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the room at the top of the house which was my office for 10 years has changed recently into a room of my own. I have given away my drawing board and many of my gardening books to a young garden designer friend who is starting out with her own business. Along one wall of my room I have three bookcases pushed together which form a long open shelf along the top - upon which 'stuff' accumulates and is moved about in a happy, not very neat everyday existence. I have decided to photograph the things on the shelf from time to time exactly as they are - with no attempt to make them into a still life. This is a little section of the shelf with printing blocks.
Michael Seidmann gave me the idea of the word serendipity by using serendipitous in a recent comment and Harris Hui has reminded me, by asking me whether I have one, that my 105mm lens is under used. Thanks.
Screen Printing Posters for this years End of the Road Festival.
Charlie Parr End result
All posters will be available at End of the Road Festival on the Jacknife stall and also on the Jacknife website:
East Lansing resident Arie Koelewyn adjusts the spacing between letters after a test run on the printing press on Sept. 29, 2016 in the art studio at Snyder Hall.
So, my dad picked up a 3D Printer and while I don't think Consumer Grade Printers meet all my expectations/cost ratio yet I'm not exactly gonna turn down what is free access to a 3D printer you know?
Still getting the hang of things, the one on the Left is the first attempt at a low resolution with lots of issues and the second one is slightly smaller but at a medium resolution. I have some settings and such picked out for a third attempt. Hopefully net time I'll remember about Flickr right away instead of 3 days later! xD
The printing frame was left with the sensitized salted paper in contact with the calotype negaive for a few hours on my terrace. Little did I know, that while I was in the basement darkroom it started to rain. Though the frame was not totally unprotected the wind direction made some rain come on the frame and inside it. The thin calotype paper got wet and being pressed wrinkles appeared immediately as the swelling paper was also restricted and got wet in the upper half mostly. The contact with salted paper released the chemistry which got into the calotype negative causing yellowing. I conducted a rescue operation and think I saved it by minimising the damage.
The rescue operation:
1. put in a water bath immediately for about 30 min in subdued light.
This, to make the paper relax fully all over and release the water soluble discoloration which comes from contact with other materials, including the wooden frame
2. refix for 2 min in fresh hypo. In case the calotype negative sucked in chemistry from the saltprint paper it could have become light sensitive. Refixing may also help remove some of the yellow/brown discoloration
3. wash for 2 hrs. This was done to make sure all hypo is removed and if any other watersoluble substances were in the paper.
Canosn Marker layout is a strong paper and survives all this remarkably well, if this was Hahnehühlle paper I would have more trouble with distortions and possibly tears
4. air drying hanged up and weighted to stretch the calotype lightly when drying.
5. pressing in hard press put between two pieces of clean archival (unbuffered) pieces of mat board. My newly acqured press has proved incredibly useful.
The rsult is a flat calotype with light yellow staing seen in low density areas of the tree and the top of the building. Just printed from the rescued calotype and see no serious failure. I have a feeling that if this was a glass plate negative I would not be able to save it.
Cheers and skål for paper negatives!
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Woodblock printing on a large extreme scale. The process was shown off at the Richmond, Virginia Makerfest 2014. via remedyimpact.wordpress.com/2016/02/18/extreme-woodblock-p... www.facebook.com/RemedyImpactOfficial
An old machine, probably about 70 or 80 years old or more and used for printing propaganda leaflets and single page newspapers. Possibly a wartime memorial?
Since i set up the darkroom to print for my recent exhibit, I thought I would dive into printing some of my Shorelines series.
Here is an example of split grade printing. You use two filters, one to control highlights and one to control shadow detail.
Making a test print helps you choose what exposure you could use for each filter.
In this can I was printing on Ilford Multigrade IV RC De Luxe Glossy. As it was a very bright day, I decided to choose the highlight & contrast that best matched the scene. The grid above shows that I decided to use a 3 second exposure with the 00 filter for highlight detail & I went with a 15 second exposure for shadow detail. The square I noted above show both exposures and the result.
I could have gone for a much different look, for example a 6 second exposure with the 00 filter would have produced a result where the highlights were more subdued.
You can see that using the split grade printing method really gives you some flexibility in contrast control and creativity over the image.It's all a matter of preference and what you want the scene to look like.
An old printing machine in what was my Grampa's room in a uniquely chaotic farmhouse in South Wales.
I have found out a little about this machine- it's a Roneo 750 rotaryduplicator, that that uses a stencil through which ink is pressed.
It was used to make multiple copies of office documents, leaflets or brochures before the advent of the photocopier.
And her children. Inside the Ler Devagar bookshop in Lisbon a few months ago. Built in an old print works, the old equipment is still there, built into the huge shop.
Proving once again that printing yellow on black is not a good idea. Compare the stripes on the actual minifig to the one on the instructions, and the deep yellow of the arms and head.
Green wooden box containing type.
Accession Number: hh.4436.7.88
This type would have been used by the book finisher to imprint letters onto the cover and spine of books. It would often have been used in conjunction with a type holder.
Edinburgh City of Print is a joint project between City of Edinburgh Museums and the Scottish Archive of Print and Publishing History Records (SAPPHIRE). The project aims to catalogue and make accessible the wealth of printing collections held by City of Edinburgh Museums. For more information about the project please visit www.edinburghcityofprint.org
Recently I had the opportunity to use some 3D printers, and I decided to use them to make the Nuva Cube. The cube is made of PLS, has a length/width/height of 2 inches, and is composed of four 1 7/8" x 1/8" x 2" and two 2" x 1/8" x 2" faces each glued onto one of the sides of a 1 3/4" cube (rather, that's the dimensions of the computer model… as you can tell, the technology is still pretty finicky, and the measurements don't always come out right). I designed it in Tinkercad and glued all the pieces save one together, but the actual printing was done by someone who actually knew what he was doing. :P (The piece I didn't glue was the one on the bottom of Lewa's face since I wasn't there when it finished printing and it was the last piece not yet glued on.) I also have to give credit to fearmaker782 of deviantArt as I frequently referred back to his own System Nuva Cube during the design process since each face is set up on a clear 8 x 8 grid.
J.G. Schelter & Giesecke 1894
Just because Indra mentioned it here:
kupferschrift.de/cms/2012/12/alastair-johnston-on-helvetica/
This is by far my most viewed photo on Flickr, and almost all of them come from people who have typed "old printing press" in a search engine. I know it has been used on blogs and slide shows a few times, but not nearly often enough to justify the popularity. I find it fascinating that in this age of digital publishing, my most popular photo is one of ancient publishing technology, but I'm getting more and more curious about why so many people look for it. Sadly, I lost the original long ago, or I would have uploaded a bigger version.