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8 x 10 Gum over cyanotype contact printed on Canson Montval 140 lb CP. 1st layer cyanotype, then a coating of Gamblin PVA Size, 2nd coat Aureolin Yellow and last layer a mix of Charcoal Grey and Burnt Umber. All exposures made in the sun from a single b/w negative.
Cyanotype II | Dr. Mike Ware's Formula | 19.8 x 19.8 cms | Khadi Papers 100% Cotton Rag 270 gsm | 7-minute sunlight exposure
Canon EOS 3 / Expired Svema A2Sh
Developed in Wineol
Red wine: 500 ml
Soda ash: 2 full tablespoons
Vitamin C (no sugar): 2,5 gr
~24C, 46 min.
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.
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
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
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.
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.
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...
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
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
November 2009 Maderia.
Gumprint.
Paper Fabriano Artistico HP 300 gr.
1. Paris Blue
2. Gamboge Gum modern
3. Madder lake dark
4. Phthalo blue (very slight)
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
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