View allAll Photos Tagged alternativeprocesses
Wet plate collodion image. Quarter-plate trophy aluminum.
I'm still getting the hang of this process, but I'm pleased to be getting some results.
Gumprint, gomdruk.
Paper: Canson Montval
Size: 42X27 cm.
Pigments:
Paris blue
Gamboge gum
Madder lake red
Gamboge gum
Madder lake red dark
Phthalo blue
Gomdruk, Gum bichromate. Gumprint.
Papier Fabriano Artistico HP 300 gr.
Maat 38X26 cm..
Pigmenten:
1: Parijs blauw
2: Gummigut
3: Kraprood
4: Gummigut
5: Kraprood
6: Phthalo blauw
Ratio: 1 t/m 3: 1:1,5
4 t/m 6: 1:1
tijden: 1 t/m 3: 1'
4 t/m 6: 1'30"
Transaquatype. Canon ChromaLife100 ink, on Xerox Premium Mulitpurpose Paper, 96 Bright, 24lb.
Original image click here.
Platinum/Palladium-toned Kallitype on hand-coated Hahnemuhle Platinum Rag 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 a Fujinon XF16mm f/1.4 lens, post-processed using Adobe Lightroom.
(Taking a break from photography for awhile while packing to move; meanwhile, going back through old stuff.)
I attended an Alternative Processes workshop earlier this year, hosted and taught by a local photographer friend. We created both cyanotypes and Vandyke Brown images; this is one of my first attempts at cyanotypes. Eventually I'll be exploring alt processes further----I'm really looking forward to it. :)
Cyanotype toned with coffee, 8"x8"
created from an 8x8 negative of
an image taken with a Holga 120CFN.
The result after drying to touch (dry-down is in fact about 1 stop, it seems), again with black- and white-points set using curves to emphasise the zonal contrast.
Zones 1-3 are all zone 1, zone 4 is on zone 2 (though with full texture), zone 5 is now zone 3, zone 6 is zone 5, zones 7 - 10 are all where they should be.
So this does suggest a stop more of film-speed would be advisable for more detail in shadows for this process; N development time now set.
More generally this also indicates the tonal change one can expect as prints dry with this process.
This second contact print was made from 6x7 FP4+ 125, Pyrocat HD 2:2:100, 22ºC, 8'05", 10secs manual agitation per minute.
Exposure was 6'15", full sun with cloud, 5/7/2020, 12:30pm
23.5ºC, RH 52%, paper dried for 1hr20mins, no prehumidification.
dwfnaturephoto.wordpress.com/2020/07/05/fp4-film-speed-an...
Gomdruk, gumprint
Paper Saunders Waterford CP 300 gr.
Size 42X26cm
Pigments used:
1: Paris blue
2: Gamboge gum middle
3: Madder lake red
4: Gamboge gum new
5: Magenta
6: Phthalo blue
Paper Fabriano Artistico, HP.
Size 28X40 cm.
Pigments used:
1: Prussian blue
2: Gamboge gum
3: Madder lake red
4: Gamboge gum
5: Magenta
6: Phthalo blue
Owl
Gomdruk. Gumprint.
Paper Fabriano Artistico HP 300 gr.
Layer 1: Paris blue
Layer 2: Gamboge gum modern
Layer 3: Madder red dark
Layer 4: Phthalo blue
Gumprint, gomdruk.
Paper Saunders Waterford CP 300 gr.
Size 42X26cm
Pigments used:
1: Paris blue
2: Gamboge gum middle
3: Madder lake red
4: Gamboge gum new
5: Magenta
6: Phthalo blue
Ghost Ship got Second Prize in Photography at the Evening reception Award of 2013 Biennale National Juried Show in Hilton Head Island, SC
All my thanks to Judge Paul Matheny III, curator of SC Museum, who appreciates alternative processes and most particularly Van Dyke
My website and blog
Gomdruk. maat A4.
Gebruikte pigmenten: Parijs blauw, gummigut, krapprood, magenta en phthalo blauw in 6 lagen.
Papier is Fabriano Artistico HP 300 gr.
And see: www.gomdruk.eu
Madeira, november 2008
Gumprint, 6 layers. Paper Fabriano Artistico HP 300gr.
1. Prussian blue
2. Gamboge gum modern
3. Alizarin
4. Lemmon yellow
5. Purple magenta
6.Paris blue
Today, I made some photograms in the darkroom. This one was a seven second exposure, using a glass jar full of folded pieces of paper, and some string. It's a really interesting techniques and creates x-ray style images.
Another plate from my first venture further upriver. This was the first plate of the morning, before the sun broke through to light up the river.
5x7 trophy plate aluminum; Darlot pillbox lens.
Kallitype contact print (hand-coated photo-sensitive emulsion).
While walking around the `Iolani Palace grounds near Halekoa (the Palace Barracks), an inquisitive Manu-o-Kū (Fairy Tern) hovered in front of me for a moment.
I managed to photograph it as it carefully examined me.
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 Fuji X-T1 and a Fujinon XF16mm f/1.4 and post-processed with Adobe Lightroom
A Kodachromed rollercoaster in Silverwood, Idaho. I guess if the world is ending, you might as well go for one last ride.
Cross-processed kodachrome (HC110 B&W chemistry). Cross-processing leaves an odd powdery residue on the film, which is what gives it such an odd look, plus the almost cyanotype feel.