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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They are more than towers, they are the means of warning the population, the means of news in their day, today they are really just towers.

Gum Bichromate, A4, 6 layers on FA extra white CP. Photo courtesy J.G. Verburg.

Wad bij Ameland

5x7 Palladium-toned Kallitype print

A Albumen print gold toned

8x10' film

www.instagram.com/stefano.bernardoni/

Application of salt/silver nitrate went easier this time, but I managed to fog the paper - having a light to close. That is probably one reason for the low contrast.

I am dissapointed about the low contrast. Will try potassium dichromate - and also slower exposure

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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Palladiotype

Palladiotype on Platine. Original shot with the Verito Diffused Focus at f/8 on a Graflex. Ilford FP4+ 4x5.

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

Van Dyke brown print on hand-coated Arches Aquarelle hot-pressed watercolor paper. Original photo made with a Nikon FM3A on Ilford Delta 3200 @ ISO 1600.

Portrait to Gaia with 8x10’ large format camera

Printed with albumen technique

Borace gold toned

www.instagram.com/stefano.bernardoni/

Karamea, South Island, New Zealand. Handmade platinum/palladium print (5x7"). Original photo made with a Nikon FM3A on Agfa APX film.

We walk the paths on earth, we appreciate landscapes and moments, we are grateful for what we have lived, because we don't know when we will die.

Talbotype (Calotype)

Contact print from 8’x10’ Foma film

printed on Bergger cot 320 paper with salt paper process

Gold toned (Borax), beeswax and lavender coated

www.instagram.com/stefano.bernardoni/

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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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, scanner Epson 3200

Platinum/Palladium-toned Kallitype print (5" x 7")

Digitised print after 24hours of drying: capturing now though I expect it to shift to charcoal black over the course of a week.

Hopefully 6 more in the series to come, from 20 exposures on HP5+ across 2 rolls of film (astonishing success rate for the abstract/serendipitous nature of the process of making these). The series is basically all full-frame or close to full-frame exposures, with digital editing only used for local contrast and a modicum of cleaning up. So there will be (hopefully) seven Argyrotypes in this series, alongside the one cyanotype from a DSLR - basically I used the DSLR to confirm the setup for the shot, including the shutter speed I thought I needed (1/125 was correct). Thought about making these with the Chamonix 10x8 but obviously the shutter speed would have been majorly problematic.

The other odd thing about this series is that, in a way, they are all self-portraits. At some point I will explain...

Original Photograph and Development:

May 3rd 2023

Mamiya RZ67 Pro II, 110mm f/2.8, bellows extended

Ilford HP5+ at 400

1/125 f/16

Caffenol C-L/S 60' stand, 20ºC

DIY TF-2 fixer

Digital Negative:

Digitized film negative with custom Argyrotype curve in Photoshop

Printed at 12.5x10” on A3+ Innova Pictorico Pro OHP Ultra Transparency Film with Canon Pro-300 Inkjet

Argyrotype Print:

Exposure and Development 12th May 2023

Hahnemühle Platinum Rag 11x15” Paper

Masked margins before coating with yellow Frog Tape, removed after drying

3ml sensitiser + 2 drops Tween20 mix, 18.5ºC 55% RH, paper dried 1 hour

12mins30secs daylight exposure, bright overcast 2:50pm (checked at 9mins), margins masked with Ruby Lith

5mins first wash, distilled water + squeeze of lemon juice

5mins second wash, tap water

3mins hypo fix

1hr final soak

Dried 24hours; digitised with Nikon D800E and 85 tilt-shift, stitch of three frames

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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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

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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Kallitype on Arches Platine toned with palladium andf selenium. Eight second exposure on Maco 820 Aura infrared film.

Platinum/Palladium-toned Kallitype (5.5 x 6.5") contact printed from a 4 x 5" negative. Original photo made with a Graflex Crown Graphic on Ilford HP5+ film.

Minolta 507si, Minolta 24-50/4, AGFA Aviphot PAN200, dark room, enlarger Meopta Magnifax 2, 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

This is the second of four in a batch of Platinum/Palladium-toned Kallitype I made on Saturday. I made these on Hahnemuhle Platinum Rag paper, which seems to take on much less of a brownish tone that the other papers I've used. I made the original photo with a Fujifilm X-T1 and Fujinon XF16mm f/1.4 lens.

Cyanotype N°121 - Tonifié au maté + thé noir/ yerba maté + black tea toned

Papier - Moulin du coq - le rouge

Prise de vue - Leica IIIc + elmar 3,5cm - Kentmere 100

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Is Arutas beach, Sardinia, Italy

FM2 + Kodak Tri-x

Cuprotype

My recipe

(No Patterson or hypo formula)

Paper: Fabriano Unica

www.vincenzocaniparoli.com

Gum bichromate, size A4, paper: Arches. 3x3 layers.

palladiotype on Fabriano Artistco. Original shot on Olympus Pen S.

Palladium toned kallitype on Arches Platine

Gomdruk, Gum Bichromate

1: Phthaloblue

2: Gummigut

3: Madder lake deep

4 Gummigut

5: Madder lake light

6: Paris blue

Paper Saunders Waterford 300 gr.

My first carbon print.

On fixed out baryt paper.

Original on Nikon D80.

Lumen print

Exposure 8 hours. under indoor lighting.

Just a quick phone snap: will redo this post with a properly digitised image of the print when it's properly dry.

Print: 26th March 2022 / 22ºC / 43% RH

10x8 contact print from Ilford FP4+ negative, trimmed slightly, on 14x11 Bergger Cot320

3mm 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

Now drying flat. Will expect significant dry-down and quite a bit of loss of tone. But ought to be great when finished. Will digitise properly towards end of next week when flat and properly dry.

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

Acetic acid stop, TF4 Fix, Hypoclear

ORIGINAL FILM EXPOSURE

Anglesey, Wales

9:55am, 11/04/22

Chamonix 810V, Nikkor-W 300mm f/5.6

Ilford FP4+ 10x8, EI 125

¼” f/45, front tilt

Lee 0.3 hard GND

FILM REVERSAL DEVELOPMENT

21/04/22

DIY B&W Reversal Development to make a slide for anthotype contact-printing

Stearman SP810 daylight tray then white Paterson open tray

Ingredients:

FD: 500ml Ilford Multigrade 1+5, 0.5g hypo, 12mins 20ºC

Second Dev: 500ml Ilford Multigrade 1+9

Bleach: 3% Hydrogen peroxide 500ml, 26.2g EDTA-4Na with 9.5g sodium bicarbonate, 18.33g Citric acid crystals.

Clearing Bath: 500ml water, 12.5g sodium sulphite

Stage 1 in SP810

FD: 12mins 20ºC, standard agitation

First Wash: 5mins with 5 changes of water

Bleach: 20ºC 9mins

Remove lid from tray

Clearing Bath: 2mins, continuous agitation

Second Wash: 5mins with 5 changes of water (easier to put lid back on for this)

Transfer sheet to white Paterson tray.

Stage 2: Re-exposure: 60secs about 45cm with 100watt bulb in inspection lamp;

Stage 3 in Paterson Tray

Second Dev: 6mins 20ºC

Third Wash: Ilford wash method

Fix: 500ml Ilford Rapid Fixer 5mins

Final Wash : 10 changes of water, continuous agitation (back in SP810)

Final rinse in Ilfotol, 1 min, in Paterson tray.

PRINT:

Emulsion:

Spinach leaves blitzed with some water, strained through muslin, 3 wet coats onto Bergger Cot320 paper, then left to dry for approx. 1 hour (still damp, but it didn’t really matter!)

Exposure:

4hrs in overcast conditions (1-5pm, 23/04/22), followed by 3hrs full sun 8-11am 24/04/22, Lotus 12x16 contact-printing frame; paper in Krystal seal A3 envelope to protect the sheet of film

Digitized with Nikon D800/85PC-E (stitch of three frames)

©️ created on 140lbs Aquarelle

I'm not going to say anything, but I'll give "signs".

Silver print manipulated with mordançage technique + iron toned

www.vincenzocaniparoli.com

Cyanotype N°43 - Viré au maté / yerba maté toned

Papier - Moulin du coq

Prise de vue - Rolleicord V + foma 200@400

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