View allAll Photos Tagged alternativeprocesses
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.
Gumprint, paper Fabriano Artistico HP 300 gr.
Pigments:
1 Prusian blue
2 Madder red dark
3 Gamboge gum modern
4 Phthalo blue
Kallitype print on Hahnemühle Platinum Rag paper from 8x10 Foma 100 film
Developer Sodium citrate+Ammonium citrate. No toned.
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.
I spent a couple hours making these platinum/palladium-toned Kallitype prints today. The photo size if 5" x 7" on 8" x 10" Hahnemuhle Platinum rag paper. As you can see, each print is unique, and I never know exactly how each will look. I made the original photographs with a Fuji X-T2 camera and a Fujinon XF23mm f/2.0 lens.
2005. Film camera Mamiya 645. Studio. 2012. Сyanotype, author handmade, watercolor paper Daler Rowney 300 g/m2, 20x30cm, digitized camera Canon 5D
contactprint from 8x10’ Foma 100 film
Printed on hahnemuehlepaper paper with kallitype process Gold toned
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
Platinum/Palladium-toned Kallitype print (5x7"). Original photo made with a Nikon FM3A on Ilford Delta P3200 film @ ISO 1600.
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.
FP4+ 8x10
BTZS tubes
Prewash / Pyrocat HD / Photographers’ Formulary TF4 Fixer / Hypoclear / Wash
Having researched in detail via Sandy King and elsewhere online, this is my first baby step into 8x10 and alternative processes.
My first two 8x10 exposures were taken at Great Coxwell Barn in Oxfordshire, a location where light conditions and compositions are relatively familiar from visits over the last few years.
For one of these images I was hoping to replicate the successful 5x4 porch image shot with my Linhof Technikardan on Delta 100 with Nikkor-SW 75mm with the Nikkor-SW 150mm for an 8x10 contact print at some point in the future, and this looks pretty good so far.
Beyond basic info about composition, what these two sheets already tell me is valuable before I scan them or print from them. On composition, these two exposures were extremely challenging because of the dark interior of the barn with only natural light. I’m pleased that everything is straight and the corners/sides are pretty well judged, even though for the porch shot I could have been slighter further back from the subject to leave a little more room all around. Most importantly, there’s no sign of any vignetting, or interference from bellows or Lee wideangle lens hood, even though the lens hood was in place and the porch shot needed quite a large amount of front rise. That’s not to say that a wide-angle bellows wouldn’t be very helpful, as it is on the Linhof for super-wides below 110mm.
In terms of developing, the negs seem both very clean and well developed. Hurray!!
It was with some trepidation that I turned from using the Jobo to BTZS tubes for 8x10, even though I had heard that Pyrocat development in tubes works well.
Development times also seem good. Both of these exposures were long exposures indicating N-2 development, with dark tones/hints of texture metered at -2 or -3 (29 seconds and 37 seconds exposure times) at ISO 125.
According to my initial ballpark calculations for Pyrocat HD, I have N-2 at 8 minutes 30 seconds at 21ºC for a good dense negative to make a range of alternative process contact prints, and these both look pretty solid.
For those who really want to know the process here, here’s the full detail: the process is more complex than for Delta 100 so really only works for 1 tube at a time. I managed to develop the two sheets in about 2 hours from a standing start (but including 30mins wash time for each at the end) – I would have been able to do 3 sheets if I’d remembered to have all three tubes loaded to start with.
Trays setup: done around a sink at home (NB no darkroom)
Tray 1, water bath: 16x20 tray water bath for tubes / acetic acid stopbath added. 5 litres tapwater, 33ml acetic acid added near end of first tube developed. For future reference, 5 litres isn’t quite enough for the tubes to float properly but this doesn’t seem to have mattered much.
Tray 2, Fixer: washing up bowl, with 1 litre of TF4 fixer mixed up.
Tray 3, Hypoclear: washing up bowl, with 1 litre of tapwater and 1 heaped teaspoon of sodium sulfite.
Tray 4, final wash: 16x20 tray with slosher insert (an ebay purchase)
Tray 5, Ifotol solution: washing up bowl with distilled water and some Ilfotol.
Times: 5 minute prewash of film: 150ml distilled water in cap, switched over in dark with help of Jumbo Harrison tent (with a small 8x10 tray inside for the chemistry/extra caps). Vigorous shake of tube for first ten seconds then roll in waterbath.
Pyrocat HD 2:2:100 200ml water, 4ml part A, 4ml part B, mixed in jug and added to spare cap. Again, caps switched in Harrison tent. And again, vigorous shake for first ten seconds then roll in waterbath.
At end of dev time, quickly dump opened tube into water/stop bath and dispense with developer. Roll open tube in stop bath for 1 minute.
Pull out sheet from tube and transfer to fix. Fix for 10 minutes, constant agitation.
Transfer to hypoclear, 1 minute.
Transfer to final wash, 30 minutes or so in slosher.
Once ready to hang, move to Ilfotol bath and hang. DIY drying rigs are the best (with a bit of help this afternoon from my young son)!! Upstairs home office is warmest room in house so drying will not take too long.
Comments and thoughts most welcome!
Upcoming thunderstorm, orage in French, near Verdun.
Gumprint, paper Fabriano Artistico HP 300 gr.
Pigments:
1 Prusian blue
2 Madder red dark
3 Gamboge gum modern
4 Phthalo blue
This is a cyanotype from a digital negative of a layered and manipulated scan. It has been split-toned with sodium carbonate (washing soda).
From my first wet plate session of 2013. A bit more windy and overcast than I was hoping for, but it felt good to be back in the flow.
Quarter plate black trophy aluminum. Star Camera Company Anthony-style camera; J. C. Somerville # 2 lens.
Platinum/Palladium-toned Kallitype Print (5x7"). Original photo made with a Nikon FM3A on Agfa APX film.
Platinum/palladium-toned Kallitype print (5x7").
I wasn't very happy with the results of my original attempt to print this photo, so I reprocessed the digital file in Silver Efex Pro to create a new inter-negative. While there may still be quite a bit of room for further improvements, I like this version much better than the last.
Gum bichromate in burnt sienna, quin deep gold, and new gamboge over cyanotype (2 negatives). Is this a bichrome or a quadchrome?
7x10
First with Salted paper technique, second print with Kallitype technique.
8x10 film printed on #berggercot320 paper
Both prints gold toned
Gumprint, Gomdruk.
Paper Fabriano Artistico HP 300 gr.
Size 40X27 cm (2 glued A4 negatives.)
Layer 1: Paris blue
Layer 2: Gamboge gum modern
Layer 3: Madder red dark
Layer 4: Gamboge gum modern
Layer 5: Alizarin Carmin
Layer 6: Phthalo blue
Cyanotype print from a digital negative. Original image shot on with a 38mm 4x5 pinhole camera with an instant film back.
Platinum/Palladium-toned Kallitype print on Hahnemuhle Platinum Rag paper (5x7"). Original photo made with a Nikon FM3A on Agfa APX 100 film, developed in Kodak HC-110.
By way of an explanation...
After a long pause (work-enforced) from my photography, I’ve made the decision to move up to 8x10 for B&W inc. for contact prints (e.g. toned cyanotypes; Van Dyke Brown; possibly Pt/Pd). Will still use the trusty Linhof Technikardan S45 for colour slide on 5x4 but really want to give B&W contact printing a good go - a drive to put more of myself - and art - into the images I make: a drive to add personality and a sense of my own time, my own subjectivity, into the photographs I make.
Just about ready; only major outstanding item now before I can get cracking on making exposures is a BTZS dark cloth and a Lee wide-angle bellows hood, both in the post. Many thanks to Tim Layton for allowing me to take the Nikkor SW150 off his good hands.
2012. Сyanotype, author handmade, watercolor paper Daler Rowney 300 g/m2, 20x30cm, scanner Epson 3200
Original still life was photographed on FP-100B 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.