View allAll Photos Tagged alternativeprocesses
In 1974, while still at school, I experimented with various techniques to produce “abstract” photographs. This example was created using Agfacontour, a technical film made to create equidensities. It has both negative and positive components, which, according to the exposure given produce black and white images of a given density. For example three separations could be made for each of the light, dark and intermediate tones.
This was a time consuming business, and the film was discontinued once it became possible to make separations digitally.
Having made the separations, I went on to add colour, giving each layer a different hue. I did this in two ways, first by making black and white negatives on lith film, and using the Tetenal toning chemicals to replace the black silver image with a dye layer. Later I used 24 x 36mm images together with a slide duplicator and added different coloured light for each layer. This was done by keeping the shutter open and working in the dark.
This particular image is a recent reworking using fresh scans.
Minolta 507si, Minolta 24-50/4, AGFA Aviphot PAN200, dark room, enlarger Meopta Opemus 5, author's hand lith print 24x30, Fotospeed lith developer LD20, paper Bromekspress-1
Minolta 507si, Minolta 24-50/4, AGFA Aviphot PAN200, dark room, enlarger Meopta Opemus 5, author's hand lith print 24x30, Fotospeed lith developer LD20, paper Bromekspress-1
Cyanotype N°97- Tonification au maté + café / yerba maté and cofee toned
Papier - Moulin du coq - Le rouge
Prise de vue - bessa R3A + rokkor 40mm - foma200@400
Inter-négatif numérique
#cyanotypes #cyanotype #cyanotypeprint #cyanotypeprocess #alternativeprinting #alternativephotography #argentique #analoguephoto #blueprint #ishootfilm #alternativephotographicprocesses #alternativeprocesses #alternativeprocessphotography #todaysalternative #analogphoto #analogphotography #fisheyelemag #blackandwhite #blackandwhitephotography #cianotipia #cianotipo #experimentalphotography #bessa #foma #fomapan200 #kids #kid #kidsphotography #kidphotography
Cyanotype N°482- Tonifié au maté + acide tanique / Yerba maté and tanic acid toned
Papier - Canson Montval
Prise de vue - Rolleifleix wide + Ilford HP5+
Inter-négatif numérique
Cyanotype N°68 - Tonifié au maté + thé noir/ yerba maté + black tea toned
Papier - Moulin du coq - le rouge
Prise de vue - Fuji GA645 + HP5+
Inter-négatif numérique
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Contact printing 5”x7’ negatives direct to BFK Reves paper which I’ve pre-coated and dried. An exploratory session because the Part A and Part B liquid chems are three years expired. So far, although the UV sensitivity seems to be a little reduced, all appears OK. I have double coated for the next test.
Here it is in the final wash.
Here I'm following the Christopher James instructions for warmer tone.
Paper is coated and dried, then is prehumidified. I'm doing mine for 7mins 30 seconds (as a middle figure), aiming for a warm brown colour.
Then the paper - placed in a crystal seal envelope to preserve the humidity and protect the neg - is exposed - I ended up doing this first one for 37 minutes this morning (!!) and even then I'm not really sure it's fully exposed.
Then wash in acidified water, fixed with hypo, then washed.
The neg for this was exposed for scanning but has worked ok. Next one will have been shot specifically for argyrotype. Let's see if there's a difference.
New blogpost on subject:
dwfnaturephoto.wordpress.com/2019/09/03/alt-pro-argyrotyp...
Final digitised version
Print: 26th March 2022 / 22ºC / 43% RH
10x8 contact print from Ilford FP4+ negative, trimmed slightly, on 14x11 Bergger Cot320
3ml Fotospeed sensitiver, 1 drop of tween20 solution (mix of 1 drop and 5 drops distilled water)
Paper dried 1hr5mins, no prehumidification
8’30” daylight exposure in full sun, 1:35pm
5mins wash in 1.5l distilled water with squeeze of lemon juice
5mins wash in 1.5l tap water
3mins fix in hypo
1hr final soak
Original exposure:
2nd June 2021, 2.15pm
Chamonix 810V, Rodenstock Apo-Sironar S 240mm f/5.6
Ilford FP4+ 125 (EI 64) 10x8
400mm bellows extension
11” f/5.6, Lee #23A light red filter
Stearman Press SP810, Pyrocat HD 2:2:100, 8’53” for N, 21ºC
Acetic acid stop, TF4 Fix, Hypoclear
Digitised with Nikon D800E and 85PC-E tilt-shift, stitch of two frames.
Cyanotype N°360 - Tonifié au café / cofee toned
Papier - Canson Montval
Prise de vue - Empire junior 6x6 (Holga like) + Bergger 400
Inter-négatif numérique
Cyanotype N°117 - Tonifié au maté + thé noir/ yerba maté + black tea toned
Papier - Moulin du coq - le rouge
Prise de vue - Leica M5 + summaron 3,5cm - Fuji néopan400
Inter-négatif numérique
#cyanotypes #cyanotype #cyanotypeprint #cyanotypeprocess #alternativeprinting #alternativephotography #argentique #analoguephoto #blueprint #ishootfilm #alternativephotographicprocesses #alternativeprocesses #alternativeprocessphotography #todaysalternative #analogphoto #analogphotography #fisheyelemag #blackandwhite #blackandwhitephotography #cianotipia #cianotipo #experimentalphotography #leica #leicafilm #leicaphotography #soccer #soccerphotography #football
Mamiya RZ67ProII (Sekor Z 110mm f/2.8) 6x6 back. Author's hand print (Lith-print). Enlarger Meopta Opemus 5. Developer Fotospeed LD20. Photo paper Bromekspress-1. rolfilm Fomapan 200, Scanner Epson 3200
Canon Canonet QL17 GIII / Expired Svema A2Sh
Developed in Caffenol
Water 650 ml
Coffee 12 full teaspoons
Soda ash 3 full teaspoons
52 minutes/ ~25C
Pinhole film camera Zero Image 2000 6×6, rolfilm 120mm Foma 200, author's hand print (Lith-print). Enlarger Meopta Opemus 5. Developer Fotospeed LD20. Photo paper Bromekspress-1
2012. Contax G1 (Carl Zeiss Biogon 28mm F2.8). Author's hand print (Lith-print). Enlarger Meopta Opemus 5. Developer Fotospeed LD20. Photo paper Bromekspress-1.
Cyanotype N°148 - Tonifié au maté + café/ yerba maté + cofee toned
Papier - Moulin du coq - le rouge
Prise de vue - Rolleicord V + HP5
Inter-négatif numérique
#cyanotypes #cyanotype #cyanotypeprint #cyanotypeprocess #alternativeprinting #alternativephotography #argentique #analoguephoto #blueprint #ishootfilm #alternativephotographicprocesses #alternativeprocesses #alternativeprocessphotography #analogphoto #analogphotography #todaysalternative #fisheyelemag #blackandwhite #blackandwhitephotography #cianotipia #cianotipo #experimentalphotography #filmisnotdead #dreammagazine #reponsesphoto #shootfilmunder1000 #piano #pianophotography #rolleicord#rolleiflex
Original exposure details (and see previously posted scan):
25th April 2020 3:15pm
Chamonix 810V
Nikkor-W 300 f/5.6
Ilford FP4+ 8x10
760mm bellows extension, with extension board
(Working distance 550mm)
1min 20 seconds f/16
Stearman SP810 tray, Pyrocat HD 2:2:100, 12’, 21ºC
Acetic acid stop, TF-4 Fix, Hypoclear, wash, Ilfotol rinse
Print:
31st May 2020, afternoon
28ºC, relative humidity 45%
3ml Fotospeed Argyrotype sensitizer + 1 drop of let-down Tween 20, Bergger Cot320 11x14" paper.
Paper dried for approx 30 mins before exposure.
8'15" in full sun, Lotus 12x16" frame
5mins wash in 1.5l distilled water + squeeze lemon juice
5mins wash in 1.5l tap water
3mins wash in 2% hypo (4.5tbps to 1.5l tap water)
1 hour final soak (30mins face down, 30mins face up) in 3l tap water. Dried on clothes rack for a few hours, then dried for 2 days under boards (usually a week, but unseasonably hot weather!)
Cyanotype N°438
Tonifié au maté et acide tannique / yerba maté and acid tannic tonned
Papier - Canson Montval
Prise de vue - Empire junior 6x6 (Holga like) + Bergger pancro400
Inter-négatif numérique
Film camera Minolta 507si, Minolta 24-50/4, film Fomapan 100, dark room, enlarger Meopta Opemus 5, author's hand lith print, Fotospeed lith developer LD20, paper Bromekspress-1
Canon Canonet QL17 GIII / Fomapan 200.
The former building of the old winery.
Developed in Wineol.
Red wine: 500 ml
Soda ash: 2 full tablespoons
Vitamin C (no sugar): 2,5 gr
Film Fomapan 200: temp. ~24C, 42 min.
+ Water
+ Fix
+ Water
From top to bottom:
• Pictorico Pro OHP film digital negative test sheet on top of sensitised paper (Bergger Cot320), ready to expose to UV.
• Print immediately after exposure (25mins UV), before developing.
• Print in final soak after developing (will dry down by at least a stop, and tone will shift from warm brown to very dark charcoal brown).
• My preferred choice of curve - see the middle two prints above, built manually.
Developing: 5mins in distilled water + squeeze of lemon juice; 5mins in tap water; 3mins in hypo (about 4 tsps in 1.5litres tap water); 1 hour final soak in tap water. (Pretty much following the directions in the big Christopher James book.)
For explanation and details, see previous post for Cyanotype.
The surface of the water mirrors many things.
-Masumi Kato
Died on the twenty fourth day of the second month, 1825 at the age of sixty four.
Every few years I like to reread Japanese Death Poems (compiled by Yoel Hoffman and Charles E Tuttle Company.)
The book belonged to my best friend who passed from this Earth about six years ago to a far better place.
2 layer Gum Bichromate print on Strathmore mixed media paper.
Pinhole film camera Zero Image 2000 6×6, rolfilm 120mm Foma 200, author's hand print (Lith-print). Enlarger Meopta Opemus 5. Developer Fotospeed LD20. Photo paper Bromekspress-1
série "Trouble(s)"
Cyanotype N°455
Tonifié au maté, café et acide tannique / yerba maté, cofee and acid tannic tonned
Papier - Canson Montval
Prise de vue - Ensign Full Vue(Holga like) + ilford HP5
Inter-négatif numérique
Banne d'Ordanche (63) - Juillet 2024
Série "Cheminements volcaniques"
Cyanotype N°494- Tonifié au maté + acide tanique / Yerba maté and tanic acid toned
Papier - Canson Montval
Prise de vue - Rolleifleix wide + Ilford HP5+
Inter-négatif numérique
Film camera Minolta 507si, Minolta 24-50/4, film Fomapan 100, dark room, enlarger Meopta Magnifax 2, author's hand lith print, Fotospeed lith developer LD20, paper Bromekspress-1