View allAll Photos Tagged alternativeprocesses
From my first session making plates this year. Just a table-top set-up in my backyard to make sure my chemistry was working. The real plan is to try this a bit further from home.
Quarter plate black trophy aluminum.
A really nice holiday in the north of Spain in September 2010.
Gomdruk, gumprint.
Paper Fabriano Artistico 300 gr.
Size: 40X26,5cm.
Pigments:
Layer 1: Paris blue
Layer 2: Gamboge gum
Layer 3: Madder red dark
Layer 4: Gamboge gum
Layer 5: Alizarin Crimson
Layer 6: Phthalo blue
Results from my first "field trip" with my wet plate gear. I packed the car for a 90-second drive down to the bridge by my house.
Star Camera Company Anthony-style camera with a Darlot pillbox lens. Quarter-plate black trophy aluminum.
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 Leica M2 and a Zeiss Sonnar 50mm lens on Agfa APX 400 film, developed in Kodak HC-110, scanned on a CanoScan FS2710, and post-processed with Adobe Lightroom.
Recovering junkyard dog by the pool. Gum dichromate of Fabriano Artistico from Diana camera negative.
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
Experiments in transaquatype.
Original pinhole image here.
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.
Hand coated Canson Montzval paper contact printed for approximately eight minutes using sunlight and a digital inter-negative.
Transaquatype. I scanned this one wet. I inserted the wet print in an envelope of mylar before placing it on the scanner.
The original pinhole image is here.
Canon ChromaLife100 ink, on Xerox Premium Mulitpurpose Paper, 96 Bright, 24lb.
More on www.gomdruk.eu
Paper Fabriano Artistico,
layers:
1 paris blue
2 gamboge gum
3 madder red
4 lemon yellow
5 magenta
6 phathalo blue
Size A4
Van Dyke brown print of lens photograph (Mamiya C220, cropped). Digital transparency negative. Image is about 5" x 7".
Gomdruk, gumprint.
Paper Fabriano Artistico
Size 28X40cm.
Pigments used:
1-Prussian blue
2-Gamboge gum
3-Madder lake
4-Gamboge gum
5-Magenta
6-Phthalo blue — bij Kutna Hora, Czech Republic.
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...