Ryan Hill

My work explores and pushes the capabilities of photographic materials. I want to see how far I can push the boundaries of what is typically achieved. Although process is at the core of my artistic practice, I see my need to experiment as an extension of my curiosity about the world we exist in. I often explore how humans perceive and interpret, and how perception and memory affects how we experience and move through life. I question humanity’s place in the world as well as language’s ability– and inability– to describe life’s experiences. I see my work as just a piece of this puzzle, a call to engage with ideas and topics that are often overlooked, to foster a deeper understanding of our place, purpose, and impact in this universe. I see wet plate collodion as mimicking this fluctuation and shifting of memory and life as a whole.

@_ryanhhill ryanhhill.com

Ryan Hill

Collodion Bromo-Iodizer 25ml collodion mixed with 40ml bromo-iodizer Silver Nitrate, 10% Developer 1:3 developer to water Silane Added to developer for ambrotypes - helps with glass adhesion Rapid Fixer 1:3 fixer to water Varnish Either gum sandarac (tree sap) or shellac (natural resin from female lac bugs)

Instructions

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7 8 Pour collodion mix onto plate, metal or glass, and tilt to coat. Drain excess back into bottle Sensitize in silver nitrate. 4-5 minutes Expose! Pour developer onto plate along the edge and tilt to coat. Gently rock to keep the developer moving. Develop until you just see the shadows. 30 sec-1 minute Pour off developer and rinse with water Submerge in fixer and watch magic occur right before your eyes...... Don’t forget to rock the tray. Fix 5 minutes minimum Final water rinse. 10 minutes Leave on rack to dry. It will dry slightly lighter.

What initially drew you to wet plate collodion?

It is very tactile; I love the act of doing. Wet plate collodion revitalized my interest in photography again. It is a temperamental process, so every pour is different. I enjoy the happy surprises collodion gives me. Wet plate is an early photographic process, and I feel like there is so much more that can be discovered about it. I also might be addicted to the ether by now. Who knows.

What would be considered weird about your practice?

Most of my creating is done at odd hours of the day – usually between 11pm and 3am. I find myself most creative at night, when I am tired enough for my inhibitions to fall away but I am still high on adrenaline. I stop overthinking my work at that point.

How do you define personal success and failure in terms of your art making?

I consider work to be successful when I’m enthusiastic about the creative process and content with its results. On the flip side, I have failed myself when I no longer enjoy what I am doing. If even getting to the studio is a struggle, I need to rethink what I’m doing. I am definitely my harshest critic, but my self doubts only spur new experiment ideas.