View allAll Photos Tagged alternativeprocesses
Cyanotype print from a digital negative. Original image shot on with a 38mm 4x5 pinhole camera with an instant film back.
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.
Combarro . In dusk in September and it was a very nice evening. I still have great memories.
Gomdruk, gumprint, gum bichromate.
Paper Fabriano Artistico HP 300 gr.
Size: 37,5 X 25,5 cm.
Pigments:
1: Parijs blauw
2: Gummigut
3: Kraprood
4: Gummigut
5: Kraprood
6: Parijs blauw.
Printed from a digital negative made from a digital infrared image. Cyanotype on watercolor paper, bleached and toned.
A split-toned cyanotype, using sodium carbonate (washing soda). Printed from a digital negative on vellum.
this one is real... one can feel it.
My images from mP2009 in Concord. A wonderful time was had by all... the week was lightspeed.
copyright steve wilson/ModernLight2009
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.
Platinum/Palladium-toned Kallitype print (5" x 7") on Hahnemuhle Platinum Rag paper (5.5" x 8.5"). Original photo made with a Fujifilm X-T2 and Fujinon 23mm f/2.0 in Acros emulation mode.
Contact printing frames can be bought pre-made (top). Or simple ones (below) can be put together inexpensively using cheap wooden photo frames, scrap pieces of hobby wood, stainless steel bolts, washers, and wingnuts.
If you use photo frames, be careful with the sharp edges of the plate glass, and don't put too much pressure on them or they will crack (been there, done that!). Covering the glass edges with photo tape, or replacing the thin/cheap glass with clear acrylic might be a good idea.
Film:
FP4+ @125
Nuclel BF200 2:1.5:100, 7mins, 20ºC. Test-roll exposed with Mamiya RZ67 Pro II / 110mm f/2.8 ensuring one frame per zone from Z I to Z 10.
Print:
26th March 2022 / 22ºC / 43% RH
14x11 Bergger Cot320 paper
3mm Fotospeed argyrotype sensitiver, 1 drop of tween20 solution (mix of 1 drop and 5 drops distilled water)
Paper dried 40mins, no prehumidification
8’30” daylight exposure in full sun, 1:05pm
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
Drying flat
More plates from the other week when I made the "Bridge in Fog" plate, but these are from after the fog burned off.
5x7 trophy aluminum; J. C. Somerville St. Louis # 2 lens.
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 Delta 100 film, developed in Kodak HC-110, scanned on a CanoScan FS2710, and post-processed with Adobe Lightroom.
From an August wet plate session. Not sure what accounts for the bubbly stripe crosswise toward the bottom. Grrrr.
5x7 trophy plate aluminum. J. C. Somerville St. Louis # 2 lens.
The original image combined a scan of parrot tulips with a scan of old copperplate handwriting. A digital positive on vellum was used to print the cyanotype, which was subsequently toned with tannic acid and dektol.
Platinum/palladium-toned Kallitype test print, 5.5" x 8.5", on Hahnemuhle Platinum Rag paper. In this series of test prints I'm trying to perfect my digitial negatives before I start to make large prints.
Bromoil print of pinhole photograph of Andy Goldsworthy's sculpture "Stone River" on the campus of Stanford University.
Gomdruk, gumprint
Paper Canson Montval 300 gr.
Layers:
1: Parijs blauw
2: Gummigut modern
3: Kraprood
4: Kadmium geel
5: Permanent karmijn
6: Phthalo blauw
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
Don't run so fast, there will come a time when you'll need to stop, take a breath, look at what's next, and get on your way.
Gumprint, Gum bichromate print, gomdruk.
Original Nikon D80, digital negatives with paint shop.
Paper Fabriano Artistico HP 300 gr.
6 layers:
1: Paris blue
2: Gamboge gum (gummigut)
3: Kraprood (madder red)
4: Lazur yellow + Gamboge gum
5: Alizarin Crimson
6: Pruisisch blauw (Prussian blue)