View allAll Photos Tagged alternativeprocesses

A black glass ambrotype portrait of @tkalogeropoulos_ at @photo_retro_nh some weeks ago while we were doing some tests.

 

I'm having a hell of a time trying to color match the scans of these plates to the originals, so bare with me as I learn the process. :)

 

Interested in having a portrait session on black glass, looking like you were photographed in the late 1800s by us here at Photo Retro? Shoot us a PM for details or check the website for more information: www.photoretro.biz

 

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Contact print in platinum-palladium

Not as cool as they have usually been turning out, but hey! Taken from the tool shed. Exposed from 01/10/10 to 08/10/10.

Contact print in platinum-palladium

Zero Image pinhole camera and a J Lane dry glass plate

25/7/2021

Contact print in platinum-palladium

Contact print in platinum-palladium

Contact print in platinum-palladium

from Oceano portfolio

Contact print in platinum-palladium

Contact print in platinum-palladium

Contact print in platinum-palladium

Exposing prints at our Salted Paper Printing workshop with Dan Estabrook.

 

Photo by Geoffery Berliner

Kodak Studio Proof Paper, 8 x 10 in.

I had the opportunity finally!!! to shoot a bit more wP. It is astounding how deeply the process sees into the skin.

 

copyright ModernLight 2010

Cyanotype

2 minutes 45 seconds (sun)

6x8 cm

Contact print in platinum-palladium

Scott McMahon's pinhole tintypes, "Under Torment Sleep" (2000).

Looking toward the front right section of the gallery from the back section: Scott McMahon's work on the left, Jesseca Ferguson's work in the far background, and the Ostermans' work on the right

Three of Jesseca Ferguson's works from her series "From the Museum of Memory." From Left t Right: "Poznan bird/Z (constructed)", toned pinhole cyanotype, silk, found document, book board (2012), "Bird skull/text/eggcup (constructed)," pinhole cyanotype, silk, book boards (2012), and "Text Sphere/bottle/book," pinhole cyanotype (2012).

Jesseca discusses the blending of 19th, 20th, and 21st century processes in her work

Been doing something a little different and having a go at cyanotypes and trying different papers to see what effects I get, if any!! Printed digital negatives from digital files and then coated different papers in the darkroom with cyanotype solution.

These 2 out of 4 negatives came out the best. For Big Ben I used a bought pre-coated paper and for St Pauls I used a watercolour paper I had coated myself. Its very hit and miss but good fun as you never know what you're gonna get

 

The second film I used was Ilford delta ISO 100, I got eight exposure but four useable ones. This is my first attempt to capture the #Olympic-rings hanging from #tower-brigde. Exposure time 1 min 40 secs

polaroid transfer

The back right section of the gallery: Gretjen Helene's work on the left and middle walls and Scott McMahon's work on the right wall.

from Oceano portfolio

Contact print in platinum-palladium

Reviewing prints at our Salted Paper Printing workshop with Dan Estabrook.

 

Photo by Geoffery Berliner

5 layers gum bichromate on Canson Montval paper 300 grs. 26x34 cm

Contact print in platinum-palladium

Contact print in platinum-palladium

West Cork, Ireland

Contact print in platinum-palladium

Contact print in platinum-palladium

Palladium prints

 

These images are a mix of prints made from negatives taken by my father and photos I myself shot of the Yashica medium format camera he used to make those negatives, as well as a knife he owned during that period of his life that he gave to me when I grew older.

 

The woman in the images is my mother.

Exposure from 1/10/10 to 7/10/10. Claiming fingerprint as a watermark.. yes.. watermark.

Works Mark Osterman and France Scully Osterman's series "The Light at Lacock, Sun Sketches in the Twilight of Photography" (2010). All of the works are Digital pigment prints from photogenic drawing (paper) negatives.

 

On the Left: "North Cloister Walk."

On the Right: "West Field Tree."

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