View allAll Photos Tagged alternativeprocesses
Whetstone Park, Columbus, Ohio. Wet-plate collodion photograph on glass, shot with a Graflex 4x5" Crown Graphic. Scanned using an Epson Perfection V500 Photo scanner and VueScan 9. Minimally post-processed in Lightroom.
Some nice ditch near Gouda with milkjars as ducknests.
gumprint, paper Canson Montval 300 gr.
Pigments:
1 Paris blue
2 Madder red dark
3 Gamboge Gum modern
4 Phthalo blue
Gumprint, paper Fabriano Artistico HP 300 gr.
Pigments:
1 Prusian blue
2 Madder red dark
3 Gamboge gum modern
4 Phthalo blue
Opvoeding: "Education".
Veenhuizen, in the late 1800 and early 1900 a colony in the province of Drenthe, where very poor people and tramps were send to in order to be away from the cities and to learn to work. They had to work hard in the landreclaiming. In these houses the attendants lived.
Gumprint, 6 layers:
1 Paris blue
2 Gamboge gum medium
3 Alizarin Crimson
4 Gamboge Gum light
5 Krapprot tief
6 Paris blue light
Cyanotype printed on parchment using a hickory leaf.
2.5 hour exposure.
This print was washed in 6.4% tannic acid, but was not bleached before hand.
Galapagos | December 2006
Cyanotype on Rives BFK
32" x 40"
Limited Edition of 30
© JOHANNA EVANS
all rights reserved
el negativo anterior en papel Foma fomatone 132 (mate) y coloreado al óleo.
Previous negative printing in Foma fomatone 132 ( matt) and oil colored.
Original 30x40 cm.
El nombre de Mediobromo proviene de otra técnica más conocida llamada Bromóleo. En el Mediobromo se emplea también una tinta grasa (óleo) y un papel bromuro ( aunque se puede usar cualquier tipo de papel fotográfico) pero no se hacen las operaciones intermedias de blanqueo especial que requiere el bromóleo. A este proceso se le llama tambien "coloreado al óleo" o "iluminado al óleo", pero en su época histórica se referian al mismo como "mediobromo" por ser éste un término más técnicamente fotográfico.
Gumprint RGB
Layer 1: Paris blue contrast
Layer 2: Gummigut modern contrast
Layer 3: Krapprot tief contrast
Layer 4 Azo yellow detail
Layer 5: Krapprot light detail
Layer 6: Phthalo blue detail
New Chrysotype S on Arches Aquarelle. Starting to get subtile shades of lavendar but they are disappearing with dry down. Such a shame. Not sure what the name of the animal is, hard to figure out now that I've changed its colors.
Cyanotype on parchment of a dried maple leaf, placed on top of a traditional cyanotype scrap. The Cyanovellum shrunk when dried in microwave.
Gumprint.
What will different paper and the blue do, try 1.
1 Prussian blue
2 Madder lake dark
3 Gummigut modern
Paper Canson Montval 300 gr.
Size 17 X 24 cm.
I enhanced the clouds (PS) and asked PS to put in a sunset. It did.
Gumprint of a try with my Russian 8mm on the D70s. It gives the equivalent of 12mm.
Gumprint RGB, paper BFK Rives.
Size 18*26 cm.
Nikon said, you cannot put the 8mm on the D70s, bt it can, mirror goes up, but not down. Remove the lens and it is down again. Lot of work when you are making fast sport images.
Castle in Bratislava, Slovakia,
Gumprint, pigments:
1 Paris blue
2 Gummigut modern
3 Madder lake
4 Gummigut modern
5 Alizarin Crimson
6 Phthalo blue
From a mini series during my alternative processes class during my time at CIA. Cannot remember the cyanotype mixture I used. Hopefully I can continue this series as I still have mixtures left.
My third platinum-toned Kallitype (5x7") on hand-coated watercolor paper. Original photo made with a Leica M2 on Ilford HP5+.