View allAll Photos Tagged alternativeprocesses
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:
Near Rotterdam,
Gumprint, pigments:
1 Paris blue
2 Gummigut modern
3 Madder lake
4 Gummigut modern
5 Madder lake
6 Paris blue
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.
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
Gumprint, gomdruk.
Papier: Fabriano Artistico HP.
Maat: A4
Pigmenten:
Parijs blauw
Gummigut
Kraprood
Gummigut
Magenta
Phthalo blauw
See also www.gomdruk.eu
On Madeira, November 2008.
Gumprint on Fabriano Artistico HP 300 gr.
Gum over Cyano
1. Cyano
2. Gamboge gum modern.
3. Alizarin Crimson medium
4. Paris blue
Original Exposure:
2.25pm, 30th July 2026
Chamonix 810V
Rodenstock Apo-Sironar S 240mm f/5.6
440mm bellows extension
Large amounts of front and rear tilt forward
Ilford FP4+ 10x8 @ 64
Metering: average of scene (background is red tissue paper) for low contrast (2 stops of dynamic range), base exposure of 4” @ f/22
Final exposures including bellows and reciprocity, 2x 25” f/22: double-exposure, first with planes, second without (with effect of creating a blurred background), normal development
2x IV–VI
S–H
Development:
Stearman Press SP810, Pyrocat HD 2:2:100
7’21” for N, 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 24.5ºC 44% RH, dried four hours
Sun exposure 12 mins, 3.35pm
Marjoram Toned Classic Cyanotype, toned for 6’30”.
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.
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.
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.
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
Following recent argyrotype printing sessions, it was about time that I did a proper 10-zone film test for this style of printing.
Following the guidance of John Blakemore's Black and White Photography Workshop, I followed his steps for running a film test, except using Argyrotype sensitised paper and UV rather than silver gelatin in a darkroom. Here are the results from the first of two rolls of FP4+ 6x7 shot on RZ67 Pro II and processed by hand in jobo 1520 tank with Pyrocat HD 2:2:100.
This first test represents how I have exposed the majority of my 10x8 sheets: my base time has been 12' at 21ºC (= 10'55" at 22ºC as here).
According to this test, this time represents about 2 stops overdevelopment (even as the print itself was underexposed - essentially the sun went in and I got bored waiting!!), which tallies with some of my Argyrotype printing failures - where loss of detail in the highlights isn't a failure of the process but sloppiness on my part, given how my Epson V850 Scanner can handle pretty much anything I've thrown at it. Although the phone has failed to pick it up, there is good representative detail in ZII & ZIII.
So today I developed the second roll, at 8'05" at 22ºC, which represents 26% less time, and the print is currently in the wash. It already looks rather better than this print in the highlights.
dwfnaturephoto.wordpress.com/2020/07/05/fp4-film-speed-an...
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.
"Reality is what remains when you stop believing" Phillip K. Dick
Belongs to the NYC [ United we stand ] [episode 1] serie.
Current planned bag setup for 8x10.
Tenba BYOB 10 holds filters and tripod head.
Thinktank Shapeshifter expandable backpack holds meter, loupe, BTZS dark cloth, extension board, and lenses (in Tenba wraps) in the interior neoprene compartments (inc. happy to say both 300W, and 150SW even on a Sinar board), a couple of Chamonix 8x10 dark slides in the laptop compartment, and other accessories - cable release, Lee wide-angle lens hood - in outside pockets.
Thinktank bag also doubles as my travelling backpack for digital if I am shooting macro overseas (which I haven't now done for a number of years but never say never...)
Note re. size of Chamonix case:
it fits the 10x8 camera with QR-plate attached, and (a bit of a squeeze) the Chamonix w/a bag-bellows in pouch. The Chamonix case, filled as so, measures:
5.8 inches W x 14 inches L x 13.6 inches H. It will also therefore fit the camera plus one film holder in pouch.
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.
Cocos Island | Costa Rica
Cyanotype on Rives BFK
Limited Edition of 20 Prints
© JOHANNA EVANS
all rights reserved
Platinum/Palladium print (8x10 inches). Original photo: Nikon FM3A on Ilford Delta P3200 film at ISO 1600.
This is a simple cyanotype printed on chartreuse paper, using a contact negative of the ostrich feathers.
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 and Nikkor 85mm f/2 AI-S on Ilford Delta 3200 film shot at ISO1600, developed in Kodak HC-110, scanned on a CanoScan FS2710, and post-processed with Adobe Lightroom.