Austrian photographer Markus Hofstätter has published plenty of interesting wet plate projects. In his latest project, he brings together large format wet plates and stereo 3D photos. This was Markus’ most time-consuming project so far. It took him working six months to finish it, the first three just modifying his camera so it can take stereographic images. But judging from the results – it was well worth it.
I love seeing the wet plate experiments of Austrian photographer Markus Hofstätter. He’s so prolific with them that when he decides to do something interesting it ends up being very interesting. Lately, he’s been trying to apply wet plate techniques to types of photography you wouldn’t normally associate with the medium.
He has a couple of very cool projects on the go at the moment that he will tell us about in due time, but for now, check out these passport photos shot on wet plate using the Polaroid MiniPortrait 402 camera.
Normally I create photographs. This time, however, the final product is a video where you can follow the change of crystals/salts from the collodion wet plate process.
I have started this project because at my workshops I am often asked what happens when developing, fixing or sensitizing the plates. Of course, I have often tried to explain it, but a picture is worth a thousand words. That’s why this video was made.
Photographing a group of people on large format wet plate needs a lot of power. Even with a relatively wide f/5.6 aperture, with an ISO of around 0.5 that still needs a lot of light. How much light? Well, around 7500 watt-seconds to be precise.
That’s how much power photographer Markus Hofstätter used for this group portrait of Austrian rock band The Black Proteus. Although, surely being photographed on wet plate makes them a metal band now?
Because the snowdrop shoot what so much fun, I wanted to do something like that again. After I saw the cherry blossoms on my tree, it was crystal clear what comes up next. I wanna shoot one of these with my wet plate camera, but this time I will shoot them on the tree.
When I was little, this tree was my climbing adventure. This tree has seen better days – the weather from the recent years started to ruin some parts of it. But it is still beautiful in the springtime.
Shooting wetplate is a bit of a feat all by itself. Sure, it’s getting a little more common than it was a decade or two ago, but it’s still not all that easy, especially if you want to do it well. Photographer Markus Hofstätter is no stranger to large format wet plate photography, but he’s had a burning desire to shoot it handheld. Obviously, the giant plate camera he uses in his studio is a little large for this type of thing, so he went on the hunt for something a little more manageable.
Despite picking up a little in popularity in the last year or two, wet plate photography is still quite an alien process to many photographers. More and more information about it pops up onto the web every day. What I’ve not seen, though, until now, is an entire start to finish video or article which details the entire process.
Thankfully, photographer Markus Hofstätter has done exactly that, in this video. So that you don’t miss out on any of the process, he shot the whole thing in 360° with his Insta360 camera for the complete surround experience. So, throw on your headsit, sit back, and have a watch.
I’ve seen some rather interesting Halloween photos cross my desk over the past week or so. Few that are quite as interesting as this project from photographer Markus Hofstätter, though. Shooting some Halloween portraits on large format wet plate. Best of all, he shot a behind the scenes video showing how it was done. While it’s not a 360° video, it makes some fairly heavy use of a 360° camera, with some pretty cool effects and transitions.
Recently, I was tasked with shooting a hotrod. It was exciting from the beginning, because these kinds of cars are pretty rare here. The owner also wanted his dog sitting on the fender. When you hear that (from a photographer’s point of view), it does not sound that difficult to do. But the picture also has to be huge – 100 megapixel are too few.
Three times of that is the minimum requirement for the print. A digital medium format camera gives you 100 Megapixel, maximum 200 in one shot. These are not that easy to rent and they are very expensive too.
My solution was to do a stitched panorama digitally with Canon 5D mkIII, Canon 100mm Macro and the Nodal ninja. Additionally, I shot with my large format camera, a Linhof Mastertechnika with a Kodak Portra 160 VC sheet film.