Kallitype. 20x28cm. Canson paper.

toned in selenium.

cyanotype print scan

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Kallitype

Untoned on Arches Platine

Sodium Citrate Developer

8x10 Contact Print from Digital Negative

cyanotype toned of coffee

paper canson montval 300 g

Handmade lumen print.

Magenta and Yellow Gum Bichromate over Cyanotype, approximately 12x5" on Hahnemuhle Platinum Rag on Sheet Aluminum.

Cyanotype N°70 - Tonifié au maté + café/ yerba maté + cofee toned

Papier - Moulin du coq - le rouge

Prise de vue - Yashica mat 124G + Fuji Pro400H (conversion NB)

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6x18

Kallitype. 20x27cm. Canson paper.

toned in selenium.

Cyanotype N°256 - Tonifié au maté + acide tannique / yerba maté and tannic acid toned

Papier - Canson Montval

Prise de vue - Holga 120 GFCN - bergger pancro400

8x12" Gum Bichromate print over cyanotype over Na2 Platinum/Palladium. Multiple layers, four negatives, Holbein Opera and Daniel Smith Mayan Yellow watercolor paints.

Cyanotype N°114- Tonification au maté + café / yerba maté and cofee toned

Papier - Moulin du coq - Le rouge

Prise de vue - konica hexar af + tmax3200

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I've been really enjoying myself making salt-paper prints in the manner of Henry Fox Talbot, who invented the process in 1839. This image was made at Lacock Abbey where Talbot lived and worked. I can picture the nuns standing around the cauldron, warming themselves? , or making a brew?

7" x 8" Resinotype alternative process. Contact printing.

40x50 Cyanotype

Canson Paper, Ammonia, Tannic Acid and Wash Soda toned

in lack of a huge scanner, a different repro technique :)))

Portfolio: Body Suite 1 through 7

Palladium Toned Kallitype Prints by David Aimone

www.aimonephoto.com/portfolio/body-suite/

#alternativeprints #DavidShow #film

First try at contact printing from negative to Cyanotype paper.

Image originally taken with a Holga 120N in Arista Edu Ultra 100 film, I scanned the negative and inverted it in Photoshop so I can have another negative when I printed it in an A4 acetate sheet. Then I made a contact print of the negative in an A4 watercolour paper treated with cyanotype emulsion by putting them under the midday sun for 1.45min.

Still loads of work to achieve what I really want, but more than happy with the first results.

Cyanotype N°94 - Tonification au maté + café / yerba maté and cofee toned

Papier - Moulin du coq - Le rouge

Prise de vue - Pentax MZ7 + DA 40mm - HP5 + studional

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Platinum palladium print on 11x15 Arches Platine paper 115gsm

3-shot digital panoramic shot

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For prints:

https://www.dennis-ramos.com/prints

An 8x10 salt print on Revere Platinum paper using a digital neg. I originally shot this on 35mm with my Leica IIIf.

Cyanotype on a found silver tea tray with some hand-stitching

Cyanotype print on Hahnemuhle Platinum Rag paper.

Cyanotype N°83 - Tonifié au maté + café / yerba maté + cofee toned

Papier - Moulin du coq - le rouge

Prise de vue - Lomo LCA120 + Ilford HP5

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Hasselsblad 500 EL/M

Sonnar 150mm

HP5+ 400

Developer: HC-110 (B)

Paper: Zerkal 340 g

Foma Photografic Emulsion

1st dev: Tentenal Centrabrom

2nd dev: Ilford Multigrade

Fix: Tentenal superfix

Thank you very much for stopping by, for your faves and comments – it is much appreciated :-)

(Granny's Knot (Kællingeknuden) is a sculpture by Shinkichi Tanjiri was raisen in front of Aarhus Museum of Art in 1972, later moved to the new ArOS Museum of Art in central Aarhus.)

Cyanotype N°487 - Tonifié au café / cofee toned

Papier - Canson Montval

Prise de vue - Empire junior 6x6 (Holga like) + Bergger 400

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hasselblad 500cm shot

15x15cm print

contact print (ohp transparency negative)

watercolour paper fabriano artistico 300gr

2,5 minute exposure (uv lamp)

2017 january

Gumbichromat 22 X 33 cm. 6 layers, paper Fabriano Artistico 28 X 38 cm.

Cyanotype N°143 - Tonifié au maté + café/ yerba maté + cofee toned

Papier - Moulin du coq - le rouge

Prise de vue - Pentax SuperA + 28mm - Pan400

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Cyanotype N°265 - Tonifié au maté + acide tannique / yerba maté and tannic acid toned

Papier - Canson Montval

Prise de vue - Holga 120 GFCN - bergger pancro400

Hasselblad 500 c/m

Sonnar 150 f/4.0

Ilford FP4 125 @ 64

Developed in Rodinal

Paper: Zerkal 340 g

Foma Photografic Emulsion

1st dev: Tentenal Centrabrom

2nd dev: Ilford Multigrade

Fix: Tentenal superfix

Bleach: Moersch

Toner: Adox Selentoner

Thank you very much for stopping by, for your faves and comments – it is much appreciated :-)

Cyanotype N°413 - Tonifié au maté + café + acide tanique / Yerba maté, tanic acid and cofee toned

Papier - Canson Montval

Prise de vue - hasselblad XPAN + 45mm

Pan 400 + HC110

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Cyanotype N°66 - Tonifié au maté + café puis ciré/ yerba maté + cofee toned and waxed

Papier - Moulin du coq - le rouge

Prise de vue - Mamiya C220 + 55mm + foma200@400

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Magenta and Yellow Gum Bichromate over Cyanotype, approximately 12x5" on Hahnemuhle Platinum Rag on Sheet Aluminum.

Cyanotype N°84 - Tonifié au maté + café / yerba maté + cofee toned

Papier - Moulin du coq - le rouge

Prise de vue - Olympus OM10 + 28mm - agfa APX400

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Palladium toned kallitype on Arches Platine

Cyanotype N°109 - Tonifié au maté + café/ yerba maté + cofee toned

Papier - Moulin du coq - le rouge

Prise de vue - fuji xe2 + skopar 35mm

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Cyanotype N°79 - Tonifié au maté + café / yerba maté + cofee toned

Papier - Moulin du coq - le rouge

Prise de vue - Bronica EC + 50mm - foma200@400

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my second cyanotype. Using the Ware cyanotype chems, new Weston diploma parchment, mamiya 330 ,80mm on acros film in pyrocat-mc and digital negative using modified TrueBW software.

Classic Cyanotype on Fabriano artistico. Large format pinhole.

B l a c k M a g i c

platinum/palladium over gold leaf

Just another day and another salt print. This was part of an art installation at Blicking Hall outside of Norwich, England.

They used books all over the manor house and ground to make art pieces. I found it rather annoying as it destroyed so many books. To be hones, I couldn't see the point. The home had a beautiful library and I'd like to have seen all the books on those shelves.

I was rummaging around my negatives trying to find something to post today and nothing grabbed me. Then I remembered a series of photos from my trip to England last September-October that I had recently printed using the platinum process and thought I would share a few of those.

I visited Lacock Abbey, the home of Henry Fox Talbot, who was credited with making the first paper negative. He printed using the salt-paper method which I learned when I first came back from that trip. I thought what better negatives to use but from the home of the inventor himself. I posted some of those earlier.

So about a month ago I took a class on platinum printing, taught by Ray Bidegain, www.raybidegain.com

Great class with a good bunch of fellow photographers. I have since ordered my ballasts and my contact print frame so I can start doing these at home.

The Abbey was dedicated in 1229 and Talbot acquired the house the old fashioned way, he inherited, but not without a lot of hardship first. Not having to 'work' for a living he was able to invent and putter. And so he gave us 'the negative'.

camera: Hasselblad 500 CM

film: Kodak 400

Cyanotype N°52 - Tonifié au maté + thé noir/ yerba maté + black tea toned

Papier - Bristol fabriano

Prise de vue - Rolleiflex T + portra400 (passage en NB)

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I've tried salt printing on and off over the past ten years but was never too excited with my results and tended to get frustrated and give up trying the process. This week I decided to give it a try again with a little more enthusiasm and focus.

These are the first two test prints I made from a 4x5 negative. The left is on Stonehenge 150 lb paper which Bostick & Sullivan sells as a beginner or student paper. While I don't mind the color, it is extremely flat and muddy and kind of soft looking. (This iPhone photo seems to give the prints more contrast than they actually have.) Maybe this paper would benefit from a gelatin sizing?

The print on the right is on Arches Platine and looks much better than the Stonehenge paper. It still has a bit less contrast than I'd like so I'll need to play around with that. A little richer feel would be ideal for me.

These were made with just the plain salting and no gelatin.