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Cyanotype N°102 - Tonification au maté + café / yerba maté and cofee toned
Papier - Moulin du coq - Le rouge
Prise de vue - bessa R3A + rokkor 40mm - foma200@400
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#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 #childrengames #doll #dolls
Gumprint, gum bichromate. Gomdruk
Paper Fabriano Artistico HP 300gr.
Size about 18X24.
6 layers:
1: Phthalo blue;
2: Gamboge gum modern;
3: Madder red dark;
4: Gamboge gum light;
5: Alizarin Carmin;
6: Paris blue.
An enjoyable few hours this afternoon in the kitchen making this sampler for Anthotype prints. Paper is Bergger Cot320. Everything still wet, obviously, so not representative of final colours; will repost when dry.
Each row represents a different base ingredient.
A. Spirulina powder (a 250g tub from Holland & Barrett) unstrained/strained
B. Red chard (pack from Waitrose), blitzed then strained through coffee filter paper. Estimate that a whole pack would make enough to coat a few sheets.
C. Red cabbage, blitzed then strained through coffee filter paper. Used 1/8 of a whole cabbage. About 1/4 of a cabbage would probably be enough to coat a few sheets.
D. Blackberries, ground down in pestle then strained through muslin. One supermarket pack would probably be enough to coat a few sheets.
E. Raspberries, ground down in pestle then strained through muslin. One supermarket pack would probably be enough to coat a few sheets.
F. Petals from deep red roses, blitzed then strained through muslin. Petals from a whole bunch of roses from the supermarket would be enough to coat a few sheets.
[G. an attempt at extracting something worthwhile from some Holland & Barrett Baobab powder: fail! just got a washed out yellow-grey paste.]
H. Turmeric powder, mixed with warm water (unstrained - I think that straining would make this look a bit closer to Saffron - see far end of Turmeric row); no alcohol on this row in fact.
I. Raspberries + Turmeric, approx 1:1
J. Saffron, about 0.5g, mixed with 200ml boiled water, left to stand/stirred, then strained through coffee filter. Colour would be more red if left to steep for longer.
The columns are:
1. Unadulterated or mixed with distilled water.
2. Mixed with some alcohol - I used surgical spirit for this, but will probably use vodka in future because the stuff absolutely stinks!!
3. Soda crystals, ±2 tsp in 125ml distilled water
4. Soda crystals, ±4 tsp in 125ml distilled water
5. Bicarb of Soda, ±2 tsp in 125ml distilled water
6. Bicarb of Soda, ±4 tsp in 125ml distilled water
(tbh, steps 3-6 aren't that different, and 2tsp in 125ml didn't properly dissolve anyway, so probably overkill, but effects are interestingly different)
7. White vinegar
For steps 3-7 I simply added some drops of each onto the alcohol mix. In real use I imagine I will make up a mix of the base and then apply enough additional solutions to get the colour.
As you can see, from Blackberries onwards I got a little better at doing the application to the paper (!)
15 years ago we were here also and then we had a drink in this bar...
Gum bichromate, gumprint, gomdruk.
7 layers:
Size: 40X24 cm.
1 Phthalo blue, just very thin, to help further registration.
2 Gamboge gum
3 Madder red dark
4 Gamboge gum
5 Madder red dark
6 Prussian blue
7 Phthalo blue
Cyanotype N°89 - Tonifié au maté + café / yerba maté + cofee toned
Papier - Moulin du coq - le rouge
Prise de vue - Olympus OM1 + 35mm+ Agfa apx400
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 #arbre #trees #treephotography #arbres #ecorce #bark
Platinum-toned Kallitype on hand-coated Arches Platine watercolor paper (5 x 7 inches), contact-printed using a digital internegative made with Adobe Photoshop, and printed on Pictorico Ultra Premium OHP transparency film using an Epson P600 printer. Original photo made with a Nikon FM3A on Ilford HP5 film, developed in Kodak HC-110, scanned on a CanoScan FS2710, and post-processed with Adobe Lightroom.
Palladium toned kallitype on Arches Platine. Multiple exposures totaling 8 seconds on Maco 820 with Bronica ETR-SI.
Gumprint, paper Fabriano Artistico HP 300 gr.
Pigments:
1 Prusian blue
2 Madder red dark
3 Gamboge gum modern
4 Phthalo blue
Catching up on scanning plates from the Fall.
This was made using an old Graflex RB 4x5 camera fitted with a holder modified for wet plate. Lens is the original Kodak No. 33 7.5 inch anastigmat.
Quarter plate black trophy aluminum.
Cyanotype N°98 - Tonification au maté + café / yerba maté and cofee toned
Papier - Moulin du coq - Le rouge
Prise de vue - Leica II couplex + kyoeï W. Acall 3,5cm - kentemere 100@200
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 #family #kids #kidsphotography #kid #river #riverphotography #familyphotography #riviere
Chamonix 810V
Rodenstock Apo-Sironar S 240mm f/5.6
Ilford FP4+ 10x8 EI 125
N+2 expansion, placing green leaves at ZV
1’44” f/32
480mm bellows
Front and rear tilt forward
Pyrocat HD 2:2:100 in Jobo 3005 on manual base, continuous rotation, 5mins prewash
10’12” 21ºC
Acetic Acid Stop, TF2 Fix, Hypoclear, 10min wash, Ilfotol
Home-mixed 10% Classic Cyanotype, 31+31 drops + 1 of Tween 20 mix
Hahnemuehle Platinum Rag 11x15, 51% RH, 23ºC
Paper dried 3hrs40mins
42mins UV exposure, 2mins citric acid bath then 6mins tap water wash, dry
Hot Marjoram Tea toned, 10mins
File now updated to reflect further drying after a few weeks: happily contrast has improved further.
Gum Bichromate Print 10x13" - Tritone in PS then printed using CMYK colors and OHP negatives. Color inspired by - Kenshi Daito
Another anthotype in prep (same sheet of film for another 4x10). Red roses, blitzed with some alcohol and strained through muslin. A couple of wet coats to look dense.
This emulsion may take a week or two. Will test cheapo clip frame with clamps for this one, left in back of car.
Gomdruk, Gumprint
Size 41X28 cm.
Paper Saunders Waterford 300 gr.
Pigments used:
Paris blue
Gamboge gum modern
Madder lake red
Gamboge gum new
Madder lake red deep
Phthalo blue
See www.gomdruk.eu
Gumprint, gum bichromate. Gomdruk
Paper Fabriano Artistico HP 300gr.
Size about 18X24.
6 layers:
1: Phthalo blue;
2: Gamboge gum modern;
3: Madder red dark;
4: Gamboge gum light;
5: Alizarin Carmin;
6: Paris blue.
Second negative
Pomegranates Toned Cyanotype
Original Exposure:
7th October 2024, 3pm
Indoors, north-facing natural light, EV 5.5, and exposing shadows at front of back fruit at -1.5EV, and indicating N+1 development. Subjects placed on white baking parchment for lack of reflections.
Chamonix 810V, Rodenstock Apo-Sironar S 240mm f/5.6
10x8 Ilford FP4+ ISO 64, 25 seconds at f/8
440mm bellows extension, no movements
Film Development:
12th October 2024
Stearman Press SP810 daylight tray
5 min water prewash to remove purple stain from film base
Pyrocat HD at 1.2:1.2:100 dilution (leftovers), N+1 development for 11’38” at 20ºC - a darker print with far less contrast even with the extended development time (NB I used my dev time for 2:2:100 anyway to see what would happen)
1min acetic acid stop
6mins DIY TF2 fix
1min Sodium sulphite hypo clear
6mins of washes (9x 500ml tap water agitated 10 times and then discarded)
Ilfotol rinse
Base Cyanotype Print:
Hahnemühle Platinum Rag 15x11" paper
Classic cyanotype, 31 drops part A + 31 drops part B + 1 drops Tween20 mix (2 drops Tween per 10 drops distilled water)
Coated paper dried two hours, 20.8ºC, 55% relative humidity
Exposed UV 42mins until edges well solarized and details showing through in all areas
Developed in 3/4 tsp citric acid in 1.5l tap water/2x tap water washes (2mins+2x3mins), followed by 1min in 1l distilled water (I added this to prevent any bleaching from the tap water)
Full Bleach before toning:
face down in 0.75g Calcium Carbonate powder + 1.5l distilled water, approx 24hrs +
Tone with Purple Smoke Bush leaves:
Brew for print one reheated to 80ºC, re-restrained
Tone face down 26mins (agitating for first couple of mins to avoid bubbles), followed by 10min soak in tap water face up
Digitized with Nikon D800E/85PC-E tilt-shift, stitch of three frames
Original was photographed on FP-3000B45 film. Then a contact negative was created in deeghital post-processing and printed on to ink-jet transparency film. Contact printed onto Sunprint pre-coated cyanotype paper.
2005. Film camera Mamiya 645. Studio. 2012. Сyanotype, author handmade, watercolor paper Daler Rowney 300 g/m2, 20x30cm, digitized camera Canon 5D
Best of this morning's batch - in the final wash. Tea-toning to come later. iPhone snap.
New blogpost on subject:
dwfnaturephoto.wordpress.com/2019/09/03/alt-pro-argyrotyp...
Kallitype print on Hahnemühle Platinum Rag paper from 8x10 Foma 100 film
Developer Sodium citrate+Ammonium citrate. No toned.
Cyanotype II | Dr. Mike Ware's Formula | 19.8 x 19.8 cms | Khadi Papers 100% Cotton Rag 270 gsm | 7-minute sunlight exposure
Remnants of the bombshelling still to be seen.
Gumprint, paper Fabriano Artistico HP 300 gr.
Pigments:
1 Prusian blue
2 Madder red dark
3 Gamboge gum modern
4 Phthalo blue
Cyanotype N°98 - Tonification au maté + café / yerba maté and cofee toned
Papier - Moulin du coq - Le rouge
Prise de vue - Leica II couplex + kyoeï W. Acall 3,5cm - kentemere 100@200
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 #family #kids #kidsphotography #kid #river #riverphotography #familyphotography #riviere
Second version of this. Now I used Pictorico 11x17 inch negatives instead of two taped A4.
Gum bichromate, gumprint, gomdruk.
7 layers:
Size: 40X26 cm.
1 Phthalo blue, just very thin, to help further registration.
2 Gamboge gum
3 Madder red dark
4 Gamboge gum
5 Madder red dark
6 Prussian blue
7 Phthalo blue
SOLD.
russellmoreton.blogspot.co.uk/
www.talkspace.com/blog/milieu-therapy/#:~:text=“In%20Mi....
“In Milieu therapy, the focus is on how an individual interacts, collaborates, and engages with others around them. When a conflict comes up they can also learn healthier ways of coping and dealing with it. They also engage in individual and group therapy to help them gain insight and develop a positive perspective.”
– Talkspace therapist Bisma Anwar, LMHC
Properly digitized version.
This was from my first batch, where I accidentally printed on the rough side of the paper. But no harm done particularly.
This is the finished gum bichromate print. Two layers, 1st Linel Ivory Black gouache, 2nd layer was mix of Winsor&Newton Burnt Sienna and A. Crimson. Each coat was !:! pigment-gum to sodium Bichromate . Paper COT 320 preskrunk then single bath sized in gelatin-formalin mixure @100F . The photo was taken with a Holga 120N on TMY-2and developed in pyrocat-mc . This is my 4th gum bichromate print bichromate print and my early impression is that this processhas so many variables and it would take a long long time to really wrap your head around it. So my solution for now is stick with my basic luckily stumbled upon workflow and have fun. Hopefully I'll learn something in the process. Oh and I finally learned how to stitch/merge photos together in PS, which I needed to do in order to scan this 12X 12inch print
contactprint from 8x10’ Foma 100 film
Printed on hahnemuehlepaper paper with kallitype process Gold toned
buy from bluetapes.co.uk/product/blue-twenty-three-brian-john-mcbr...
C80 + download code
I have an almost superstitious affinity with tremolo, the "lush, warm, and roundly pulsing” guitar sound most famously used by Johnny Marr on How Soon Is Now?, Keith Richards on Gimme Shelter - and perhaps most perfectly - Tommy James and the Shondells on Crimson and Clover.
Blissfully, I’m not the only one. The first side of blue twenty-three - dubbed The Tremolo Tapes - is Philadelphia-based guitarist Brian John McBrearty’s own love letter to the effect. Every point of the tremolo spectrum here is tasted. Barely-perceptible shivers around the plucked notes of his guitar that tingle the spine; a lurid heat-haze of guitar shimmering on the horizon; jagged, complex sound-sculptures that ripple and crackle.
These pieces were all improvised, recorded one take with one microphone. Brian himself thinks the vibe “is a bit similar to Neil Young’s Dead Man soundtrack.”
The second side of blue twenty-three is dubbed Things I Recall. These pieces blend composed, tumbling American Primitivism acoustic guitar ragas with mind-enveloping cloaks of drone. A simple and effective combination that seems so immediate and rewarding you’re left unsure why every guitar player hasn’t tried it.
George Russell’s dense musicologist tome Lydian Chromatic Concept of Tonal Organization influenced the composition process, and Brian lists his touchstone influences as “Brian Eno, Jim O’Rourke, John Fahey and Jack Rose. They are artists that I repeatedly come back to. Recently, I have been diving into the catalogs of Sonny Sharrock, Steve Reich, Terry Riley, Rhys Chatham and Glenn Branca. Perhaps not as evident on Things I Recall, but still nonetheless huge influences on my musical point of view are Wilco, Sonic Youth and Explosions In The Sky.”
This is intuitive, graceful music that uses simple, repetitive elements to conjure the spellbound state that we sometimes refer to in Blue Tapes music as ‘spiritual pop’.
“I wanted to create music that sort-of washed over the listener and evoked the sensation of controlled deep breaths,” he adds. “I think repetition and simplicity in music can have a spiritual or healing effect. I think this is something that I appreciate more as I get older and these thoughts and feelings have influenced my compositions.”
Praise for Brian John McBrearty:
“The last couple of years have been especially fertile for minimal guitar music. The emergence of new voices such as Tashi Dorji and Richard Dawson have opened up a whole new language for the most overused of all instruments. Alongside The Library of Babel‘s Shane Parish, the next name in deconstructed guitar that you need to remember is Brian John McBrearty. Largely simple, repetitive and minimal, Things I Recall weaves hypnotic guitar figures around slowly unwinding ambient drones." - 20 Jazz Funk Greats
"Sounds a bit like a collaboration between John Fahey and Popol Vuh. How can you resist?" - Doom and Gloom from the Tomb
"There’s an effortless quality to the way Brian John McBrearty plays the guitar. Notes roll of his fingertips, falling into perfectly crafted, beautifully tranquil melodies... coaxing a range of textures out of his instrument, from delicate folk finger-picking to reverberating ambient sound waves." - The Key/WXPN