Nine stories of Pieces of landscape.
The oldest plate in the Holgalities gallery. A summer afternoon on Liptov, a north part of Slovakia. In the far background, you can see mountains of West Tatras sierra. In a hot weather is easy to let collodion dry too long, what result in the uneven edge on the right side. I like this effect, as it emphasises the unique character of the plate.
One of the first Holga plates from Male Karpaty forest hills near Bratislava. The autumn grass has a shining yellow colour, which doesn't work very well with collodion and it is not so easy to capture and not to overexposure the plate. When I'm working with Holga in the field I prefer to left some dirt on the plate holders. And I don't try to avoid fingerprints, which are a kind of signature.
The dark version of Waterfall Jump in High Tatras sierra. It was a day with some clouds on the sky when the sunlight is moving through the country in fast moving splashes. I like dark plates. There is a just a hint of the structure of the stones and the pure white of the water is shining. Mountains in the background have an optimal exposure.
This mountain lake is called Hincovo Pleso and it is the biggest lake in High Tatras sierra. It was a very dark and windy day. The boulders in foreground worked very well with collodion. The water surface is fascinating even in a windy day. Smoothed by long exposure it creates a great contrast to the rough structure of mountains.
The ridge of the West Tatras sierra, in 2000 metres above sea level. I think in this altitude is the UV part of the light spectrum more dominant, but maybe it is just feeling. It was a strange day when I had ruined four plates in a row. On this plate is a hint of the cloud structure and in the background two peaks I want to photograph more in the next year. They are called "Plačlivô" and "Ostrý Roháč", which can be translated as "Crying" and "Sharp Stag Beetle"
Back in Male Karpaty forest. With Holga Panoramic you can just judge the distance and set it by symbols for 1, 2, 6 meters and infinity. I like the grass on this plate. Some of blades were blurred by a very light wind, but some are still sharp. The background was in a shadow. Underexposed parts of wet plates fall very easy in pure black, and that helps tree trunks to shine like torches.
Clean and light plate from foggy autumn days. I wanted to avoid the fog marks on the plate here, so I had to pour collodion in the closed dark box. The exposure is on the edge and the detail of the dark leaves in the only pure black part of the plate. Just two seconds more and it would be wasted by overexposing.
A very different version of the foggy autumn forest. A lot fo black dots as the marks of the reaction of fog with poured collodion. A much darker exposure, which emphasise the road in the bottom foreground. The camera was tilted a bit up. I wanted to use the slight convergence of trees to increase the gloom feeling. A pretty pathetic plate, but I still love it.
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