After its simultaneous discovery by Frederick Scott Archer and Gustave le Gray in 1851, the collodion process for producing wet-plate negatives quickly superseded the earlier Daguerrotype and Calotype methods for capturing images. Glass Collodion negatives were more sensitive to light (meaning that they required shorter exposures) than either of the older processes and were capable of finer detail than the grainy paper negatives that were used for Calotypes. Continue reading
Thinking forward to the sort of work I’m likely to be producing during Identity and Place, I realise that there’s going to be quite a lot of photographing people who I don’t know. In the past, people have often asked why I want to take their picture and then, when I’ve said why, whether I have a card or some other proof that I’m not just some random idiot with a camera. It therefore seems a good idea to get some cards made up. Continue reading
‘[Showing] the relationship between the past and the present […] so it’s not just “the past is over here and the present is over here” and that is it’
– Nicky Bird, interviewed on video for the Stills Centre of Photography in Edinburgh
While I was doing some reading on Nikki Bird for part 5 of C&N (around Question for Seller), I came across a later piece called Beneath the Surface, where Bird had worked with people whose part of Scotland had been “wiped away” to combine their photographs with up to date pictures of the places in the pictures. At the time when she first started thinking about this, she had been involved with an archaeological dig in Edinburgh.
Bugger! I thought. Continue reading