Mark Katzman and the Wet Plate Process

This is Mark Katzman’s camera, which has a portrait lens made in 1860.


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IN THE FALL OF 2006, NOTED ST. LOUIS PHOTOGRAPHER MARK KATZMAN decided to use an obscure photographic process called “wet plate” collodian process to photograph the people on the street outside his studio. Many of the people he photographed were on their way to or from the St. Patrick Center (a homeless shelter) just down the street. When I asked Mark about this series, he said: “You know, I was overlooking the fact that some of the greatest faces I had ever seen were right here—walking past my studio every day.”

The wet-plate collodion process, commonly referred to as an Ambrotype, requires the emulsion to be hand applied to a glass plate. The photograph must then be exposed and developed before the emulsion has a chance to dry. For this process to work outside of the studio Mark used a custom portable darkroom installed in the back of his Suburban. Most subjects stayed for only one single photograph before continuing on their way.

The images are not only strikingly different than most images you see today, they expose the flaws, ripples, uneven surface and unique suface of each image made. No two processes are alike. There is always the chance you will develop something too little or too long—and the plate itself must be carefully prepared. Not only that, the process uses deadly chemicals, specifically potassium cyanide for “fixing” the image to the glass.

Mark’s images in this series are fabulous, rich and deep. I was fortunate one day about a year ago to have my portrait made by Mark Katzman in this wet plate process. I thought it was so interesting I decided to use this as my photo I.D. on my blog.

Katzman is a highly published photographer, and one of the most important collectors of vintage antique photogravures in the United States, and perhaps the world. He has a Web site that is devoted to the art of the photogravure. It’s thorough and educational, and you’ll want to go there. It’s called Art of the Photogravure.

A special Web site about Mark’s wet plate Ambrotypes, like the ones shown above, can be found at www.mark-katzman.com.

H2O in Cast Iron

THESE WATER METER COVERS—we’ve all seen them, are in every small town and big city in America. Fabricated and cast in iron by foundry’s in every state, there is no telling how many different designs there are.

I am sure readers of this blog have stopped from time to time to marvel at the design of their big brothers—manhole covers. Think of these as “mini-versions” of such. Each are about 6-9 inches in diameter.

It’s amazing how good something looks on a well-made stand!

They were spotted some time ago at Splendid Peasant Antiques in Sheffield, Massachusetts.

Michael Noland: Imagine the Fantastic

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I FIRST MET MICHAEL NOLAND nearly 15 years ago at an obscure little folk art auction in Columbus, OH where I had gone to review and and possibly bid on some stone sculptures by the artist Popeye Reed (1919 -1985). There were some questionable items at the preview, the most obvious being a 4” tall stone carving said to be carved by William Edmondson (1875 - 1951). Everything about the piece was just wrong, besides the fact that Edmondson did not make tchockies. The time for the auction of the item was at hand, and as the item was described, the auctioneer used his words carefully but obtuse enough in hopes of starting a fierce bidding competition.

That’s when a booming voice from just behind me interrupted the auctioneer with: "EXCUSE ME! Are YOU saying that in your PROFESSIONAL opinion as an auctioneer, that you are standing behind this object as a William Edmondson?? I mean, this object is no where close!” It was a beautiful moment. I think there might have been some applause as the auctioneer attempted to answer with more “uh’s” than the actor Jimmy Stewart in Frank Capra’s film You Can’t Take It With You. It’s not everyday you get an auctioneer tongue-tied. The item was passed on, to my memory.

Well, later I had to meet the man who was responsible for this auction-interuptus and I walked up and introduced myself. It only got better when I caught a glimpse of a tattoo on his arm and as he raised his sleeve, I saw a glorious tattoo of one of self-taught artist Martin Ramirez’ stags. We have been close friends ever since.

Mike’s work as a painter has made him one of the most watched Chicago artists in the last two decades. Mike’s work emerges from the Chicago Imagists tradition, yet he has a style that is recognized as uniquely his own.

The imagery in Mike’s work stems from his childhood in Oklahoma, where tornados, tall tales, horse trading, record-sized catfish, buffaloes and desert flowers were rich source material for his creative life. Besides being an accomplished artist, Mike Noland has one of the most original and passionate collections of folk, self-taught and outsider art in the United States. As an artist, curator, published writer and collector, Mike Noland is truly a multi-dimensional person. Did I say he was also a husband and father of three great children?

Mike’s work is represented by several galleries, including the Tory Folliard Gallery and the Philip Slein Gallery.

A Mega Horn to Shout About

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FOR MUSICIANS, MUSIC BUFFS OR POP CULTURE ENTHUSIASTS, this 19th century hand-painted mega phone (or, mega horn) would be a fine addition to your collection. Lyrical and authentic, this piece is a fabulous object. You can find it at “East Meets West Antiques” in Los Angeles. It’s made of metal and leather and comes with the stand. The length of the horn is just under 2 feet. Painted on the side is the word “SWANNEES.” The price is $2,650.— not cheap, but then again—there’s only one of these.

East Meets West Antiques
160 North La Brea Ave.
Los Angeles, CA 90036, USA
Phone: 323-931-0500
Fax: 323-931-0564

E-Mail: info@emwantiques.com

Art Excavation

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THANKS TO FELLOW BLOGGER Trixie Treats, I was able to discover these wonderful paintings by an artist named Greg Gossel. Greg uses a variety of materials and techniques on these 2 to 3 foot canvases, like silkscreen, acrylic, collage, spray paint, paint stick, paper white out, etc. What I like about these is the raw, multi-layered approach, like decayed billboards over time. Lichtenstein’s work is a bland chicken broth compared to this spicy jambalaya—a mixture of found, appropriated and excavated pop culture, comics, old advertisments, grafitti and paint. (Of course, we may not even be looking at Gossel’s work without the ground-breaking work of Lichtenstein, Warhol and the others, so apologies to them!) This is hipster-styled street art ready to hang.

Check out Greg’s art at: www.greggossel.com.

Anonymous Quilt From Cigar Box Silks

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YEARS AGO, CIGAR BOXES came with printed silks inside as a promotional way to sell the product. Flags of the world, butterflies, presidents and other popular images were used. The idea—to create a collectible and keep you buying their brand. As a marketing strategy, this was more than likely aimed at the woman of the house, something the husband could give her every time he bought a box of his foul-smelling cigars. This anonymous quilt-maker in the 1930s used their collection of silks in the creation of this beautiful quilt, measuring 82 x 67 inches.

This was found at Revival, 1401 W. Irving Park Road in Chicago. Phone 773-248-1211.

Wrong Turn Yields Highlight of Day

(Above) Hammerpress, at 110 S.W. Boulevard, Kansas City, MO 64108
(Above) L.to R.: Shari Bussmann, Paul Bussmann, Teenuh Foster, Bobby Howsare (behind desk) and Brady Vest, owner of Hammerpress.
(Above) Brady talks about his letterpress studio.
(Above) Paul Bussmann, principal of Paul Bussmann LLC, a design boutique in St. Louis, presents for the camera a sweet poster by Hammerpress.
(Above) An inside view of the working shop, with drawers and cabinets full of lead type.
(Above) Stacks of letterpress letters and wood blocks sit at the ready.
(Above) Every nook and cranny at Hammerpress was a photo op for me. I loved it!
(Above) Brady discussing a labor of love—a book project he did with a friend. It was a museum-worthy result.
(Above) A wall of snapshots was an unexpected surprise.
(Above) A Heidelberg press awaits Monday labor.
(Above) A typographic wedding invitation on display.
(Above) Here is a hand-calligraphied envelope by Betsy Dunlap.
(Above) Detail of above.

SO, HERE WE ALL ARE, the four of us, (Paul Bussmann and his wife Shari, my wife Teenuh Foster and myself) leaving Saturday morning from Kansas City, when we miss our turn for the interstate. This was one of many wrong turns that entire trip so by this point we were punch drunk from turning left when we should have turned right. Seeing our exit too late to respond we found ourselves on S.W. Boulevard heading in some direction I couldn’t say. Suddenly our humorous malaise was broken by Paul who shouted “Whoa-whoa-whoa... HOLD THE DANGED BOAT! SHARI, turn around!!! A letterpress shop! Look at THAT! I want to see that!” [Paul can spot a letterpress shop from a mile away.]

Quick as a whip, Shari made a quick left and into a parking spot like it was meant to be. Off we went, led by Paul, who was the original eagle eye and now our guide, and the others, followed in the rear by me, skipping and hopping along with my newly banged up ligament-torn leg—which added at least some humor to our sad journey for the funeral of our friend, Dave Holt.

Turns out the shop was called Hammerpress and was founded in 1994 by Brady Vest, who was kind enough to let us run rampant through the shop like children on a sugar high. “Hey Paul... over here!” was a common whispered shout.. or “Fos-ter... check THIS out!”

The shop was just so genuine and real, all of us could feel the high degree of creativity that went into it’s creation and everyday work. Everything about the place felt right—from the working Vandercook press to the lead type to the make-ready sheets piled high to the old typewriters and other cool stuff too numerous to mention. We left feeling we had discovered something rather extraordinary.

You certainly do not have to live in Kansas City to have Brady Vest and Hammerpress do your next letterpress project. I know you are thinking about it—so pick up the phone and call him at 816.421.1929.