L U T H E R G E R L A C H
 The pictorial photographers of the 1890s through 1920s worked
to understand the meaning of line and light in order to use these elements as letters of an alphabet to write poems of their dreams and ideas. I find myself allied to these photographers
in an effort to accomplish the same goal. The growing standardization of photography with plastic papers and films and push button cameras, and now the digital genre, have made photography
synthetic. I strive to return to the art of not just selection, but of translation and the creation of visual music. By reducing subjects to their essence, and using the journey of process
required to produce them, I create photographs that reflect an emotional state. This journey of process involves the use of large-format cameras and lenses dating from 1850 to 1920, which
I have been collecting and restoring for many years.
It has been said of me that I have a very intense relationship with my cameras and lenses. The equipment I use exclusively produces 5x7- to 22x28-inch glass plate ambrotypes. My interest
is using these types of cameras and lenses has naturally evolved into a desire to explore the use of vintage photographic processes, evoking a depth of feeling and warmth that enables
the inner beauty of the image to be seen and felt.
My passion for photography began at the age of ten. My father’s anthropology studies led our family throughout the world, providing the inspirational canvas for what was to become
my lifelong devotion to the art of photography.
Quite often I feel as if my soul is in the past and my mind is in the future. To give expression to this I am driven to photograph with the vintage large-format cameras and lenses. They
have a magical quality which helps me to bring forth an undefinable depth of feeling and poetic structure in my photographs. My primary concern is that this art communicates not only on
a factual level, but on a level of beauty and emotion.
Luther’s ability to combine past and present becomes even more evident as he transports glass-plate film, restored cameras, lenses, precious
metals, and solutions to each photo location via his converted van. His unique use of the wet-plate process, combined with his contemporary style and provocative subject matter, has
propelled his work on the covers and in featured editorials in respected publications such as View Camera, Celebrated Living, Shutterbug, and Montecito Journal, to mention
a few.
On March 3 and 11, 2006, Luther will give a lecture/demonstration on the wet collodion process at the re-opening of the Getty Museum Villa in Malibu, California, in conjunction with
the traveling archaeological photographic series.
For more information, visit www.luthergerlach.com
The wet-collodion process:
1. Start with an immaculately clean plate of glass (other supports may be used).
2. Pour the collodion in a puddle in the middle of the plate, flow very gently to all corners, and pour off excess at one corner.
3. Let collodion set until it “skins” over.
4. In darkroom, slide plate in the bath until it has taken on enough silver and no longer looks “oily.”
5. Place plate into light-proof plateholder.
6. After focusing camera, replace focusing glass with plateholder, remove dark slide, and remove lens cap to expose plate. Timing is based on experience ,whether image is a positive or
negative, amount of light, color of light, opening of lens, focal length, etc. Usually a test shot is taken in the beginning of the day.
7. Return lens cap and dark slide.
8. In dark room, remove plate from plateholder. Pour enough developer (iron or pyrogallic) to cover the plate as quickly as possible and without stopping. Development is by inspection.
To stop development, wash thoroughly with water.
9. Fix with Potassium Cyanide (best for positives) or Sodium Thiosulphate. This can be done outside the darkroom.
10. Dry the plate thoroughly over an alcohol flame. Pour varnish onto the plate (the same way collodion is poured) while it is dry, but still warm. Dry over flame and rack plate to cool.
Gerlach shooting on location next to his self-contained darkroom-van.
Résumé
• Participated in meet-the-artist program hosted by the Carnegie Art Museum, 2000
• Featured guest lecturer at Brooks Institute of Photography and Art Center, Pasadena, CA
• Keynote speaker for Photo Arts Santa Fe, 2003
Work has appeared in:
Architectural Digest
People Magazine
Land's End advertisement
View Camera magazine Jan. 04
Feature articles:
Shutterbug magazine
Montecito Journal
Santa Barbara Magazine
Corporate collections:
Aamco
Exxon
Museum collections:
Columbia College Chicago
Denver Museum of Art
Santa Barbara Museum of Art
Schacknow Museum of Fine Art
Licensing companies:
Art Source LA
Art Dreams, Inc.
(where his work has sold to Pier 1 and the Bombay Company)
Lipman Publishing House
Frontline Publishing
(where his work has sold to Aaron Brothers and Z Gallery)
Celebrity clientele:
Cameron Diaz
Kate Hudson
Nick Nolte
Bruce Willis
Michael Wilson
Oprah Winfrey
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