Be Action Oriented

drying cyanotype prints

Busy is happy!

There is an old saying in the Navy that a busy crew is a happy crew. Seems true to me that the way to be happy and creative is to be action oriented. The more over thinking the less you actually get done. Opportunities come and go and often the window to accomplish something is very small.

Yesterday I had an exhausting day job day. When I got home I wanted nothing more than to chill out and relax. But then I remembered a few cyanotype experiments I wanted to do. But the studio was cold and it would take a couple of hours to get the fire going. And it was getting dark so I could not use the sun to print. And my work space was set up for salt prints… and on and on…

So I just decided to put on a jacket, set up my sun lamp and just do one experiment. Just a few minutes later I had an exposure going. So I decided to clean up my office while I waited for the exposure to finish. Before I knew it the print was done and turned out really cool. Soooo… why not do another and change up the recipe. That one was soon done so I did another and another.

Suddenly I had four interesting prints drying in my bathroom – two of them really nice! The lesson is – be action oriented! Get something done! When you have to shoot, shoot! Don’t stand there talking!

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More Cyanotypes

Mobile Darkroom Build

My mobile darkroom build is going very well. The return of Winter weather had slowed things down but sometimes you just have to put your head down and keep on moving forward.

So why a trailer? Well, a lot of wet plate photographers use a dark box or small tent. These have the advantage of being portable but they suffer from not being very comfortable to work in. I like space when I am working! While the dark box can be visually pleasing tents are definitely ugly! I also wanted something that gives a sense of occasion to my outings. A trailer, as I conceive it will make people wonder “what is going on over there?” If done correctly, it will bring them in and maybe encourage them to join the party!

A note on my methods: I am borrowing a lot of the construction from how an RV or camper is built. Strong enough to withstand the elements and 75 MPH winds but still lightweight for towing. This means 2 inch thick walls and honeycomb construction. My build will not be as aerodynamic as most RV’s. I am going to compromise the slipstream to make it more aesthetically pleasing. I don’t plan on towing long distances so a little more wind resistance is not an issue – I hope!

After a lot of searching I found a suitable trailer. I wanted something a little wider but not too long. Also not too heavy as I would be pulling the thing around. I finally found a 5 1/2 x 9 foot trailer that was perfect!

As you can see, I picked up the trailer on a beautiful Fall day with hopes of continued good weather. I stripped the trailer of the wood sides and old flooring. I cleaned up the frame and gave it a good coating paint. I also welded up the tilting mechanism so give the trailer more strength.

New plywood flooring was installed. I used ground contact treated plywood figuring this part could get wet. I glued the plywood to the frame rails to both hold it in place and to keep the floor from squeaking! Once the walls are in place the glue will be reinforced with bold on brackets. Here is a shot of glueing down the floor (I know that weight set would come in handy).

I prefabbed the walls in my garage and then added them onto the trailer. As you can see from the picture Winter has arrived! The walls 2 inches thick with a 1/4 inch plywood outer skin. I will add insulation later and some sort of interior finish (not decided on what just yet).

After the side walls, the front was added. This allowed me to square up the sides and give some dimensional stability to the structure. You can see from the picture above that the internal framing is not done yet. I am waiting until I pick up the windows to finish the framing. Insulation will be the last step.

Here is a photo of the 3 sided darkroom – starting to look like something now!

A note on the vertical 2×4’s on the outside. These are just for support and will be removed when all the walls on are and bolted down. You can also see my scissors jacks on the corners. I will use these when the trailer is parked to level everything and give some stability.

Good thing I got the walls up when I did because the last week has been nothing but snow, rain and sleet! But with some temporary roof joists and a big tarp my build survived the weather with no damage!

So what is next? I hope that the past week was “March coming in like a Lion” and the weather will moderate for construction. Windows and door will be next and then I can finish the framing and put on the roof. Then it’s just finishing work and installing the interior work and storage surfaces. My plan is to have everything done by the end of March to Mid April. Watch for more updates and a video of the build when everything is done!

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Ice Boats – Salt Print

Ice boats race across Lake Winnebago Ice. An 8x10in salt print.

This print is an experiment with a new coating / sizing formula. I used powdered egg whites for the albumin instead of cracking a bunch of eggs. The powder is a bit less expensive (no wasted yolks) and a lot less work. The coating gives a really nice matte finish to the print, even though it is hard to see in the picture.

Residual egg yolks were a big problem back in the heyday of albumin based photography and prints. So the producers came up with a lot of nice recipes for using the egg yolks. Yolk Pound Cake, Lemon Curd, Vanilla Ice Cream and Creme Brulee

I will be making 8 more of this image and all of the prints will be for sale soon!

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Cyanotype Develop and Fix – Video

Just a short video showing the final steps of my cyanotype process. I usually use sunlight to expose my cyanotypes but it was too cold and dreary outside so I used an LED UV lamp for this print.

After exposure the print is taken to a dark room, removed from the printing frame, and washed with tap water. The wash process removed unreacted iron from the dark areas in the negative. This leaved behind the image in Prussian Blue dye. It also renders the image light safe. I usually do 4 rinses in the dark room followed by about 10 minutes of rinsing in the light.

I add a pinch of hydrogen peroxide at the end to bring out the final color. This is not necessary as the print will achieve the same color a day or so after drying. But I like to see the final color right away. This helpful to check I am getting the desired exposure when I am doing a series of prints on the same day.

You can see more of my videos on Vimeo at Vimeo.com/jalanlee

Collodion Tintype Portrait in The Summer

collodion tintype portrait

Summer is for outdoor collodion tintype portraits! I am so blessed that I have friends who are willing to pose for practice sessions. A good friend braved the Summer heat to pose for an outdoor practice plate. This is an 8×10 inch tintype made with the collodion process.

They say the practice makes perfect. But I don’t think that is true. What I think is practice + reflection + adjustment puts you on the path to “good”. You have to reflect on the result and think about what worked and what could be improved on. Then make a change and try again. Sometimes the changes make things worse! But then you know what not to do. Sometimes the changes are are smaller than the random stuff that happens! Sometimes you do everything right and get a “bad” result followed by errors which come out really well.

But that is the process of learning and growing! There are no shortcuts, no wikipedia page of blog post that will give you instant success. Try, and try again is the only method to learn and grow!

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Winter Cyanotypes

UV printing of a cyanotype using a wood print frame

January in Wisconsin is cold and dark! So I sometimes use an indoor UV lamp for Winter cyanotypes and salt prints. Here is a photo of a print in process. This is a 9in x 12in print from a digital negative. The light sensitive paper is placed against the negative and clamped in my home made wood frame. I use an LED UV lamp to provide the light. I have also found that I have to use a sheet of black paper on the back of my print to stop light leakage. This was happening around the seam between the two halves of my printing frame.

I have been doing longer and longer exposures to generate the deepest blues I can. I would use as little as 5 minute exposures in the past but now run about an hour.

I will post the final images in my next blog. You can see more cyanotypes which I have for sale at Prints For Sale. You can also check out my Etsy Shop

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Speedotron Capacitor Safety

The capacitors used in a Speedotron flash power pack are powerful and potentially dangerous if not cared for properly. This is especially true when the unit has not been used for a long time. There is a simple way to reform the capacitors after extended down time which ensures they are safe and fully functional.

Every day is like Christmas, at least it is when you believe! I am building up my wet plate kit and the newest member is a wonderful Speedotron 4803 power pack. My current pack is a 2403 which can deliver a mighty 2400ws of flash power. That is enough for wet plate portraits if I keep the aperture open and place the lights close. But, there are times when I could use more power. This is especially true when I have a big group to light or when I want to use a softbox to enhance the light.

So I have been looking for a 4803 power pack for some time and not finding any close to home (at least not in my price range). But yesterday I made the 3 hour drive to Brookfield, IL and picked up a beautiful 4803 power pack. This unit delivers twice the light for an eye popping 4800 ws.

Why Speedotron?

I like these units for a couple of reasons. They deliver a good amount of power. They are “workhorses” meaning they are tough and seldom break. The lights are pretty affordable on the secondary market and the flash tubes are too.

The problem with capacitors

All flash units are based on a high voltage capacitor delivering a lot of power to a flash tube in a very short time. Speedotron capacitor safety is especially important because the units hold a lot of energy! The capacitors in these units are a kind of battery that uses thin aluminum and paper sheets. They are rolled up together with a coating of chemical paste. The rolls give a lot of surface area to hold an electrical charge. The aluminum develops a very thin layer of aluminum oxide which acts as a insulator. This allows the charge buildup and keeps the capacitor from shorting out. “Shorting out” is another way of saying “catch on fire and blowing up”!

The oxide layer is naturally maintained when the capacitor is charged and discharged regularly. So like many things, capacitors like to be in service instead of sitting around. So when a flash unit is not used for a while the oxide layer can break down. A bit of breakdown will reduce the flash power because the capacitor will not fully charge. If the unit has sat for long enough the oxide breakdown can be severe enough to cause a failure the first time the unit is powered up.

So what is Capacitor Reforming?

But all is not lost! The oxide layer can be easily reformed in an old capacitor if you follow a simple procedure. The basic recipe is to apply a very small voltage to the capacitor for a long enough time. This reforms the capacitor and allows it to safely function at full voltage. Reforming voltage can be around 5 to 10% of the full load voltage. The time can be as little as 5 minutes for small capacitors up to several hours for large ones.

Speedotron Reforming

The operating manual recommends reforming whenever the unit has not been used within 3 weeks. They recommend plugging the unit in, turning on the power and leaving it on for at least 3 minutes before firing the flash. Yes, that is it!

If your power pack has been sitting for a lot longer (or you are unsure how long it has been sitting) I recommend a modified turn on procedure:

1) Set the power switch in the off position,

2) Set the dial to full power,

3) Plug in the power cord,

4) Flip the power switch to “on” for about 1 second and then back to off,

5) leave the unit off for 10 seconds,

6) Repeat steps 4 & 5 several times until the “ready” light comes on – then leave the unit on for at least an hour before flashing.

My 4803 was fully functioning when I picked it up so the capacitors were in safe condition. However, the unit has not been used a lot the past few years so I decided to reform the capacitors a bit just to be safe. So it is plugged right now and I will leave it sit powered up for a couple of hours. That’s it!

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Collodion Portrait Session FAQ

So you booked your portrait session.. Awesome – I am so excited!

Collodion sessions are a little bit different from digital photo sessions. The mood is slower paced and much more relaxed. We only produce a small number of images so it pays to plan things out in advance. Collodion is also a one-of-a-kind image process so there is always a bit of randomness to the final image. Of course, the surprise is just part of the fun.

So here are some frequently asked questions..

How do I book a session?


Go to my Contact / Booking Page

How many people can be in a picture?


The group size is a function of how much space we have. In the studio we generally are limited to 2 or maybe 3 people. Large groups need to be outdoors to have good light and enough space to get everyone in the frame. The exposure can last from 3 to 10 seconds so it is important that everyone hold as still as possible or they will be blurry. Very young children can be lots of fun!

What about pets?


I welcome pets but the quality of the picture does depend on them being able to hold still for a few seconds!

How long does a session last?


Usually an hour to an hour and a half. Depends on how many images we want to produce. Each image will take about 20 minutes total time.

So I have to pose for 20 minutes?


No! The actual posing time is less than 10 seconds. The rest of the time is spend preparing the plate and developing it after exposure.

Do you use flash for lighting?


My preference is to use natural light for portraits. I think it is the most flattering. But I can use flash photography if there is no sun or we are shooting indoors. The flash is very bright!

What should I wear?


Anything you want! Because of the special nature of collodion people usually put more thought into their wardrobe. Sometimes people like to wear period clothing to keep the “antique” vibe. While others go for a more casual style. But anything that makes you feel special is great. Generally it is better to avoid busy patterns as they can be distracting.

What about colors?


Collodion is a black & white process (monochrome). So colors come out in special ways. Here is a handy guide:

White looks white
Black looks black
Blue comes out white to light grey
Green will turn out dark grey to black
Red is dark grey
Orange is the new black

Here is a color wheel showing how colors come out in collodion

collodion color wheel


What is the process for taking my portrait?


We will set up the location and poses

I will get the camera adjusted and focused

You get to chill for about 5-6 minutes while I go into the darkroom to get a plate ready

Do the real pose and take the picture

It will take 3-5 seconds to get the picture so you will need to hold as still as possible for this time!

Back to the dark room to develop the picture – less than 5 minutes

I will bring the picture out into the light and you can watch the image emerge in the “fixing” bath

The picture goes into the rinse and we can setup for another picture!


When do I get my picture?


The plate will need to be varnished and mounted (if you ask for framing). Most always your finished plate will be ready within 24 hours. I always varnish the plates to protect them. My current varnish is a mixture of Frankincense and lavender oil and this requires a bit of time to cure and harden. If you are not local to pickup I will ship the final plates and you should have them within 3-5 days.

Haven’t book yet? Well click here for my portrait booking page!

Oregon Shore Cyanotype

cyanotype rocks on the pacific ocean shore

I get to travel a lot in my life and have been many wonderful (and not so wonderful) places. The Pacific coast in Oregon is one of my favorites! Here is a cyanotype made from a picture I took on the beach in Oregon. It was a cloudy and rainy day and I saw the almost glowing piece of driftwood. The contrast between the white drift wood and the wet rocks was very appealing so I snapped a few frames.

This is a 10in x 14in cyanotype of that scene. The process really accentuated the contrast between the dark rocks and the sun and salt bleached wood. Makes for a very unique cyanotype image.

This image is for sale on Etsy! Check out this image, and many others, in the Etsy Shop.

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Lily Pads Print Cyanotype

lily pads cyanotype print

A Cyanotype print of lily pads and sparkling water. This 12in x 9in print is for sale in my Etsy Shop

I used the new cyanotype process for this print which produces deep cobalt blue color – almost black. I think the contrast of the water sunlight sparkles and the dark water is especially beautiful. This print was made using a film (black and white) negative from pictures I did this summer in Northern Wisconsin. Here is another photo which shows both the amazing color and the texture from the renaissance wax finish.

This print really brings me memories of Summer! So as the days get shorter and shorter I could use something to keep me going!

You can see more of my prints for sale either on Etsy or on my Prints Page

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Lighthouse – Salt Print

sturgeon bay channel lighthouse

It is Fall and getting ready for Winter is top priority. Our first snow has melted with the warmer weather the past week. So I have been getting my outdoor work done including Christmas lights, putting away the Summer furniture and general housekeeping around the scrap metal pile! But that didn’t stop me from catching up with some salt printing. This image is from a trip to Door County, Wisconsin. It was a perfect picture day – cloudy with enough breeze to make waves on Lake Michigan. Also a bit chilly which doesn’t impact the photography process but helps to keep tourist traffic to a minimum! Not that I dislike tourists, it is just they make extra work to get a clean photograph.

This is a 9x12in salt print which I toned with a little bit of selenium. It is not for sale at this time but will grace my office wall (when I find the time to frame it)! You can see my prints for sale in my shop on Etsy

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Bridal Veil Falls – Cyanotype

bridal veil falls cyanotype

A cyanotype of Bridal Veil Falls. The falls are in Oregon in the Columbia River Valley. One of a series of waterfalls Just East of Portland. This is a highly stylized rendition of the falls made with the New Cyanotype process to give very deep and dark (almost black) cobalt tones.

The original is a black and white film negative which I digitized and produced a larger negative for contact printing in sunlight. Here is a closeup showing the details in the waterfall.

This is a 9in x 12in print on archival paper and is available for purchase on my Etsy Store for $29.99

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