View allAll Photos Tagged alternativeprocesses
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.
One of my favorite stands of trees, down in the field below my house, given the wet plate treatment.
5x7 trophy plate aluminum; J. C. Somerville St. Louis # 2 lens.
Van Dyke contact-printed from a digital negative onto Arches hot-pressed watercolor paper. Original photo made with a Nikon FM3A on Agfa APX 100 film and post-processed with Adobe Lightroom CC.
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 Nikon FM3A on Agfa film, developed with Kodak HC-110 (63:1 dilution), and scanned with a CanoScan FS2710.
Gumprint, Gomdruk. Original Nikon D80.
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
Gomdruk 6 lagen
Gumprint, gumbichromate, 6 layers.
1 Paris blue
2 Gamboge gum
3 Madder lake dark
4 Gamboge gum
5 Madder lake light
6 Paris blue
Platinum/Palladium-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 Leica M2 and Zeiss Sonnar 50mm f/1.5 lens on Agfa APX 400 film, developed in Kodak HC-110, scanned on a CanoScan FS2710, and post-processed with Adobe Lightroom.
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.
Handmade platinum/palladium-toned Kallitype print (5.5" x 6.5"). Original photo made with a Graflex Crown Graphic 4x5 camera on Ilford HP5+ film and developed in Kodak HC-100 at 63:1 dilution.
This is my first ever cyanotype. Looking forward to making more when the weather becomes nice again.
Platinum/Palladium-toned Kallitype print on Hahnemuhle Platinum Rag paper (5x7"). Original photo made with a Nikon FM3A on Agfa APX 100 film, developed in Kodak HC-110.
Castle in Bratislava, Slovakia
Gumprint, pigments:
1 Paris blue
2 Gummigut modern
3 Madder lake
4 Gummigut modern
5 Alizarin Crimson
6 Phthalo blue
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
Was in a dark room recently with some Liguid Light and coloured card, did some experimenting, and this is what I achieved! Its a composite of two different coloured cards overlayed in Photoshop.
Another plate from my first field trip doing wet plate away from home. Once I felt good about exposure times, I tried some bigger plates. The problem, though, is that the morning got very hot very quickly, which I had not really prepared for. You can see on the top and the right hand side that the plate had started to dry before processing. Note for next time: bring a cooler and be sure to set up in the shade!
Gumprint.
What will different paper and the blue do, try 2.
1 Paris blue
2 Madder lake dark
3 Gummigut modern
Paper Fabriano Artistico HP 300 gr.
Size 17 X 24 cm.
I enhanced the clouds (PS) and asked PS to put in a sunset. It did.
This was my first attempt at a Vandyke brown print for my Alternative Processes course. The course has been slow going as I've flubbed my first two film tests. I will need to do a third and plot some graphs to determine how to develop negatives to best suite each process. In the meantime, I have made two digital negatives (!) using a curve that my instructor created for the Vandyke and Cyanotype processes. I have only been able to print one however. It was a good learning experience and I look forward to doing more---mostly because I don't have a choice and need 6 images in the end for the final portfolio! ;]
Check out my classmate Emily's first cyanotypes.
Gum bichromate, gumprint, gomdruk.
7 layers:
Size: 40X26 cm.
1 Phthalo blue, just very thin, to help further registration.
2 Gamboge gum
3 Madder red dark
4 Gamboge gum
5 Madder red dark
6 Prussian blue
7 Phthalo blue
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
I found a 6*9 cm photo of my mother where she is 18. That was in 1926. She died in 1996, almost 88 years old. She is at home.
I scanned the photo and made via a digital negative this salted paper print. Must do a better negative because in the original is more detail. Paper is Fabriano Artistico 300g. Size is 25*16cm.