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Thomas Kellner makes buildings dance. His images are constructed from many individual detail shots recorded on film and printed directly from the resulting strips. This reworking of the old-school contact sheet on a grand scale has become both his modus and his artistic signature, instantly recognisable from New York to New Delhi. But how did it begin? What might it mean? And if, as Goethe and others have suggested, architecture is frozen music, what happens when it is unfrozen and begins to dance to the artist’s preternatural tune?

 

Thomas Kellner discusses the aesthetics, techniques and business skills behind his work at Talking Pictures.

 

talking-pictures.net.au/2021/07/10/thomas-kellner-a-dance...

Cyanotype printed on parchment using a fresh honeysuckle vine.

5 hour exposure.

Dried flower cyanotype printed on parchment.

Contact print in platinum-palladium

Humaniteit: "Humanity". Here lived the boss of the attendants.

 

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.

 

Gumprint, 6 layers:

 

1 Paris blue

2 Gamboge gum medium

3 Alizarin Crimson

4 Gamboge Gum light

5 Krapprot tief

6 Paris blue light

From a series of older images I retreated using the Van Dyke and Cyanotype processes (hand painted photo emulsions).

Contact print in platinum-palladium

Werk en Bid: "Work and Pray". Watch the sequence of the words...

 

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

while visiting Istanbul I was fortunate to see and photograph a group of whirling dervishes.

cyanotype, memorial cemetery , st. louis, missouri

Want to see more? Please visit my website at

www.freewebs.com/janelinders

www.etsy.com/shop/jalinde

 

Exposure from 1/10/10 to 7/10/10

Palladium toned Kallitype on Arches Platine.

Cyanotype printed on parchment using a dried clover.

1 hour exposure.

Black valley - Kerry, Ireland

Contact print in platinum-palladium

Cyanotype printed on parchment using a dandelion leaf.

6 hour exposure.

Ilford Multigrade III RC Deluxe 11 x14 in.

Van Dyke Brown print on canvas, run through a blueprint machine for exposure (it's really fast!)

 

strange succulents on cliff face reaching toward the pacific ocean in central CA (along route1, the coastal highway)

Salted Paper Printing workshop with Dan Estabrook.

 

Photo by Ruth Lauer-Maneti.

Exposure from Saturday 2nd to Monday 4th October.

Cyanotype - Digital Negative

This was printed in a darkroom from a color negative to black and white, and then sepia toned.

In Camden town special thanks to our first male angel, Michael for taking part. Exposure time 1 min 33 secs

Cocos Island | Costa Rica

Cyanotype on Rives BFK

Limited Edition of 20 Prints

 

© JOHANNA EVANS

all rights reserved

 

www.johannaevans.com

Huis en Haard: "House and Fireplace".

 

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

Gumprint RGB.

Hanneke in our small towngarden enjoying the first springsun in 2007.

1 Paris blue contrast

2 Gummigut modern contrast

3 Krapprot tief contrast

4 Azo yellow detail

5 Krapprot light detail

6 Phthaloblue detail

7 Azo yellow detail

8 Krapprot light detail

The intensely poetic images of Judith Crispin are created through a remarkable synthesis of timeless Aboriginal wisdom and a radically innovative approach to printmaking. That approach spans photography and painting, pushing the limits of both. These images transcend notions of ancient versus modern to glimpse the continuity of the world across time, place and the dimension of the spiritual. Through delicately nuanced allegory, she visualises the transition of life, in death, returning to the maternal earth as a metaphor for the profound interconnection, healing and respect that rests at the heart of the Indigenous Australian concept of Country.

 

Judith Crispin introduces her synthesis of art, craft, poetry and philosophy at Talking Pictures.

 

talking-pictures.net.au/2021/02/27/judith-crispin-the-com...

Ilford Multigrade III RC Deluxe 11 x14 in.

October 7th 2010 to February 28th 2011

Infrared 35mm negative

Enlarged as a Digital Negative

Contact printed on vellum using platinum/palladium

Gold Leaf applied to the back.

Holga negative colored with sharpies

Contact print in platinum-palladium

Kallitype process

Kerry, Ireland

Contact print in platinum-palladium

Cyanotype on fabrianopaper

Contact print in platinum-palladium

Contact print in platinum-palladium

Occupy Wall Street

 

Salt Print

Kallitype process

Walking path near Gouda

 

Gumprint, pigments:

 

1 Paris blue

2 Gummigut modern

3 Madder lake

4 Gummigut modern

5 Madder lake

6 Paris blue

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