View allAll Photos Tagged alternativeprocesses
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.
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.
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
Scan of a wet plate collodion photograph: Andi and I attended a workshop this weekend. After several failures and with a bit of help from the instructor, I was able to make this photo of Andi.
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).
Gomdruk, maat A4, papier Fabriano Artistico HP 300 gram. 2x3 lagen. Gaudi tuin in Barcelona, juni 2014.
Original Photograph and Development:
May 3rd 2023
Mamiya RZ67 Pro II, 110mm f/2.8, bellows extended
Ilford HP5+ at 400
1/125 f/16
Caffenol C-L/S 60' stand, 20ºC
DIY TF-2 fixer
Digital Negative:
Digitized film negative with custom Argyrotype curve in Photoshop
Printed at 12.5x10” on A3+ Innova Pictorico Pro OHP Ultra Transparency Film with Canon Pro-300 Inkjet
Argyrotype Print:
Exposure and Development 13th May 2023
Hahnemühle Platinum Rag 11x15” Paper
Masked margins before coating with yellow Frog Tape, removed after drying (paper dried 3hrs)
18ºC RH 56%
3ml sensitiser + 2 drops Tween20 mix
6mins daylight exposure, 3:05pm, bright overcast, margins masked with Ruby Lith
5mins first wash, distilled water + squeeze of lemon juice
5mins second wash, tap water
3mins hypo fix
1hr final soak
Dried 24hours; digitised with Nikon D800E and 85 tilt-shift, stitch of three frames
Van Dyke brown print on hand-coated Arches Aquarelle hot-pressed watercolor paper. Original photo made with a Nikon FM3A on Ilford FP4+ film and processed Adobe Lightroom. Development details on FilmDev.
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
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
Van Dyke contact-printed from a digital negative onto Arches hot-pressed watercolor paper. Original photo made with a Nikon FM3A on Ilford HP5+ film. Development details on FilmDev.
Beachchairs in Hoek van Holland.
Gumprint, I made one extra for the exhibition.
Paper Fabriano Artistico,
Layer 1: Paris blue
Layer 2: Gamboge gum modern
Layer 3: Madder lake dark
Layer 4: Gamboge gum light
Layer 5: Madder lake light:
Made for:
Platinum-toned Kallitype on hand-coated Arches Aquarelle 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 Fuji X-T1 and post-processed with Adobe Lightroom.
The Getty Museum in Los Angeles, California. Platinum/Palladium-toned Kallitype, 5x7 inches, contact-printed on hand-coated Hahnemuhle Platinum Rag paper from a digital negative. Original photo made with a Nikon FM3A on Agfa APX 400 film, developed in Kodak HC-100, scanned with a CanoScan FS2710, and post-processed in Adobe Lightroom.
Gumprint, Gomdruk.
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
My first Platinum/Palladium-toned print! Pt/Pd-toned Van Dyke print on hand-coated Arches Aquarelle 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 FM3 on Ilford HP5+ film, developed in Kodak HC-110, scanned on a CanoScan FS2710, and post-processed with Adobe Lightroom.
In 1974, while still at school, I experimented with various techniques to produce “abstract” photographs. This example was created using Agfacontour, a technical film made to create equidensities. It has both negative and positive components, which, according to the exposure given produce black and white images of a given density. For example three separations could be made for each of the light, dark and intermediate tones.
This was a time consuming business, and the film was discontinued once it became possible to make separations digitally.
Having made the separations, I went on to add colour, giving each layer a different hue. I did this in two ways, first by making black and white negatives on lith film, and using the Tetenal toning chemicals to replace the black silver image with a dye layer. Later I used 24 x 36mm images together with a slide duplicator and added different coloured light for each layer. This was done by keeping the shutter open and working in the dark.
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.
This is my final project for alt processes. My original idea was to print on the tiles (the things that the photos are mounted onto now) with a cyanotype gel. However, the photos that did in fact come out with this gel were too inconsistent and would fade if left in sun. Since I wanted something more permanent, I decided just to print my images on paper and then mount them to the tiles using rubber cement.
My idea for this project was based solely on the materials I bought. When starting, I knew I wanted to do something with portraits but didn't know what. After finding the tiles, I decided to go with a face that would be split in half, with each side of a face on either tile. It was after I decided to print on tiles that I found the wonderful pieces of old wood and knew that those would be what the tiles were affixed to, to display this whole mini series. Essentially, I wanted the photos to reflect the materials they were on - broken, old, etc. In doing this I wanted to show the relationship between people and the materials that are all around them, but are obviously overlooked all the time.
View a few more angles here.