if I am reaching the process's potential. This print: Walking Piper (2021), a platinum-toned kallitype printed onto Revere Platinum paper

Yesterday, I made the sterling silver filigree setting at my jeweler's bench and carefully set the ambrotype. Making these tiny collodion images is a labor of love. It takes a certain intensity of work in a category all it's own, which is a challenge to maintain. For me, it's a much more difficult process to capture images on small glass pieces or stone, rather than, for example, a larger 4x6" plate. Here are the reasons why for those who have an interest. First, it's a challenge to hold on to the tiny piece while pouring on the collodion and not getting my fingers on the poured substance, as many of you in this group know collodion in it's delicate form, while wet. Each finger print is much more consequential on a smaller ambrotype vs. a larger image. Secondly, focusing in camera onto such a tiny surface takes a lot of time and patience and it's a much easier task when working with a larger, regular sized image. The focus really counts on a tiny image. Thirdly, pouring developer on a small surface, many times inhibits the developer flow, as it's optimal to have the liquid flow around the plate for 9 to 12 seconds. Larger plates allow for easier movement of the larger amount of liquid. I hope this is interesting information for some of you photographer geeks like me. 🙂 I've cut down on making these little collodion beauties, not because I don't enjoy it, but because it truly takes a lot of intense focus, time and effort.

Using traditional darkroom processes with minimal equipment, British artist Mike Jackson creates the illusion of geometric sculptures using just controlled light. Often the work is revealed to the artist himself only upon its last stage of development, requiring Jackson to apply the practice of afterimage memory, relying on drawn guidelines for accurate placement. Jackson creates a distinct camera-less aesthetic by viewing silver gelatin paper as two- dimensional clay shaped by directed light or as a “bell jar ready to be filled” with emotional responses to subjects. His sculptures of light merge the real with the fantastical, pushing photography into a world of three-dimensionality

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