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Photos of both inside and outside.
Reflections/mirror/window/glass.
Lighting was great at this time for photos of the bus, I wanted to capture the sky and buildings outside as well as the bright interior of the bus.
I then painted these images and what was said in the last crib was these have much more potential than my kaleidoscope pieces...
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Above set of images are paintings of both the outside and inside of the bus window. I liked the contrasts of lights on in the bus against the evening dark outside. I have always looked at this view by travelling to college and work everyday for 4 years and now and again pick up on the layers. The photos are exactly what I wanted them to look like and paint from.
Again the painting proved to be difficult, trying to get the right colours, perspective and also realistically like a bus window view. I did another in my sketchbook and analysed it again and that one was more successful. It was more accurate with colour and light contrasts.
I shall now go to my cut out/collage ideas as this development is not working and I do not know how to progress further and don’t want to spend too much time on it incase it still has a dead end. However it was enjoyable to create one of these photos onto a canvas with paint and it took a look of concentration and attention to detail which I don’t focus on a lot of the time.
To continue creating different forms and ideas I decided to find photos of shapes/objects instead of drawing them myself.
These images are of the dome like ceiling in Edinburgh Waverly Station. I multiplied them to keep up with the layered/illusion look of an image...
Installation ideas
This is to show how ambrotypes are negative on lighter backgrounds but positive on darker
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Exhibition Hang
This is a rough example of the layout in which my project is intended to be hung during the exhibition. My camera will be included alongside the plates as it’s obviously the most important aspect of the project, I also want to have it presented to allow those viewing the project, to really be able to see how it works and really connect with it, so they can look through the viewfinder, focus the lens and have a more tangable experience interacting with my project. I’ve decided on this layout of the plates for a few reasons. I’ve intended to place the two portraits of my parents at the average eye level, as they are key influences throughout this project, I feel their presence is the most important amongst the rest of the plates. I’ve also arranged the environment based plates surrounding the portraits to infer that they revolve around the two influencers. I’ve intentally shot 3 more minialist plates, with only one large leaf for example, as well as 3 more busy compositioned plates, such as the one showing several smaller flowers or a cluster of small leaves overed in textured raindrops, I’ve then spaced these out around to give a visual sense of balance, the top left and right alongside the bottom centre are the busier plates and the opposing plates are the minimal ones. I’ve also included a space on the left where a collection of my printed zines will be presented to encourage and allow anyone interested in my project to take and keep.
Final Plates
How To Produce an Ambrotype
1. Thoroughly clean plates with glass cleaner
2. Line the edge of the plate (around ¼ inch in) with albumen (egg white) and let dry - this will help collodion adhere to the plate
3. Pour the collodion in a large pool in the center of the plate and tilt to flow to each corner, then pour off any excess into spare bottle
4. When the collodion is tacky/jelly, place in a silver bath and leave for 5 minutes. The plate should come out a milky white colour
5. In red light, remove the plate from the bath, drain any excess onto the kitchen roll and place into the plate holder, collodion side facing away from you. Wipe off excess silver from the back of the plate
6. Expose the plate - with Poe Boy collodion the exposure times are roughly 6-10 in shaded areas or 2-6 in bright sunlight
7. In red light, remove plate from holder and pour over developer, ensure it covers the whole plate with a pool settled on the top. When an image appears, flush thoroughly with water
8. Agitate plate in fixer until white areas turn clear
9. Thoroughly flush with water then place on a drying rack
10. Wax plates using a microcrystalline wax or specifically Renaissance Wax. Rub a large pea-sized amount on the plate using kitchen roll, until you feel the wax begin to stiffen. Then, using a clean and soft piece of fabric, rub the wax into the plate until it feels smooth and dry
