Erin Melancholic with Roses
Wetplate by William Lawrence taken in January 2016. Includes signed Certificate of Authenticity.
Photographer's Statement:
Dreams in Silver: The Body in Time is a set of nudes on tintype inspired by Alfred Cheney Johnston’s 1920’s nudes of the Ziegfeld Follies dancers. The series reflects the combination of old and new; Lawrence uses an 1850’s process for a 1920’s style of photography with modern lighting and 21st century women as subjects. He strived to create an atmosphere to the work that is abstracted from any point in time, hopefully giving a timeless feel to the work, at times edging into the whimsical realm.
What is wet-plate photography?
The wet-plate process was invented about 1850. Enthusiasts have kept the process alive and practiced as an “alternative photographic process” today. I use the same process as tintypes done in the 1860’s (except I use enameled aluminum plates rather than iron plates) – many tintypes from that era still exist today, so I expect these photographs to last longer than I do. I do, however, recommend that the tintypes be kept out of direct sunlight.
The collodion process is most sensitive to blue and UV light – this gives a unique look to the plate that is one of the reasons that I love this type of photography.
Recipes for the collodion, developer, silver bath have been translated and if necessary updated from the original manuals, allowing me to make my working chemicals from scratch. I start by pouring salted collodion on to an aluminum plate; this plate is then sensitized in a bath of silver nitrate, which results in a light sensitive emulsion similar to film. I expose the plate with my view camera, and then immediately develop and fix the plate. The whole process from pouring the plate to developing it must be completed in 15-20 minutes. The plates are sensitized and developed in my portable darkroom, so I can do the photography in studio or in the field.
Since the photograph is taken on an aluminum plate, it is ideal to display as a unique object on a stand rather than framing. The plates are also suitable for framing or display in a shadowbox if desired. I tend to display them using a small wooden easel as a stand, so the photograph can be displayed immediately upon receiving it.
The Look
Wetplate taken by William Lawrence in August 2016. Includes signed Certificate of Authenticity.
Photographer's Statement:
Dreams in Silver: The Body in Time is a set of nudes on tintype inspired by Alfred Cheney Johnston’s 1920’s nudes of the Ziegfeld Follies dancers. The series reflects the combination of old and new; Lawrence uses an 1850’s process for a 1920’s style of photography with modern lighting and 21st century women as subjects. He strived to create an atmosphere to the work that is abstracted from any point in time, hopefully giving a timeless feel to the work, at times edging into the whimsical realm.
What is wet-plate photography?
The wet-plate process was invented about 1850. Enthusiasts have kept the process alive and practiced as an “alternative photographic process” today. I use the same process as tintypes done in the 1860’s (except I use enameled aluminum plates rather than iron plates) – many tintypes from that era still exist today, so I expect these photographs to last longer than I do. I do, however, recommend that the tintypes be kept out of direct sunlight.
The collodion process is most sensitive to blue and UV light – this gives a unique look to the plate that is one of the reasons that I love this type of photography.
Recipes for the collodion, developer, silver bath have been translated and if necessary updated from the original manuals, allowing me to make my working chemicals from scratch. I start by pouring salted collodion on to an aluminum plate; this plate is then sensitized in a bath of silver nitrate, which results in a light sensitive emulsion similar to film. I expose the plate with my view camera, and then immediately develop and fix the plate. The whole process from pouring the plate to developing it must be completed in 15-20 minutes. The plates are sensitized and developed in my portable darkroom, so I can do the photography in studio or in the field.
Since the photograph is taken on an aluminum plate, it is ideal to display as a unique object on a stand rather than framing. The plates are also suitable for framing or display in a shadowbox if desired. I tend to display them using a small wooden easel as a stand, so the photograph can be displayed immediately upon receiving it.
Erin Melancholic with Roses
Wetplate taken by William Lawrence in January 2016. Includes signed Certificate of Authenticity.
Photographer's Statement:
Dreams in Silver: The Body in Time is a set of nudes on tintype inspired by Alfred Cheney Johnston’s 1920’s nudes of the Ziegfeld Follies dancers. The series reflects the combination of old and new; Lawrence uses an 1850’s process for a 1920’s style of photography with modern lighting and 21st century women as subjects. He strived to create an atmosphere to the work that is abstracted from any point in time, hopefully giving a timeless feel to the work, at times edging into the whimsical realm.
What is wet-plate photography?
The wet-plate process was invented about 1850. Enthusiasts have kept the process alive and practiced as an “alternative photographic process” today. I use the same process as tintypes done in the 1860’s (except I use enameled aluminum plates rather than iron plates) – many tintypes from that era still exist today, so I expect these photographs to last longer than I do. I do, however, recommend that the tintypes be kept out of direct sunlight.
The collodion process is most sensitive to blue and UV light – this gives a unique look to the plate that is one of the reasons that I love this type of photography.
Recipes for the collodion, developer, silver bath have been translated and if necessary updated from the original manuals, allowing me to make my working chemicals from scratch. I start by pouring salted collodion on to an aluminum plate; this plate is then sensitized in a bath of silver nitrate, which results in a light sensitive emulsion similar to film. I expose the plate with my view camera, and then immediately develop and fix the plate. The whole process from pouring the plate to developing it must be completed in 15-20 minutes. The plates are sensitized and developed in my portable darkroom, so I can do the photography in studio or in the field.
Since the photograph is taken on an aluminum plate, it is ideal to display as a unique object on a stand rather than framing. The plates are also suitable for framing or display in a shadowbox if desired. I tend to display them using a small wooden easel as a stand, so the photograph can be displayed immediately upon receiving it.
Erin Melancholic with Violin
Wetplate taken by William Lawrence in January 2016. Includes signed Certificate of Authenticity.
Photographer's Statement:
Dreams in Silver: The Body in Time is a set of nudes on tintype inspired by Alfred Cheney Johnston’s 1920’s nudes of the Ziegfeld Follies dancers. The series reflects the combination of old and new; Lawrence uses an 1850’s process for a 1920’s style of photography with modern lighting and 21st century women as subjects. He strived to create an atmosphere to the work that is abstracted from any point in time, hopefully giving a timeless feel to the work, at times edging into the whimsical realm.
What is wet-plate photography?
The wet-plate process was invented about 1850. Enthusiasts have kept the process alive and practiced as an “alternative photographic process” today. I use the same process as tintypes done in the 1860’s (except I use enameled aluminum plates rather than iron plates) – many tintypes from that era still exist today, so I expect these photographs to last longer than I do. I do, however, recommend that the tintypes be kept out of direct sunlight.
The collodion process is most sensitive to blue and UV light – this gives a unique look to the plate that is one of the reasons that I love this type of photography.
Recipes for the collodion, developer, silver bath have been translated and if necessary updated from the original manuals, allowing me to make my working chemicals from scratch. I start by pouring salted collodion on to an aluminum plate; this plate is then sensitized in a bath of silver nitrate, which results in a light sensitive emulsion similar to film. I expose the plate with my view camera, and then immediately develop and fix the plate. The whole process from pouring the plate to developing it must be completed in 15-20 minutes. The plates are sensitized and developed in my portable darkroom, so I can do the photography in studio or in the field.
Since the photograph is taken on an aluminum plate, it is ideal to display as a unique object on a stand rather than framing. The plates are also suitable for framing or display in a shadowbox if desired. I tend to display them using a small wooden easel as a stand, so the photograph can be displayed immediately upon receiving it.
Erin Melancholic with Mandolin
Wetplate taken by William Lawrence in January 2016. Includes signed Certificate of Authenticity.
Photographer's Statement:
Dreams in Silver: The Body in Time is a set of nudes on tintype inspired by Alfred Cheney Johnston’s 1920’s nudes of the Ziegfeld Follies dancers. The series reflects the combination of old and new; Lawrence uses an 1850’s process for a 1920’s style of photography with modern lighting and 21st century women as subjects. He strived to create an atmosphere to the work that is abstracted from any point in time, hopefully giving a timeless feel to the work, at times edging into the whimsical realm.
What is wet-plate photography?
The wet-plate process was invented about 1850. Enthusiasts have kept the process alive and practiced as an “alternative photographic process” today. I use the same process as tintypes done in the 1860’s (except I use enameled aluminum plates rather than iron plates) – many tintypes from that era still exist today, so I expect these photographs to last longer than I do. I do, however, recommend that the tintypes be kept out of direct sunlight.
The collodion process is most sensitive to blue and UV light – this gives a unique look to the plate that is one of the reasons that I love this type of photography.
Recipes for the collodion, developer, silver bath have been translated and if necessary updated from the original manuals, allowing me to make my working chemicals from scratch. I start by pouring salted collodion on to an aluminum plate; this plate is then sensitized in a bath of silver nitrate, which results in a light sensitive emulsion similar to film. I expose the plate with my view camera, and then immediately develop and fix the plate. The whole process from pouring the plate to developing it must be completed in 15-20 minutes. The plates are sensitized and developed in my portable darkroom, so I can do the photography in studio or in the field.
Since the photograph is taken on an aluminum plate, it is ideal to display as a unique object on a stand rather than framing. The plates are also suitable for framing or display in a shadowbox if desired. I tend to display them using a small wooden easel as a stand, so the photograph can be displayed immediately upon receiving it.
Melancholic #2v2
Kallitype taken by William Lawrence in 2015.
Photographer's Statement:
Kallitypes
What is the kallitype process?
The kallitype process was invented by Dr. W. W. J. Nicol in 1889. This process uses a combination of a light-sensitive iron compound as well as a silver compound to make an image with exposure to light. It has it's origins in iron-based processes similar to cyanotypes, and has some similarities to the platinum/palladium printing process. I mix the iron and silver compounds, and paint the base paper with the resulting mix. Once the paper is dried, a negative is placed on top of the light sensitive paper in a glass printing frame, and then placed under high-intensity UV light. When the exposure is complete, the exposed print is developed toned with a metal, and fixed. I use gold or palladium as a toner, which gives the tonality that I want, and also greatly increases the longevity of the prints - there are still toned kallitypes around today from when the process was used in the 19th century. The print is washed to remove unused chemicals, then dried.
These kallitypes are hand-made. Since each print is individually made with a historic process using hand-mixed chemistry, individual prints from the same negative may show variation.
Melancholic Pearls
Kallitype taken by William Lawrence in 2016.
Photographer's Statement:
Kallitypes
What is the kallitype process?
The kallitype process was invented by Dr. W. W. J. Nicol in 1889. This process uses a combination of a light-sensitive iron compound as well as a silver compound to make an image with exposure to light. It has it's origins in iron-based processes similar to cyanotypes, and has some similarities to the platinum/palladium printing process. I mix the iron and silver compounds, and paint the base paper with the resulting mix. Once the paper is dried, a negative is placed on top of the light sensitive paper in a glass printing frame, and then placed under high-intensity UV light. When the exposure is complete, the exposed print is developed toned with a metal, and fixed. I use gold or palladium as a toner, which gives the tonality that I want, and also greatly increases the longevity of the prints - there are still toned kallitypes around today from when the process was used in the 19th century. The print is washed to remove unused chemicals, then dried.
These kallitypes are hand-made. Since each print is individually made with a historic process using hand-mixed chemistry, individual prints from the same negative may show variation.
Melancholic #1v2
Kallitype taken by William Lawrence in 2015.
Photographer's Statement:
Kallitypes
What is the kallitype process?
The kallitype process was invented by Dr. W. W. J. Nicol in 1889. This process uses a combination of a light-sensitive iron compound as well as a silver compound to make an image with exposure to light. It has it's origins in iron-based processes similar to cyanotypes, and has some similarities to the platinum/palladium printing process. I mix the iron and silver compounds, and paint the base paper with the resulting mix. Once the paper is dried, a negative is placed on top of the light sensitive paper in a glass printing frame, and then placed under high-intensity UV light. When the exposure is complete, the exposed print is developed toned with a metal, and fixed. I use gold or palladium as a toner, which gives the tonality that I want, and also greatly increases the longevity of the prints - there are still toned kallitypes around today from when the process was used in the 19th century. The print is washed to remove unused chemicals, then dried.
These kallitypes are hand-made. Since each print is individually made with a historic process using hand-mixed chemistry, individual prints from the same negative may show variation.
Melancholic Angel
Kallitype taken by William Lawrence in 2015.
Photographer's Statement:
Kallitypes
What is the kallitype process?
The kallitype process was invented by Dr. W. W. J. Nicol in 1889. This process uses a combination of a light-sensitive iron compound as well as a silver compound to make an image with exposure to light. It has it's origins in iron-based processes similar to cyanotypes, and has some similarities to the platinum/palladium printing process. I mix the iron and silver compounds, and paint the base paper with the resulting mix. Once the paper is dried, a negative is placed on top of the light sensitive paper in a glass printing frame, and then placed under high-intensity UV light. When the exposure is complete, the exposed print is developed toned with a metal, and fixed. I use gold or palladium as a toner, which gives the tonality that I want, and also greatly increases the longevity of the prints - there are still toned kallitypes around today from when the process was used in the 19th century. The print is washed to remove unused chemicals, then dried.
These kallitypes are hand-made. Since each print is individually made with a historic process using hand-mixed chemistry, individual prints from the same negative may show variation.
Cradled
Palladium-toned kallitype taken by William Lawrence in 2015. Artist's proof 2 of 2, 11" x 14".
Photographer's Statement:
Kallitypes
What is the kallitype process?
The kallitype process was invented by Dr. W. W. J. Nicol in 1889. This process uses a combination of a light-sensitive iron compound as well as a silver compound to make an image with exposure to light. It has it's origins in iron-based processes similar to cyanotypes, and has some similarities to the platinum/palladium printing process. I mix the iron and silver compounds, and paint the base paper with the resulting mix. Once the paper is dried, a negative is placed on top of the light sensitive paper in a glass printing frame, and then placed under high-intensity UV light. When the exposure is complete, the exposed print is developed toned with a metal, and fixed. I use gold or palladium as a toner, which gives the tonality that I want, and also greatly increases the longevity of the prints - there are still toned kallitypes around today from when the process was used in the 19th century. The print is washed to remove unused chemicals, then dried.
These kallitypes are hand-made. Since each print is individually made with a historic process using hand-mixed chemistry, individual prints from the same negative may show variation.