View allAll Photos Tagged alternativeprocesses
I attended a course in Bromoil in Middelburg last weekend (with Kees Brandenburg). For me a difficult technique. This one was done on Kentmere Art Document which is not available anymore but a fine paper (we used the last sheets).
Of the mason's who built them, we can say that they both designed as they drew, and drew as they designed. But their designing, like their drawing, was a process of work, not a project of the mind.
Tim Ingold 'Making'
Handmade platinum/palladium-toned Kallitype print (5.5" x 6.5"). Original photo made with a Graflex Crown Graphic 4x5 camera on Ilford film and developed in Kodak HC-100 at 63:1 dilution.
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.
Believe me, 36 bridges.
Gumprint, Gomdruk,
Paper Fabriano Artistico HP 300 gr.
6 layers:
1: Paris blue
2: Gamboge gum modern
3: Madder lake dark
4: Cadmium yellow
5: Purple Magenta
6: Phthalo blue
The latest issue of Kestrel, a literary journal published out of Fairmont State University: www.fairmontstate.edu/kestrel/.
I made this plate back in the Fall of 2011.
I attended a course in Bromoil in Middelburg last weekend (with Kees Brandenburg). For me a difficult technique. This one was done on Kentmere Fineprint VC Finegrain, semi matt. Not as good paper as Kentmere Art Document which is not available anymore.
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.
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
see: www.gumprint.nl
Van Dyke brown print on Rising Stonehenge paper. Original negative was 6x6 T-Max 400. Scanned, cropped, inverted, and printed on Pictorico OHP.
January '08, Santa Barbara (California) courthouse. Mamiya C220. Image is approx. 5" x 6.5".
Transaquatype. I scanned this one as soon as it was made. 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.
Gumprint RGB, I did this one before but this time with contrast and detail negatives.
1 Paris blue contrast
2 Gummigut modern contrast
3 Krapprot tief contrast
4 Azo yellow detail
5 Krapprot light detail
6 Phthaloblue detail
7 again Phthaloblue detail
8 Azo yellow detail
9 Krapprot light detail
Gumprint 16x24 cm on Saunders Waterford 300 gr.
Madeira nov. 2008.
1 Paris blue
2 Purple magenta
3 Gamboge Gum Modern
4 Madder lake medium
5 Phthalo blue
This 4x5 argyrotype contact print is the second print I made during my first argyrotype session a few weeks back and the best of the three I tried that night.
Printed from a 4x5 sheet of Arista.EDU 200 I shot in my Chamonix 045-n1 using an old 1950s "photocrat" contact printer outfitted with a CF UV "black light" bulb. Exposed for 5 minutes on Moab Entrada rag paper that I tore down to size (its what I had on hand). Toned in selenium at 1:200 for a couple of minutes before fixing -- at the time I wasnt sure if it had any effect, since then I've switched to 1:125 and printed enough to be able to see the difference between my untoned and toned images.
I've since set up a UV printing box and have started making digital internegatives on the Epson 2200 for my non-4x5 work, plus its nice being able to print larger than 4x5! I wrote about my experience getting set up on my tumblr, see: Digital Negatives and Alternative Process Printing on a Budget.
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.
Gomdruk, gumprint, 6 layers:
1: Paris blue
2: Gamboge gum
3: Madder lake dark
4: Cadmium yellow
5: Permanent Carmine
6: Phthalo blue
Size: 23,5 X 15,5 cm
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.
Galapagos | December 2006
Cyanotype on Rives BFK
32" x 40"
Limited Edition of 30
© JOHANNA EVANS
all rights reserved
To warm maybe?
Gumprint, gum bichromate. Gomdruk
Paper Fabriano Artistico HP 300gr.
Size about 18X24.
6 layers:
1: Phthalo blue;
2: Gamboge gum modern;
3: Madder red dark;
4: Gamboge gum light;
5: Alizarin Carmin;
6: Paris blue.
Gumprint, Gum bichromate print, gomdruk.
Original Nikon D80, digital negatives with paint shop.
Paper Fabriano Artistico HP 300 gr.
6 layers:
1: Paris blue
2: Gamboge gum (gummigut)
3: Kraprood (madder red)
4: Lazur yellow + Gamboge gum
5: Alizarin Crimson
6: Pruisisch blauw (Prussian blue)
Cyanotype contact-printed from a digital negative onto Arches hot-pressed watercolor paper. Original photo made with a Nikon FM3A on Ilford HP5+ film.
Final image from #Feb #Cam, part of the #Angel series special thanks to lovely #Elena. Exposure time 2 mins 6 secs
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
uploaded 11/21/11
© humon photography, all rights reserved, inquire about use/licensing:
alternative imaging: enamels in white glass on black glass. Collaboration with Portland artist Susan Johnson
I am so amazed by alternative photographic processes. Chemistry, sun and water mix to make the most amazing prints. Its almost magical! With each new print I am like a kid, anxiously awaiting to see the final product. After 20 sheets of watercolor paper were spoiled, I finally discovered my formula for the perfect amount of chemicals and sun exposure for the perfect print.
I feel everyone should have this experience, its great way to get back to the roots of photography!