View allAll Photos Tagged alternativeprocesses
Platinum/Palladium-toned Kallitype Print (5x7"). Original photo made with a Nikon FM3A on Agfa APX film.
Saturday morning I hauled my Graflex Crown Grapic 4x5 camera down the street to the Ohio State University farm and shot a few photos at dawn. I developed the Ilford HP5+ film in Kodak HC-110 that afternoon. On Sunday I made some platinum/palladium prints using the Kallitype process. This is a scan of one of the prints.
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 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.
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
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.
Ryan.
Film printed and developed by me and then put in a variety of chemicals.
Making weird stuff in Alternative Processes.
Original Exposure:
1.20pm, 1st August 2026
Chamonix 810V
Rodenstock Apo-Sironar S 240mm f/5.6
470mm bellows extension
Large amounts of front and rear tilt forward
Ilford FP4+ 10x8 @ 125
Metering: underexposed midtone red tissue paper background by 2 stops then expanded highlights with N+3 development
3” f/22
II–IV–>VII
S–h->H
Development:
Stearman Press SP810, Pyrocat HD 2:2:100
11’06” for N+3, 23ºC
1 minute Acetic Acid Stop,
5’30” DIY TF2 Fix
1' Sodium Sulphite Hypo-clear
7’30” washes in 500ml tap water (following Stearman recommendation: 2x1min initial sloshes, then 1x 30” constant agitation, then 3x60” constant agitation, draining after each stage - basically a modified version of the Ilford method)
Final distilled water/Ilfotol rinse in Paterson tray
Film drying using DIY Lego Technic tilting rack
Print:
Hahnemühle Platinum Rag, coated 25ºC 44% RH, dried 3hrs 30
UV exposure 42 mins
Purple Smoke Bush Toned Classic Cyanotype, bleached after initial development for 18hrs overnight in distilled water with added 0.75g Calcium Carbonate, then toned 25 minutes.
I took a digital photo of this anthotype I created in my photo class. The image is about 4x5. It was made by blending rose petals, geranium petals and rubbing alcohol, painting the liquid onto paper, and exposing to the sun under positive film for three weeks. I think the process is kind of amazing, but I'm not sure what I'm going to do with the finished product.
Gomdruk, maat A4, papier Fabriano Artistico HP 300 gram. 2x3 lagen. Gaudi tuin in Barcelona, juni 2014.
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...
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).
Up-watering ditch near the Haastrechtse watermill in Gouda.
Gumprint, gomdruk.
Papier: Fabriano Artistico HP.
Maat: A4
Pigmenten:
Parijs blauw
Gummigut
Kraprood
Gummigut
Magenta
Phthalo blauw
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.
Gumprint, size 38X26 cm.
Layers:
1: Paris blue
2: gamboge gum
3: madder lake red
4: gamboge gum
5: madder red dark
6: Phthalo blue
Kos, 1998. Gumprint
1 Phthalo blue
2 Cadmium yellow medium
3 Permanent Carmine
4 Paris blue
Paper Fabriano Artistico HP
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.
Shapeshifter
Top left: Nikkor-SW 150 on Sinar board; top right: Nikkor-W 300 on Technika board; middle left: Nikkor-M 450 on Technika board.
Remaining interior space for BTZS dark cloth, loupe, meter, tape measure, and Chamonix extension board (for more bellows extension, as required for longer-lens closeup work).
Andi and I spent the week between Christmas and New Year's Day cleaning her shop. It looked so much better afterwards that I decided to immortalize it in platinum. I made the original photograph with my Graflex Crown Graphic 4x5 camera on Ilford HP5+ film. I developed the film in Kodak HC-110 using a 63:1 dilution. I then printed it as a platinum/palladium-toned Kallitype on hand-coated Hahnemuhle Platinum Rag paper.
Cyanotype N°490 - Tonifié au maté + café / Yerba maté and cofee toned
Papier - Canson Montval
Prise de vue - Empire junior 6x6 (Holga like) + Bergger 400
Inter-négatif numérique
Another plate with an old Graflex RB 4x5 with a holder modified for a quarter plate.
Black trophy aluminum.
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).
