New Wetplate Workshop at VillaRoquette

Wetplate collodion photography workshop at VillaRoquette

John Brewer using a 19th century camera at Villa Roquette

Our next workshop at Villa Roquette wetplate collodion workshop september 2025 will be on the weekend of September 26/27 2015.

It is run by John Brewer wetplate collodion workshops.

The cost of the two day workshop is £325, or £475 which includes two nights full board accommodation. All materials are included and there is a wide selection of cameras and equipment for your use. Payment can be made in UK Sterling or euro

The accommodation includes a double room so you can bring your partner, there is only a small extra charge of £25 if the second person wishes to join us for lunches and dinner on the two days, breakfasts are included already.

Students on the course can come earlier and stay later, as many days as they like. All darkroom and lab facilities are available and our cameras can be used. There would be a charge for extra materials and chemistry used

An interesting feature of this course is the availability of a fully equipped mobile darkroom designed for wetplate work.

Wetplate collodion workshop at villaroquette with mobile darkroom

Mobile Darkroom camera on roof

Students on the collodion course can get into the beautiful local countryside and make wet plate collodion work. We use both tin and glass plates.

On The Road

Not Kerouac, not Dorothy and not Mandalay, although I guess there is a little “Oz” in the Ruby lights.


Our mobile wet-plate darkroom is “on the road” after a few days fitting out. The main work has been the insulation, light-proofing and getting plenty of efficient ventilation. It is designed for three people to work inside and needs a good light trap, so with the ether, alcohol and other chemistry, fresh air and temperature control is uppermost in my mind.

In summer temperatures reach the the mid 30s centigrade most days, so it would get uncomfortable and affect the chemistry so cooling it is very important.

There is so much to see in Languedoc, I have a list of “projects” I plan to make into a series of portfolios, most of these ideas are within an hours drive from Villa Roquette and look like keeping me busy for several years (I hope).

I took the darkroom van on a short trip today, just outside our village to a spot in the vineyards overlooking Montblanc. I will use this as the first test for a wet-plate next week. But today I just wanted to see that everything stood the test of bumpy farm tracks and steep hills – so far, so good.


I expect to be using the rooftop camera platform a lot, it gives me a great advantage from the roadside for a lot of the landscape work I am planning – the platform is a strong steel grill, which the feet of the tripods fit into perfectly and safely.


Inside I have just fitted work surfaces and plenty of storage – I have ideas about pumping water for washing plates and securing the silver-boxes etc. I will make haste slowly, most importantly I want to get out and get some plates made

Virtue, Virtuality and Art

Following on from yesterdays post about my rejection of digital images and/or prints as valid expressions of an artists thoughts and feelings, I thought I should see what thinkers and philosophers have said.

By coincidence I am (slowly) reading some early notes and essays of Ezra Pound and discovered a page on his notes on the need for “virtue” in any work of art – it seems this does not translate well from the Ancient Greek: ἀρετή “arete” and the meaning in English is confused, but in essence, my understanding of Pounds’ thesis is that only a work where the artist is able to directly be involved in the work – to be “in touch” physically in some way with the work presented, can the essence, the spirit the “virtue” of that work be relayed to the person viewing or hearing it.

In other words, the copy of a painting or sculpture has no “virtue” – poetry or music which is copied has no “virtue” (of course a piece of music can be played as the composer intended or even interpreted by another artist, but if the structure is rearranged or the words interpreted (or translated) – the “virtue” of the original artist is lost.

An artist can of course take the creation of another person and add their expression of it – then this becomes a different piece of work – perhaps better, often not.

I am considering here only digital recording and reproduction – it is the same for any digital recording – music, images or now three dimensional recording.

As soon as the artist has created a composition and then recorded it digitally as a piece of computerised binary code, the artist has lost contact with the expression they were after – there is no “virtue” in the work.

No manner of further digital tweaking or manipulation can revitalise this “virtual” entity – it looks, sounds or feels similar – but it is dead.

Not necessarily worthless – a good copy can be useful, a mnemonic for the original or a way of encouraging the audience to seek the real piece of art but there is no way I can see how a digital print of a digital image ever has any virtue or value above the cost of the ink and paper – the artist cannot show me the virtue they saw of the moment(s) in a virtual presentation.

As I write this, I am thinking that it should be possible to use the latest digital recording equipment to interpret an idea, a scene or a person and use what tools the equipment has to “capture” this and present this to a viewer – I suppose, if the manipulator has skill and, more importantly, talent this could be called digital art – or simply – art. But the “virtue” as described by Pound, Plato, Aristotle, Seneca and many other Wikipedia contributors, is lost – it can only be dead as no life was ever given to it and it can be endlessly, exactly cloned by anyone with access to a computer.

There is no digital art, is there ?