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The printing press used for the course is the Adana, a tabletop press for hobbyists; this model was introduced in 1953.
Pulling down the handle moves the twin rollers up and over the inked disc; if a forme has been inserted then the rollers will transfer ink to the type on their way down. At the same time, the platen is moved up towards the forme. Thus, once the type has been inked, pulling the handle all the way will create an impression: the printed sheet.
After the surrender, Southern troops were issued safe-pass warrants to allow them to return home without further animosity.
My first "Lumen Printing", ever. Without chemicals, only B&W photographic paper and the sunlight. The original to the left, the inverted to the right.
Kuala Lumpur City Gallery is located in a historical building that was in use as a printing office in 1899 during the British colonial administration. Designed by A. Norman based on neo-renaissance principles with exposed bricks, plastered columns, and semi circular windows.
In 1977 the Metropolitan Postal Security Office moved in and in 1986 the City Hall bought the building and turned it into the first public librabry of KL.
Now it houses a Tourist Welcome Centre. The ground floor of the City Gallery houses a large city map, a history section, and the ARCH Workshop and a gift shop. The first floor the Russell Floor holds the impressively large architectural scale model of Greater Kuala Lumpur.
Description: Although Thomas Smillie, the Smithsonian's first photographer and curator of photography, used images to catalog much of the institution's physical object collection, he also extensively photographed pages of books on topics of personal interest to him as a way of copying the material for future use. Smillie also photographed letters and documents as a method of preserving the Smithsonian's records.
Creator/Photographer: Thomas Smillie
Birth Date: 1843
Death Date: 1917
Born in Edinburgh, Scotland, in 1843, Thomas William Smillie immigrated to the United States with his family when he five years old. After studying chemistry and medicine at Georgetown University, he took a job as a photographer at the Smithsonian Institution, where he stayed for nearly fifty years until his death in 1917. Smillie's duties and accomplishments at the Smithsonian were vast: he documented important events and research trips, photographed the museum's installations and specimens, created reproductions for use as printing illustrations, performed chemical experiments for Smithsonian scientific researchers, and later acted as the head and curator of the photography lab. Smillie's documentation of each Smithsonian exhibition and installation resulted in an informal record of all of the institution's art and artifacts. In 1913 Smillie mounted an exhibition on the history of photography to showcase the remarkable advancements that had been made in the field but which he feared had already been forgotten.
Medium: Cyanotype
Date: 1890
Repository: Smithsonian Institution Archives
Collection: Thomas Smillie Collection (Record Unit 95) - Thomas Smillie served as the first official photographer for the Smithsonian Institution from 1870 until his death in 1917. As head of the photography lab as well as its curator, he was responsible for photographing all of the exhibits, objects, and expeditions, leaving an informal record of early Smithsonian collections.
Accession number: RU95_Box76_003
First Lady Michelle Obama, Dr. Jill Biden, and facility manager Judith Markelz, second left, greet volunteers preparing a meal at the Warrior and Family Support Center in San Antonio, Texas, April 13, 2011. The First Lady and Dr. Biden met with service members and their families during their visit to the facility, which helps care for family members of Wounded Warriors whose recovery is expected to last a long period of time. (Official White House Photo by Chuck Kennedy)
This official White House photograph is being made available only for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, promotions that in any way suggests approval or endorsement of the President, the First Family, or the White House.
Monument Valley Utah! Nikon D800E Dr. Elliot McGucken Fine Art Landscape & Nature Photography for Los Angeles Gallery Show!
Will be busy printing and framing in nice large, matted formats and frames and museum glass! Five of these photos will be printed on 40" x 60" floating wall mounted metal sheets! I think I know which--will share photos of the photos hanging on the walls!
And I am mounting some on plexiglass/acryllic--front mounting them! Some I am printing on lossy fuji-crystal archival paper too, and then front mounting 40"x60" versions to plexiglass--will send photos!
The secret to HDR photography is that you want people to say, "Woe dude--that's unreal!" And not, "Dude--that's not real!" "Unreal" is the word they use when they're trying to figure out the photo--what makes it cool--is it a photo? Is it painted? How'd it come to be--how'd you bend the light that way? "That's not real," is what they say if you have the saturation/HDR/ etc. turned up too high. :)
Some (almost) final edits for my Los Angeles Gallery Show! Printing them on metallic paper at 13" x 19" and mounting and framing them on a 4mm 18x24 white mat and 2" dark wood frame. Also printing some 40" x 70" whihc is over three feet by five feet! Wish you all could come (and hang out with the goddesses)!
Let me know your favs.!
New Instagram!
Videos!
Nikon D800E / D800 HDR Anelope Valley Ghosts in Slot Canyonfor Gallery Show!
Yay! I booked a major photography show at a major LA gallery in December! Will also be giving some lectures on the story--the Hero's Journey Mythology--behind the photography!
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Preparing for some gallery shows this fall to celebrate 300,000,000 views! Printing a few dozen photographs in ~ 30"x40" formats and mounting/framing. Here are some close-to-final edits. HDR photography 7 exposures shot at 1EV and combined in photomatix: 36 megapixel Nikon D800E with the awesome Nikon 14-24mm f/2.8G ED AF-S Nikkor Wide Angle Zoom Lens. 45SURF Hero's Journey Mythology Photography!
Epic Scenic HDR Landscaps Shot with Nikon D800E: Hero's Journey Mythology Photography!
Shot with the Nikon Nikkor wide-angle 14-24 mm 2.8 lens!
Seven exposures @ 1EV finished in photomatix.
Enjoy the Hero's Journey Mythology Photography, and all the best on a hero's journey of your own making!
These were shot with Nikon's best D800 with the 14-24mm wide-angle Nikkor lens. 7 exposures were taken at 1 EV intervals, and combined in photomatix to bring out the shadows and highlights.
Rather large HDR (high dynamic range) photo--you can see great detail both near and far! View the detail at full size!
The Nikon 14-24mm f/2.8G ED AF-S Nikkor Wide Angle Zoom Lens rocks!
High Dynamic Range (HDR) photos rock in capturing the full dynamic range of the scene!
All the best on your epic hero's journey from Johnny Ranger McCoy!
Monument Valley Utah! Nikon D800E Dr. Elliot McGucken Fine Art Landscape & Nature Photography for Los Angeles Gallery Show!
Screen Printing Posters for this years End of the Road Festival.
Charlie Parr End result
All posters will be available at End of the Road Festival on the Jacknife stall and also on the Jacknife website:
Printed in a dark stained blue on Ivory Somerset paper. The natural woodgrain textures from block's surface pepper atmospheric dashes alongside crisply cut star shapes. (I expect than anyone that appreciates the wabi sabi look of time-faded denim will find much to enjoy in this print. The block's surface is printed very uniformly; the gentle wood striations add an unexpected and very pleasant element to the design, while also very clearly linking the prints to the matrix)
Prints are 18" x 23". Pre-order through just after Thanksgiving & then price will go up to $225.
From the back cover:
Passion and intrigue -- A deadly swordsman and the woman he wanted at any price.
Pierre de Chabot's flashing sword point had won him fame, fortune and the reckless love of beautiful and passionate Marguerite de la Roque. But could it slash through the evil web of 16th century politics -- or avail against the lust and ambition of the all-powerful Sieur de Roberval?
On a treacherous isle in the unmapped New World, Pierre was to find the answer . . .
"Bursting with color . . . rich in lavish Renaissance intrigue . . . brilliant." -- New York Times
The Ben Day process involved screens with raised dots or patterns that could be painted with ink or other media and then burnished onto prepared areas of an exposed zinc plate before etching, a photographic negative before exposing onto a prepared metal plate, or even onto artwork or ad material before it was photographed for the printing process. A complex and unique process, it appears in use from the late 1800s through the 1980s—maybe beyond in specialized industries or printing plants that didn't update.
On this page, a standard form of the device is shown with details about what tints and patterns are available. It appears to be from
The page shows at the bottom the printed results of applying 40 patterns to photographic negatives before etching and then printing. Compare No. 532 on this page with the identical No. 532 in the next image in this sequence. A 20% tint applied as a layer of pigment to a negative means that 20% of the exposed area is opaqued out, leaving 80% clear. When exposed onto a photosensitized plate, the clear areas harden. During etching, only the unexposed portions wash away. As a result, the relief plate used directly for printing (or through duplication in the stereotype mold/plate method) have 80% of the area covered in tint.
From Graphic Arts Production Yearbook, Volume 6 (1950)
coming soon in very limited edition to tugboatprintshop.com; sign up for T.B.P.S. newsletter for 1st release details tomorrow 🎶
Repository: California Historical Society
Creator: Santa Clara Mission
Date: 1839 December 31
Physical Description: [1] leaf ; 22 x 31 cm.
General Note: Identified as an unknown Zamorano printing by John Howell Books.
Call Number: Vault B-101
Digital object ID: Vault_B-101.jpg
Preferred Citation: Mission Santa Clara padrón, 1839 December 31, Vault B-101, courtesy, California Historical Society, Vault_B-101.
For more CHS digital collections: digitallibrary.californiahistoricalsociety.org
Used in today's personal journal entry. dennissylvesterhurd.blogspot.com/2025/09/tubs-and-rings.html
The printing frame was left with the sensitized salted paper in contact with the calotype negaive for a few hours on my terrace. Little did I know, that while I was in the basement darkroom it started to rain. Though the frame was not totally unprotected the wind direction made some rain come on the frame and inside it. The thin calotype paper got wet and being pressed wrinkles appeared immediately as the swelling paper was also restricted and got wet in the upper half mostly. The contact with salted paper released the chemistry which got into the calotype negative causing yellowing. I conducted a rescue operation and think I saved it by minimising the damage.
The rescue operation:
1. put in a water bath immediately for about 30 min in subdued light.
This, to make the paper relax fully all over and release the water soluble discoloration which comes from contact with other materials, including the wooden frame
2. refix for 2 min in fresh hypo. In case the calotype negative sucked in chemistry from the saltprint paper it could have become light sensitive. Refixing may also help remove some of the yellow/brown discoloration
3. wash for 2 hrs. This was done to make sure all hypo is removed and if any other watersoluble substances were in the paper.
Canosn Marker layout is a strong paper and survives all this remarkably well, if this was Hahnehühlle paper I would have more trouble with distortions and possibly tears
4. air drying hanged up and weighted to stretch the calotype lightly when drying.
5. pressing in hard press put between two pieces of clean archival (unbuffered) pieces of mat board. My newly acqured press has proved incredibly useful.
The rsult is a flat calotype with light yellow staing seen in low density areas of the tree and the top of the building. Just printed from the rescued calotype and see no serious failure. I have a feeling that if this was a glass plate negative I would not be able to save it.
Cheers and skål for paper negatives!
3D printing is one of the growing industries today because it can produce almost anything from toys, accessories, sneakers, guns, wheelchairs and even organs. Learn more about 3D printing history?
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Set your word in type and press it into some Plasticene then fill the impression with liquid latex (available in craft shops for mould-making). Leave it for a couple of days to dry out properly before peeling apart; I wonder how long it will last in use?
Illustrations of the zoology of H.M. Indian Marine Surveying steamer Investigator
Calcutta :Printed and sold by the Superintendent of Government Printing,1892-1909.
Since i set up the darkroom to print for my recent exhibit, I thought I would dive into printing some of my Shorelines series.
Here is an example of split grade printing. You use two filters, one to control highlights and one to control shadow detail.
Making a test print helps you choose what exposure you could use for each filter.
In this can I was printing on Ilford Multigrade IV RC De Luxe Glossy. As it was a very bright day, I decided to choose the highlight & contrast that best matched the scene. The grid above shows that I decided to use a 3 second exposure with the 00 filter for highlight detail & I went with a 15 second exposure for shadow detail. The square I noted above show both exposures and the result.
I could have gone for a much different look, for example a 6 second exposure with the 00 filter would have produced a result where the highlights were more subdued.
You can see that using the split grade printing method really gives you some flexibility in contrast control and creativity over the image.It's all a matter of preference and what you want the scene to look like.
Woodblock printing on a large extreme scale. The process was shown off at the Richmond, Virginia Makerfest 2014. via remedyimpact.wordpress.com/2016/02/18/extreme-woodblock-p... www.facebook.com/RemedyImpactOfficial