Ambrotype

Ambrotypes were most commonly performed by unkown photographers. The process involves creating a positive photographic image on a sheet of glass using the wet plate collodion process. The wet plate collodion process however involves creating a negative image though James Ambrose Cutting created a way of doing so as a positive image. This was patented in 1854.

How to create an ambrotype

1. One side of a very clean glass plate is covered with a thin layer of collodion 

2. It is then dipped in a silver nitrate solution

3. The plate is exposed to the subject while still wet (exposure times vary from 5-60 seconds or more depending on the amount of light available.)

4. The plate is then developed and fixed

The negative that results from this when viewed by reflected light against a black background will appear as a positive image

5. one side of the glass negative is coated with a black varnish to create this effect (either the emulsion or blank side can be coated) this adds depth to the image.

6. another plate of glass is placed over the emulsion side to protect it

7. It is then mounted in a metal frame and kept in a protective case. 

The Ambrotype was much less expensive to produce than the daguerrotype and also lacked it shiney metallic surface. Ambrotypes were often hand tinted, untinted ambrotypes are grayish-white and have less contrast than a daguerrotype. 

Richard Green- Wild Places

After seeing the Bayliss exhibition i went to see Richard Green's "Wild Places" Which was also at the National Library.

Basically this exhibition encompasses Green's 3 Passions- Helicopters, Photography and the Wilderness. The curator states that it allows us to see detail and hence fragility of such beautiful places. 

Some of the exhibition is on the first floor next to the Bayliss exhibition and the rest is on the fourth floor of the library.

The first room (downstairs) is a small enclosure, on each wall you are faced with an enormous panoramic image of a breathtaking Australian Landscape. I couldn't help but feel surrounded by the captivating images and their sheer size. They were an amazing display of craftsmanship by a very talented photographer, the use of light was fantastic giving a simplistic element to such overpowering images. When leaving this room you are greeted by more of these fascinating displays of our beautiful country. Most of these also share the sheer size as the previous ones however they give a more spacious impression as they are more spread out. 

On the fourth floor i entered the hall where the rest of the images hung only to be disappointed to see they were much smaller prints hung along the wall. These photographs were just as beautifully composed with incredible light as with the ones downstairs they just weren't able to strike the captivating feel that comes with overbearing size. 

I was disappointed with the curation of this exhibition finding it unnecessary to be split up by three levels of a large building. The work though by Richard Green was an extraordinary display and i was very impressed with his work. 

One landscape that stood out was the one with the helicopter among the scenery. Green has a helicopter license which enables him to go where others can't and using his impressive photography skills he manages to bring back a captivating experience for those who can't go to such extraordinary boundaries.

Charles Bayliss- A Modern Vision

Today i headed to the National Library to see the Charles Bayliss exhibition "A Modern Vision".

It was fantastic to see an exhibition with such historical pieces it was both photographically pleasing but also very educational. Throughout the exhibition you are greeted by documentary images, landscapes and portraits that seem to work chronologically according to the time throughout Bayliss' career before his sudden death at age 47.

Bayliss was seen as very modern in his style capturing the city (especially Sydney), its environs, leisure and the landscape. He also embraced latest technological developments mainly seen through his extensive collection of panoramas. He developed a distinctive style picturing complex compositions and effect of spaciousness (as pointed out by guest curator) 

The first shots that you are greeted with when entering the exhibition are fairly simple shots that included people, buildings and ships, a pleasing way to begin... i thought. This introduces you to the versatility in his work. 

As you follow the wall around there are a number of interesting shots of the Royal Prince Alfred Hospital, he documented its establishment and clearly denotes his belief in progress. I also found it intriguing to see the traditional styles of photography here looking at how far it has come, the odd blurred face can be picked when close up from movement while using a required slow shutter speed. Sharing this space too is documentary images of the genius Lawrence Hargraves as he depicts the evolution of the flying machine. 

Adjacent to these shots are a couple of samples of the few (approximately 11) photographs that were ever documented by Bayliss of aboriginals. In this time aboriginals were generically seen as 'types' rather than individuals and had no assumed future in the modern world; this is somewhat visualised through his work. He captures them in their camps beyond the margins of european civilisation and also includes some portrait style images which stood out to me as a juxtaposition compared to the rest of his work at the exhibition mainly because all the other shots including people were in large groups these were merely two people in their natural environment. The aboriginal section was enticing as it strives to develop our understanding of relations between europeans and aboriginals at that time. 

During 1886 he documented the flood of the Darling and lower Murray that had previously been suffering from severe drought. According to the curator this became one of his most memorable series. I found these images simplistic and informative truly capturing the event.

Bayliss was also interested in tourism which is foreseen in the shots of the Jenolan Caves- a huge fascination from the 1860's. In these shots he takes advantage of the delicate lighting falling on such amazing textures and merely captures the beauty of these subjects. I found these images captivating and positively accentuates Bayliss' talents as a photographer.  

Bayliss eventually established himself in a business in 1876 as a landscape photographer which remained his area of expertise until his death at 47. Intriguingly most of these landscapes were always in a short reach to Sydney- this i found disappointing as a i would have loved to have seen more of his work from around the country. Most of his landscapes were done in the form of a panorama showing his willingness to experiment with modern techniques.  

There was also a section dedicated to the transformation of Sydney which included panoramas shot from numerous angles of the city.

To add more interest than simply hanging photographs there was also enclosures that displayed books in which his work had been published. These books were very worn and old- like his photographs and extended the matter of history. 

One of the most observable aspects in the exhibition was Bayliss' obsession for water, he was clearly mesmerised in some way by its effects there were waterfalls, lakes, rivers, harbours and beaches. According to the curator "water attracted him like a magnet"

I thought this was a fantastic exhibition from both a photographic and educational point of view and found it to be very logically curated.