View allAll Photos Tagged DRIP
Continuing my water experiments...
Set up for this:
Shallow dish (casserole dish lid in this case) full to brim with water and placed over coloured fabric.
Camera with 18-55mm lens plus macro filter set up on tripod.
Shot on Av mode with Aperture of 10 or thereabouts. Varied as I played with lighting.
Flash fired.
I set my focus point by placing end of a spoon in the spot I wanted to focus on and then removed the spoon but kept focus locked.
I used a sponge to create the drips and shot as though my life depended on it! I can't even tell you how many frames!
HTH
Sometimes you set out to do something specific, mess up, and come out with a great result! SB-600 mounted to the right, bounced off of a bright green material. f/2 1/60 iso 400
shutterstock_336153797
Drops of Condensation on a Window Glass in the Spring. The drops form abstract patterns. Rainy cold weather outside. Blurred view of another house. Gray clouded sky.
Website/Blog/Facebook/Vimeo/Tumblr
Today I did another photoshoot for music artist Cody Draiken, he wanted to be covered in paint so we did just that :) Here is a link to some of his music. Music
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Model: Cody Draiken
Assistant: Sarah Alyssa Husted
Photographer & Everything Else: Jeff Thomas
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Lighting Setup:
- AB800 shot through a softbox to the right of the camera
- AB800 shot through an umbrella to the left of the camera
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Vertex Photography
From Wikipedia, the free encyclopedia
(Redirected from Wet plate process)
This deteriorated dry plate portrait of Theodore Roosevelt is similar to a wet plate image but has substantial differences.
The collodion process is an early photographic process.
Contents
1 Description
2 History
2.1 21st century
3 Advantages
4 Disadvantages
5 Use
6 Search for a dry collodion process
7 Collodion emulsion
8 Collodion emulsion preparation example
9 See also
10 References
11 External links
Description
Collodion process, mostly synonymous with the "collodion wet plate process", requires the photographic material to be coated, sensitized, exposed and developed within the span of about fifteen minutes, necessitating a portable darkroom for use in the field. Collodion is normally used in its wet form, but can also be used in humid ("preserved") or dry form, at the cost of greatly increased exposure time. The latter made the dry form unsuitable for the usual portraiture work of most professional photographers of the 19th century. The use of the dry form was therefore mostly confined to landscape photography and other special applications where minutes-long exposure times were tolerable.[citation needed]
History
The collodion process is said to have been invented in 1851, almost simultaneously, by Frederick Scott Archer and Gustave Le Gray. During the subsequent decades, many photographers and experimenters refined or varied the process. By the end of the 1850s it had almost entirely replaced the first practical photographic process, the daguerreotype.
During the 1880s the collodion process, was largely replaced by gelatin dry plates—glass plates with a photographic emulsion of silver halides suspended in gelatin. The dry gelatin emulsion was not only more convenient, but it could also be made much more sensitive, greatly reducing exposure times.
One collodion process, the tintype, was in limited use for casual portraiture by some itinerant and amusement park photographers as late as the 1930s, and the wet plate collodion process was still in use in the printing industry in the 1960s for line and tone work (mostly printed material involving black type against a white background) since it was much cheaper than gelatin film in large volumes.[citation needed]
21st century
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The wet plate collodion process has undergone a revival as a historical technique over the past few decades. There are several practising ambrotypists and tintypists who regularly set up and make images at Civil War re-enactments. Fine art photographers use the process and its handcrafted individuality for gallery showings and personal work. There are several makers of reproduction equipment. The process is taught in workshops around the world and several workbooks and manuals are in print. Many artists work with collodion around the globe, including traveling photographer Craig Murphy, Kurt Grüng, Sally Mann, and Ben Cauchi. Other artists to note are Luther Gurlach, James Walker[disambiguation needed], Stephen Burkeman, Sam Davis, Quinn Jacobson and Ken Merfeld. There are many more as well that have contributed to bringing this process forward to a modern age.
Advantages
A portable photography studio in 19th century Ireland. The wet collodion process sometimes gave rise to portable darkrooms, as photographic images needed to be developed while the plate was still wet.
The collodion process produced a negative image on a transparent support (glass). This was an improvement over the calotype process, invented by William Henry Fox Talbot, which relied on paper negatives, and the daguerreotype, which produced a one-of-a-kind positive image and could not be replicated. The collodion process, thus combined desirable qualities of the calotype process (enabling the photographer to make a theoretically unlimited number of prints from a single negative) and the daguerreotype (creating a sharpness and clarity that could not be achieved with paper negatives). Collodion printing was typically done on albumen paper.
The collodion process had other advantages, especially in comparison with the daguerreotype. It was a relatively inexpensive process. The polishing equipment and fuming equipment needed for the daguerreotype could be dispensed with entirely. The support for the images was glass, which was far less expensive than silver-plated copper, and was more durable than paper negatives. It was also fast for the time, requiring only seconds for exposure.
Disadvantages
The wet collodion process had a major disadvantage. The entire process, from coating to developing, had to be done before the plate dried. This gave the photographer no more than 10 minutes to complete everything. This made it inconvenient for field use, as it required a portable darkroom. The plate dripped silver nitrate solution, causing stains and troublesome build-ups in the camera and plate holders.[citation needed]
The silver nitrate bath was also a source of problems. It gradually became saturated with alcohol, ether, iodide and bromide salts, dust, and various organic matter. It would lose effectiveness, causing plates to mysteriously fail to produce an image.[citation needed]
As with all preceding photographic processes, the wet-collodion process was sensitive only to blue light. Warm colours appear dark, cool colours uniformly light. A sky with clouds is impossible to render, as the spectrum of white clouds contains about as much blue as the sky. Lemons and tomatoes appear a shiny black, and a blue and white tablecloth appears plain white. Victorian sitters who in collodion photographs look as if they are in mourning might have been wearing bright yellow or pink.[1]
Use
"A Veteran with his Wife", taken by an anonymous photographer, shows a British veteran of the Napoleonic era Peninsular Wars. It is a hand-tinted ambrotype using the set collodion positive process, made circa 1860.
Despite its disadvantages, wet plate collodion became enormously popular. It was used for portraiture, landscape work, architectural photography and art photography.[citation needed] The world's largest wet process collodion glass plate negatives known to survive, measuring 53 inches (1.35 m) x 37 inches (0.94 m), are held at the State Library of New South Wales.[2][3][4]
The wet plate process is used by a number of artists and experimenters who prefer its aesthetic qualities to those of the more modern gelatin silver process.[citation needed] World Wet Plate Day is staged annually in May for contemporary practitioners.[5]
Search for a dry collodion process
The extreme inconvenience of exposing wet collodion in the field led to many attempts to develop a dry collodion process, which could be exposed and developed some time after coating. A large number of methods were tried, though none was ever found to be truly practical and consistent in operation. Well-known scientists such as Joseph Sidebotham, Richard Kennett, Major Russell and Frederick Charles Luther Wratten attempted, but never met with good results.[citation needed]
Typically, methods involved coating or mixing the collodion with a substance that prevented it from drying quickly. As long as the collodion remained at least partially wet, it retained some of its sensitivity. Common processes involved chemicals such as glycerin, magnesium nitrate, tannic acid and albumen. Others involved more unlikely substances, such as tea, coffee, honey, beer and seemingly unending combinations thereof.[citation needed]
Many methods worked to an extent; they allowed the plate to be exposed hours, or even days, after coating. They all possessed the chief disadvantage, that they rendered the plate extremely slow. An image could require anywhere from three to ten times more exposure on a dry plate than on a wet plate.[citation needed]
Collodion emulsion
In 1864 W. B. Bolton and B. J. Sayce published an idea for a process that would revolutionize photography. They suggested that sensitive silver salts be formed in a liquid collodion, rather than being precipitated, in-situ, on the surface of a plate. A light-sensitive plate could then be prepared by simply flowing this emulsion across the surface of a glass plate; no silver nitrate bath was required.
This idea was soon brought to fruition. First, a printing emulsion was developed using silver chloride. These emulsions were slow, and could not be developed, so they were mostly used for positive printing. Shortly later, silver iodide and silver bromide emulsions were produced. These proved to be significantly faster, and the image could be brought out by development.
The emulsions also had the advantage that they could be washed. In the wet collodion process, silver nitrate reacted with a halide salt; potassium iodide, for example. This resulted in a double replacement reaction. The silver and iodine ions in solution reacted, forming silver iodide on the collodion film. However, at the same time, potassium nitrate also formed, from the potassium ions in the iodide and the nitrate ions in the silver. This salt could not be removed in the wet process. However, with the emulsion process, it could be washed out after creation of the emulsion.
The speed of the emulsion process was unremarkable. It was not as fast as the ordinary wet process, but was not nearly as slow as the dry plate processes. Its chief advantage was that each plate behaved the same way. Inconsistencies in the ordinary process were rare.
Collodion emulsion preparation example
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Below is an example of the preparation of a collodion emulsion, from the late 19th century. The language has been adapted to be more modern, and the units of measure have been converted to metric.
4.9 grams of pyroxylin are dissolved in 81.3 ml of alcohol, 148 ml of ether.
13 grams of zinc bromide are dissolved in 29.6 ml of alcohol. Four or five drops of nitric acid are added. This is added to half the collodion made above.
21.4 grams of silver nitrate are dissolved in 7.4 ml of water. 29.6 ml of alcohol are added. This is then poured into the other half of the collodion; the brominized collodion dropped in, slowly, while stirring.
The result is an emulsion of silver bromide. It is left to ripen for 10 to 20 hours, until it attains a creamy consistency. It may then be used or washed, as outlined below.
To wash, the emulsion is poured into a dish and the solvents are evaporated until the collodion becomes gelatinous. It is then washed with water, followed by a washing in alcohol. After washing, it is redissolved in a mixture of ether and alcohol and is then ready for use.
Emulsions created in this manner could be used wet, but they were often coated on the plate and preserved in similar ways to the dry process.
Collodion emulsion plates were developed in an alkaline developer, not unlike those in common use today. An example formula follows.
Part A: Pyrogallic acid 96 g Alcohol 1 oz.
Part B: Potassium bromide 12 g Distilled Water 30 ml
Part C: Ammonium carbonate 80 g Water 30 ml
When needed for use, mix 0.37 ml of A, 2.72 ml of B and 10.9 ml of C. Flow this over the plate until developed. If a dry plate is used, first wash the preservative off in running water.[citation needed]
In April 2015 I visited a good friend in Australia. We went on a three-week-trip along the east coast together. Here are some of the pictures I took.
More photos on:
During seasonal winter weather at Thornhill , north of Masborough Jn , a drip of water clings to steel meshing distorted by someone taking a set of bolt croppers and making holes at convenient spots.
The railway interest is provided by 66755 working the SO 4E79 0742 Ratcliffe P.S. - Doncaster Down Decoy empty hoppers.
3 2 18
Shot for Week #8 of my "52 of 2013" flickr group given the theme of "Round".
A drop of water makes a perfectly round subject and so do the ripples that form on the surface when the drip hits the water.
Here I was able to get a second drop of water to crash into the first causing a crown to form on the top. This was soooo cool!
I know people do this with special optical triggers and timing devices, but this was done by hand with a manual dripper, a long exposure and two speedlights triggered with a Pocket Wizard.
Please take a look at this on black by pressing "L" on your keyboard…
The well known Scalaber Falls in the Yorkshire Dales. I went for a close crop on this one and a mono conversion.
Ulan (near Mudgee)
NSW, Australia.
The Drip is an amazing gorge on the Goulburn River just north of Ulan and about 50km north of Mudgee.
The main part of the massive rock overhang is referred to as The Great Dripping Wall.
Water runs off from the surrounding hillsides & seeps through the rock & drips onto the the pools in the gorge.
Ferns cling to the rocks of the steep overhang and are constantly watered by the the water that drips down the top.
The track to The Drip is about 2.4km return, but it’s well worth exploring further downstream.
There is no track past The Drip area but you can explore by rock-hopping or by wading through the usually fairly shallow water.
There are sandstone cliffs with ferneries that cling to them, huge boulders, & gnarly twisted trees.
Recently, an Aboriginal style painting on a large rock overhang by the river was discovered to be by Brett Whitely, a famous Australian artist.
The Drip area also contains a culturally important cave for the Wiradjuri indigenous tribe.
The cave has been used for many years as a place for women’s rituals & birthing was performed there.
The Drip is a popular destination for both locals & tourists.
People visit The Drip to bushwalk, swim, and also to go camping.
Its a great location for photography, painting, & also for bird-watching.
Unfortunately, The Drip is under threat from mining.
The area is not protected by the nearby Goulburn River national Park & is owned by the Moolarben Coal Company.
The mining company have proposed to protect as national park a measly 0.75ha of the area directly around The Drip wall.
The remainder 53ha of the proposal is for a state conservation area rather than a national park.
This does not protect the sensitive area from mining.
Moolarben Coal have a proposal to drill a tunnel that crosses The Drip are & this has the potential to affect local aquifers & river levels.
This could threaten the survival of the sensitive area of The Drip itself.
Local landowners Julie & Colin Imrie have offered 10ha of their neighbouring ‘Gleniston’ property to become national park,
as long as the Yancoal group hand over a larger portion of their land to national park.
This is a beautiful & unique area that needs to be protected as a national park.
Drip development with lith developer. Method described here... remorseblog.blogspot.com/2023/03/drip-development.html
Day 3
I hit 20,000 views yesterday! Thanks all. That's a heck of a lot of people.
When I was in New York, I bought a dedicated macro ring-flash from the B&H Photo store in the city. This and the shot before this are my first experiments with it.
So far I'm liking it.
As far as the timing goes, I think I'm going to go with what a few people said. Chronologically, I might be a day behind, but since it's my 366 project, I should upload according to my time-zone. I guess we'll see how it works out.
Looks best on white I think, makes the red color more vibrant.