View allAll Photos Tagged alternativeprocesses
I participated in the 33rd Foreign Artists Exhibition in Nagoya from 30th October until 4th November. This year I exhibited prints from four 19th century processes: calotype, cyanotype, kallitype and Van Dyke Brown. This is one of the kallitype prints.
Kaua‘i Marriott Resort, Līhu‘e, Kauaʻi.
Experiments in transaquatype.
Do an inkjet print on cheap paper, wet the frontside of the sheet, and see the ink coming tru the paper to the backside of the sheet.
Canon ChromaLife100 ink, on Xerox Premium Mulitpurpose Paper, 96 Bright, 24lb.
Shot on Fomapan 100 5x4 sheet film developed in ID-11 1:1 dilution. The lens was a 6in Rank and Pullin uncoated lens mounted on my MPP Micro Technical camera. Then contact printd as a Salt print
Cyanotype print from a composite digital negative. The original files were scans of parrot tulips. This cyanotype has been hand-tinted with watercolors.
Platinum/Palladium-toned Kallitype print (8x10") on Hahnemuhle Platinum Rag paper. Original photo made with a Nikon FM3A on Agfa APX 400 film shot at ISO 800.
Here is a snap of the second contact print of a roll of 6x7 negatives, now dry.
So new N dev = Pyrocat HD 2:2:100, 8'05", 22ºC, ideally rating FP4+ at 64 where possible. Film hand-developed in Jobo 1520, to replicate as closely as possible the time and agitation I use for 10x8 in Stearman SP810 trays.
(NB I made an error in the original exposures: I shot two at zone VII, forgetting to change the lens aperture between shots at that point, so the two images on the penultimate row represent the same tonal position - their different colour represents slightly different sensitiser coating depth; I ran out of exposures on the roll, so the test finished at zone IX, which has very minor texture, from the shadows on the towel surface; zone X would be paper white).
Shooting a test with a textured subject, as John Blakemore recommends, makes a huge amount of sense.
The peach mid-tones are very pleasant, and are controlled by the amount of humidity in the paper at time of exposure.
A couple of challenges to set myself will be to produce a print with full tones represented from zone 3 to 7 or 8, and a high-key image with delicate highlights in zone 7 or 8.
dwfnaturephoto.wordpress.com/2020/07/05/fp4-film-speed-an...
Platinum/Palladium-toned Kallitype Print (5x7"). Original photo made with a Nikon FM3A on Agfa APX film.
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.
Transaquatype. Canon ChromaLife100 ink, on Xerox Premium Mulitpurpose Paper, 96 Bright, 24lb.
Original pinhole image [click here].
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Ukulele virtuoso Jake Shimabukuro playing While My Guitar Gently Weeps:
Center for Alternative Photography's Salted Paper & Albumen workshop with Brenton Hamilton. Fall 2010 workshops.
Photo by Lindsey Elasser.
capworkshops.org
Took my wet plate show on (or, really, down) the road for the first time in a while last week.
6x7 black trophy plate aluminum; Darlot 4.5 inch wide angle lens.
Haastrechtse molen bij Gouda.
Beetje spelen met kleur en PS.
Papier: Fabriano Artistico HP.\
Maat: A3
Pigmenten:
Parijs blauw
Gummigut
Kraprood
Gummigut
Magenta
Phthalo blauw
Cyanotype N°163 - Tonifié au maté / yerba maté toned
Papier - Moulin du coq - le rouge
Prise de vue - Holga120 GFCN + HP5
Inter-négatif numérique
Artist’s Book: white and coloured pages, card covers with cyanotype of Winchester Cathedral.
A hand bound book comprising of five signatures each with four folios. This book contains a collection of postcards made from contact prints and photograms from Tidbury Ring using the cyanotype process. Other pages contain some cyanotype paintings/abstracts around the theme of dwelling and hut. Silver gelatin images of St Catherine’s Hill are present as are some experimental pinhole photography.
Writing has nothing to do with signifying, it has to do with surveying, mapping, even realms that are yet to come.
Deleuze, Guattari. 1988.
Cortometraje "Salida"
Dirección: Alejandra León
Asistencia de dirección: Nicolas Quiroga, Laura Vaugham
Producción: Natalia Acosta
Asistencia de Producción: Diva Segovia
Dirección de Foto: Vanessa Alami
Gaffer: Cristian del Valle
Electricos: German Orione
Cámara: Ricardo Jaimes
Asistencia de cámara: Albert de la Rosa
Segundo de Cámara: Juan Molano
Dirección de arte: Carolina Acevedo, Asistencia de Arte: Rafaella Guio y Alejandro Cortés
Dirección de Sonido: Julio Araujo
Asistentes de sonido: Jose Maury, Gloria Barujel
Actores: Huilen, Matias Pellegrini, Mario Henao y Tomas Ubensa
Vestuario: Catalina (Maria Mulata)
Maquillaje: Alejandra BejaranoCortometraje "Salida"
Dirección: Alejandra León
Asistencia de dirección: Nicolas Quiroga, Laura Vaugham
Producción: Natalia Acosta
Asistencia de Producción: Diva Segovia
Dirección de Foto: Vanessa Alami
Gaffer: Cristian del Valle
Electricos: German Orione
Cámara: Ricardo Jaimes
Asistencia de cámara: Albert de la Rosa
Segundo de Cámara: Juan Molano
Dirección de arte: Carolina Acevedo, Asistencia de Arte: Rafaella Guio y Alejandro Cortés
Dirección de Sonido: Julio Araujo
Asistentes de sonido: Jose Maury, Gloria Barujel
Actores: Huilen, Matias Pellegrini, Mario Henao y Tomas Ubensa
Vestuario: Catalina (Maria Mulata)
Maquillaje: Alejandra Bejarano
Again, a manipulated scan, printed first as a digital negative on vellum, then used to create a cyanotype and toned with tannic acid and dektol.
visualartpractices.wordpress.com
Research as a discursive activity gathering new forms of expression.
Duration, Steven Holl
Time is only understood in relation to a process or a phenomenon.
The duration of human beings alive in one time and place is a relational notion.
The time of one's being is provisional; it is a circumstance with an adopted aim for the time being.
SPACE-and ARCHITECTURE-exceeds the provisional
The Enchantment of Modern Life.
Attachments, Crossing and Ethics
The performativity of social representations
When I gather together the animals, arguments, molecules, suggestions, forces, interpretations, sounds, people, and images of this study, one theme emerges. The modern story of disenchantment leaves out important things, and it neglects crucial sources of ethical generosity in doing so. Without modes of enchantment, we might not have the energy and inspiration to enact ecological projects, or to contest ugly and unjust modes of commercialization, or to respond generously to humans and nonhumans that challenge our settled identities. These enchantments are already in and around us.
Jane Bennett
Be not inhospitable to strangers
lest they be angels in disguise
Jackie Leven, The Dent In The Fender And The Wheel Of Fate
David Childers, Heart In My Soul
SLOW TIME
Retreating in / from art institutions.
Heather Anderson.
www.academia.edu/37438321/Retreating_in_from_art_institut...
Platinum/Palladium-toned Kallitype print (8x10") on Hahnemuhle Platinum Rag paper. Original photo made with a Nikon FM3A on Agfa APX 400 film shot at ISO 800.
I finished developing my film and scanning the negatives from the 2017 "A House Divided" Civil War reenactment. Yesterday I started making platinum/palladium-toned Kallitypes of my favorite shots. Here's the first in what will be a fairly long series.
Third and final plate from my first 2013 session earlier this week. This plate got the maximum exposure (three minutes on a very gray and breezy day).
Platinum/Palladium-toned Kallitype (4x4 image on 5x7" Hahnemuhle Platinum Rag paper) printed from a digital negative. Original photo made with a Nikon FM3A on Agfa film, developed in Kodak HC-110.
One of my favorite stands of trees, down in the field below my house, given the wet plate treatment.
5x7 trophy plate aluminum; Darlot pillbox lens. The morning brightened up between the previous plate and this one. I adjusted the exposure somewhat, but should have come down just a bit more.
Platinum/Palladium-toned Kallitype contact-printed on Hahnemuhle Platinum Rag paper (5x7") using a digital negative. Original photo made with a Nikon FM3A on Ilford HP5+ film, developed in Kodak HC-110 (63:1 dilution).
Another plate with an old Graflex RB 4x5 with a holder modified for a quarter plate.
Black trophy aluminum.
Near Rotterdam,
Gumprint, pigments:
1 Paris blue
2 Gummigut modern
3 Madder lake
4 Gummigut modern
5 Madder lake
6 Paris blue
Ryan.
Film printed and developed by me and then put in a variety of chemicals.
Making weird stuff in Alternative Processes.